Design
The development has a gross building area of approximately 16,000 m2 (172,000 sq ft), built on a 33,700 m2 (362,700 sq ft) site along the Marina Promenade. Designed by Arup and Mitsubishi Heavy Industries with a capacity of up to 7.3 million passengers a year, the normally constant rotation of the wheel means that a complete trip lasts approximately 30 minutes.
The wheel features 28 air-conditioned capsules which, like those of the London Eye, are exo-capsules attached outward of the wheel structure. These offer the advantage of a continuously unobstructed view when the capsule is at the peak, unlike the more common endo-capsule design of most wheels (e.g. Star of Nanchang). Each capsule has a floor area of 26 m2 (280 sq ft) and is capable of holding 28 passengers, or up to five wheelchairs and 15 other visitors when booked in advance for use by disabled guests.
The terminal building on which the wheel sits comprises three floors of commercial space, with an adjacent open air Greek-inspired theatre along the waterfront and complemented by a jetty. The site is fully landscaped, including roof gardens and a recreated rainforest in the terminal's atrium. An open bus park for 40 buses is located behind the building, and connected by an underpass to a covered multi-storey carpark for 300 vehicles. This carpark in turn has direct links to the underground Promenade MRT Station which opened on 17 April 2010.
Visitors can take a free shuttle bus from City Hall MRT Station, which operates every half-hour to and from the Singapore Flyer.
Wheelchair ramps and lifts, handicapped toilets, and a dedicated parking lot for the disabled are also provided.
Read more about this topic: Singapore Flyer
Famous quotes containing the word design:
“If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life ... for fear that I should get some of his good done to me,some of its virus mingled with my blood.”
—Henry David Thoreau (18171862)
“Delay always breeds danger; and to protract a great design is often to ruin it.”
—Miguel De Cervantes (15471616)
“We find that Good and Evil happen alike to all Men on this Side of the Grave; and as the principle Design of Tragedy is to raise Commiseration and Terror in the Minds of the Audience, we shall defeat this great End, if we always make Virtue and Innocence happy and successful.”
—Joseph Addison (16721719)