A 272kg, 8.5m-long, black-and-white kinetic mobile designed by renowned artist Alexander Calder will shortly take center stage in Pittsburgh International Airport’s (PIT) new landside terminal. The sculpture, known as Pittsburgh, has dangled from ceilings in the region’s airport terminals on and off for almost 70 years. It is being reinstalled this month in the new terminal’s atrium to serve as a gently waving welcome and farewell.
First installed in 1959 over the rotunda of the Greater Pittsburgh Airport terminal that opened in 1952, the mobile spent some time at the Carnegie Museum of Art before moving to the current PIT terminal in 1992.
Thus, the sculpture has been part of the airport’s art program since before the airport even had the robust art program it has now. “People just expect to see the Calder at the airport,” said Keny Marshall, PIT’s manager of arts and culture. Although the new landside terminal was not designed around the sculpture, the artwork’s prominent position was determined in collaboration with the architects – Luis Vidal + Architects in association with Gensler + HDR – to ensure the public can enjoy a better view of it.
Pittsburgh is made of black steel rods and white aluminum paddles and is balanced so that the elements move with just the slightest breeze to activate the mobile. The piece has been in storage for the past two years in preparation for its move to the new terminal.
Rich history
In its previous location above PIT’s post-security Airside Center Core, the Calder mobile was in “an architecturally cluttered space” where few passengers stopped to take time to look at it, added Alex Taylor, an associate professor in the department of history of art and architecture at the University of Pittsburgh, who has studied Calder’s work extensively. “When I’d go to the airport, I would stop with my carry-on to watch the work for as many minutes as I could spare before I had to get to the gate,” said Taylor. “But it always felt like I was the only one.”
Carol Brown would also make sure to visit the Calder during her trips through the terminal. The former county parks director was instrumental in getting the sculpture restored back when it was hung incorrectly at the old terminal, with its metal sections painted first yellow and green (Allegheny County’s colors) and then pink. Once it was restored, Brown advocated to have it put in the then-new 1992 terminal. “I would always stop to say ‘Hi, Calder,’ when I went through the terminal. And I am looking forward to being able to say that again in the new terminal,” said Brown.
In the new landside terminal, the mobile will hang in the large, open atrium with an overlook offering multiple viewing angles. Experts from Ohio-based McKay Lodge Art Conservation Laboratory, the company that took the Calder down from its previous spot and packed it for storage, will be on hand to unpack the sculpture and put it back up. It will be an unusual challenge. A special lift is needed to attach the sculpture to the new terminal’s ceiling, which is over 24m high. Luckily, PIT owns a special piece of machinery – the Teupen Leo 26 aerial lift – which can easily handle the task. Once it has been installed, passengers and the public will be able to see the sculpture from eye level or above on the pre-security departure level of the new terminal. On the arrivals level, one floor below, people will be able to look up at the sculpture and walk beneath it.
Other airports also have, or once had, Calder mobiles. Among them are the artist’s 13.7m-long mobile titled .125, which currently hangs in the Departure Hall of Terminal 4 at John F. Kennedy International Airport. A Calder mobile named Brass in the Sky once hung in Marshall Field & Co.’s Cloud Room Restaurant at Chicago’s Midway Airport. And a 12m-wide Calder work titled Red, Black and Blue made its way from Dallas Love Field (DAL) to Dallas Fort Worth International Airport (DFW) and to Milwaukee Mitchell International Airport (MKE) before finally landing at the Milwaukee Art Museum.
Valued now at about US$12m, PIT’s Calder mobile may be the airport’s most valuable and well-known work in a growing art collection.
You can read more about PIT’s new terminal in an exclusive news feature first published in the June 2025 issue of PT World magazine. Subscribe to receive future issues – for free
