It took about six months to come up with a design that both served the artist's concept and conformed to the site's constraints, and about twelve weeks to fabricate it. One of the most challenging aspects of this process was to rethink the sculpture's structural design when three months prior to the scheduled installation, the team was informed that instead of two weeks they had a mere weekend to get the sculpture installed. To facilitate such a speedy installation the design was reconfigured into 16 prefabricated pieces that were then bolted together on site.

The inspiration for the project, according to Fox, is the pause people experience in their journey while travelling on the escalators; it is a mobile rather than a temporal pause of course but that is what makes it exceptional. Although the same can be said of a train journey, it's not the same as the enclosure of the cabin diminishes the core experience of moving through space - it’s the train that is moving rather than you after all. This is not the case when travelling on escalators, where you experience firsthand the incongruity of moving up or down through space without actually moving which in this case is a riveting sensation that Fox's airborne sculpture vividly portrays though its gravity-defying, twisting acrobatics.

With a background in both art and architecture, Fox’s intention to interrogate the conceptual and material boundaries between these two practices seems pertinent. But more than that, by focusing on the station's heritage escalators, a crucial component of the city's transportation development and urban planning, he is also referencing all the crisscrossing journeys through the station's history while paying tribute to its glorious past.