1 · POSITION
Moshe Safdie belongs in the Library because he repeatedly changed the scale at which hospitality could be imagined. He did not design only hotel rooms or façades. He treated hotels, promenades, gardens, transport, retail, culture and public gathering as parts of one spatial system. Mamilla and Marina Bay Sands show the same authorship at radically different scales: hospitality used as an instrument for making a piece of city.
2 · THE CLAIM
The defensible claim is not that Safdie invented the integrated resort or the mixed-use district. His contribution was to humanize very large programmes through streets, gardens, views, daylight and legible circulation, and to make the hospitality component participate in civic life rather than sit apart from it. Other developers and architects worked on the same problems; Safdie’s work is distinctive because the public realm is treated as the organizing structure rather than residual space.
3 · WHY HOSPITALITY
Safdie’s career is usually told through Habitat 67, museums and civic institutions. For LHL, the relevant thread is different. His hotel and travel projects ask the same question as his housing: how can a dense building give a person light, air, orientation, privacy and contact with a larger community? That question becomes operationally important when the user is a guest who must understand an unfamiliar place quickly.
4 · HAIFA
Safdie was born in Haifa in 1938. The city matters to the biography because its steep topography, Mediterranean light and modernist construction formed an early visual environment. Later work in Jerusalem and Singapore would be very different in material and scale, but the recurring interest in topography, terraces and buildings that frame landscape can be read as part of a long spatial memory rather than a late stylistic device.
5 · MONTREAL
His family moved to Montreal in 1953, when he was a teenager. The move placed Safdie inside a different urban culture at the moment Canada was expanding its civic institutions and infrastructure. Montreal would become the site of the project that made him internationally visible and established the themes that later reappeared in hospitality: density without anonymity, elevated streets, gardens and buildings composed as neighbourhoods.
6 · MCGILL
Safdie graduated in architecture from McGill University in 1961. His thesis work challenged the conventional apartment slab by imagining clustered, prefabricated dwellings with private outdoor space. The thesis did not begin as a hotel proposition, but its principles would prove transferable: the individual unit should retain identity inside a much larger collective structure.
7 · LOUIS KAHN
After McGill, Safdie apprenticed with Louis I. Kahn in Philadelphia. Kahn’s influence should not be reduced to monumental form. The more relevant inheritance is the insistence that programme, movement and institutional purpose must become architecture rather than decoration. Safdie later applied that discipline to projects in which commercial hospitality, public access and civic ambition had to coexist.
8 · HABITAT 67
Habitat 67 translated Safdie’s thesis into a built demonstration for Expo 67. Three hundred and sixty-five prefabricated modules became 158 residences, connected by pedestrian streets and terraces. Its importance to the hospitality story lies in the proposition that high density can still feel personal, outdoor and socially legible. The hotel tower and integrated resort later became another arena in which Safdie tested the same problem.
9 · FOR EVERYONE A GARDEN
The phrase associated with Safdie’s early thinking — a garden for everyone — is more than a housing slogan. It describes a recurring spatial promise: density should not eliminate landscape. In later hospitality work the private terrace, the rooftop garden, the planted sky deck and the courtyard become different expressions of that promise.
10 · THE CITY-WITHIN-A-CITY PROBLEM
Safdie’s research after Habitat explored structures that combined multiple functions into continuous urban organizations. Many remained unbuilt, but the typological question survived: how can a very large complex behave as a comprehensible city rather than as a sealed object? Marina Bay Sands, Jewel Changi and Raffles City Chongqing are later commercial answers.
11 · JERUSALEM BRANCH
Safdie established a Jerusalem branch in 1970 and became deeply involved in the city’s rebuilding. That long engagement is essential to understanding Mamilla. The project was not an imported hotel commission dropped onto a site. It emerged from decades of urban work about how new construction could meet Jerusalem’s historic fabric without becoming imitation.
12 · MAMILLA — THE LONG COMMISSION
Safdie was commissioned in 1972 to develop an urban design for the 28-acre Mamilla site between Jerusalem’s old and new cities. The project evolved for decades. Its unusually long gestation means the finished district cannot be understood as one moment of design; it is the result of changing clients, economics, politics, preservation questions and phases of construction.
13 · THE FORMER NO-MAN’S-LAND
Mamilla occupied land that had functioned as a seam between Israeli and Jordanian sectors. Safdie’s planning task therefore carried a symbolic dimension beyond real estate. The district had to become a connector. In hospitality terms, it turns arrival into urban reconciliation: the guest is led toward the Jaffa Gate through a sequence of streets, courtyards, hotels, retail and public space.
14 · THE STREET AS HOST
The strongest element of Mamilla is not a single façade but the street. Safdie uses the pedestrian route as a host: it orients, shades, slows and gathers people. Shops, hotel entrances, art, courtyards and views attach themselves to this route. Hospitality begins before the hotel door because the district itself performs arrival.
15 · OLD AND NEW
Jerusalem stone is mandated across the district, but Safdie avoids treating historic appearance as a complete design method. Old and new buildings are related through massing, scale, material and contemporary detailing. The result is not neutral. It is a deliberate argument that continuity can be produced without pretending that new construction is ancient.
16 · VEHICLES BELOW, PEOPLE ABOVE
Mamilla separates much of its vehicle movement and parking from the pedestrian realm. The organizational move is simple but important: urban luxury depends on reducing friction. A guest walking toward the Old City encounters squares, shops, terraces and shade rather than service roads. The district makes pedestrian ease part of the experience.
17 · DAVID CITADEL HOTEL
The David Citadel Hotel opened in 1998 and became one of the earliest built hospitality anchors of the Mamilla district. Safdie’s office describes it as a cornerstone between old and new Jerusalem. The hotel’s U-shaped plan frames the Old City as a visual event; the architecture is not only accommodation beside a monument but a device for repeatedly presenting the monument to the guest.
18 · THE OLD CITY AS STAGE
At the David Citadel, rooms, balconies, circulation and terraces are arranged to frame views toward the Tower of David and the Old City. Safdie compared the plan to an opera house in which the city becomes the stage. That is a useful LHL idea: location is not a marketing sentence added after design. The plan can choreograph the guest’s relationship to location.
19 · STONE, GLASS AND WELCOME
The David Citadel combines rough-hewn Jerusalem limestone with glass and steel. Arcades provide shade and arrival, while a glass canopy marks the porte cochère. The contrast is characteristic of Safdie’s Jerusalem work: modern construction is allowed to remain visible, but it is calibrated against the material continuity of the city.
20 · BALCONIES AS PRIVATE PUBLIC REALM
Covered balconies give rooms private outdoor space while maintaining connection to the city. This is Habitat logic translated into hotel architecture: each unit receives a small piece of exterior life. The guest is neither sealed behind glass nor forced into the public realm to experience the climate.
21 · MAMILLA HOTEL
Mamilla Hotel opened in 2009 as part of the larger district. The 194-room property combines Safdie’s architecture with interiors by Piero Lissoni. The hotel fits into a network of alleys and views toward the Old City rather than presenting itself as an isolated resort object. Its rooftop restaurant, lounge, event space and spa extend the building’s role from accommodation into social infrastructure.
22 · PIERO LISSONI
Piero Lissoni’s role must remain distinct. Safdie authored the architectural framework and its relationship to the district; Lissoni authored the principal interior language. The finished hotel depends on both. A People card that collapses the two into one name would reproduce exactly the authorship error the Library is designed to avoid.
23 · HOSPITALITY INSIDE AN URBAN DISTRICT
Mamilla demonstrates a model in which the hotel is not the whole destination. Retail, residences, public art, parking, streets and Old City access form the broader hospitality system. This makes the district particularly important for LHL because it sits between a hotel record and a destination record.
24 · ALROV AND ALFRED AKIROV
Alrov and Alfred Akirov supplied development capital, ownership structure and long-term commercial agency. Safdie supplied architecture and urban design. The two roles overlap in shaping Mamilla but should not be confused. The next People card in the queue, LHL-P-521 · Alfred Akirov, is therefore not redundant with Safdie; it records a different kind of authorship.
25 · THE COST OF LONG GESTATION
Mamilla also shows the risk of heroic urban narratives. Projects that take decades accumulate disputes, compromises and changing political meanings. Safdie’s authorship is real, but it exists inside a long chain of public authorities, developers, preservation debates and market decisions. LHL should resist the idea that one architect single-handedly ‘made’ the district.
26 · THE SINGAPORE TURN
Singapore shifted Safdie’s practice toward a scale of private-sector mixed-use development that was more intense than much of his earlier institutional work. He has described work in Asia as a paradigm shift: market forces, enormous density and urban demands had to be reconciled inside one project. Hospitality became one of the principal vehicles for that reconciliation.
27 · MARINA BAY SANDS — THE COMPETITION
Safdie Architects secured Marina Bay Sands through competition in 2005. The project was conceived for reclaimed land on Marina Bay and was fully operational five years after construction began. The client was Las Vegas Sands. The speed and scale distinguish it sharply from the decades-long Mamilla story, but the organizing concern — public movement through a mixed-use district — is related.
28 · AN INTEGRATED RESORT AS URBAN PROJECT
Marina Bay Sands combines a vast hotel, convention and exhibition facilities, casino, theatres, retail, dining, event spaces, museum and waterfront promenade. Safdie’s office describes it not as a single building but as a new urban sector. That distinction is central to his LHL admission: the resort is designed to behave like city fabric.
29 · THREE TOWERS, ONE HOTEL
The hotel is organized as three towers rather than one massive slab. Large voids preserve visual porosity toward the sea, while the towers are linked at ground and sky levels. The tripartite form makes the scale legible from the city and creates the structural precondition for the SkyPark.
30 · THE ATRIUM AS INTERNAL STREET
At ground level, the hotel’s atrium functions as an internal street connecting towers and the wider resort. This is a recurring Safdie move: circulation is not treated as leftover corridor space. It is given daylight, volume and social importance so that movement itself becomes part of the destination experience.
31 · THE SKYPARK
The SkyPark joins the hotel towers at the 57th storey and turns the roof into landscape. Pools, restaurants, gardens, lounges and an observation deck replace the conventional hotel roof. The move is spectacular, but its deeper significance is typological: public and guest amenities are lifted into a new horizontal realm above the city.
32 · THE POOL AS DESTINATION
The infinity pool became one of Marina Bay Sands’ most recognizable images. LHL should avoid treating this simply as an Instagram object. The pool’s power comes from the larger spatial sequence: vertical ascent, panoramic horizon, garden, water and skyline are composed as one experience unavailable at street level.
33 · PUBLIC AND PRIVATE IN THE SKY
The SkyPark mixes hotel-only and publicly accessible experiences. That boundary is carefully managed rather than erased. Observation, dining and landscape become civic attractions, while the pool and some guest amenities remain controlled. Safdie’s design therefore turns access policy into architecture.
34 · CONVENTION, RETAIL, THEATRE, CASINO
The resort’s non-hotel components are not secondary appendages. They generate demand, extend dwell time and create reasons for local residents to enter the complex. In this sense Marina Bay Sands operates more like a district economy than a traditional hotel. Safdie’s architecture supplies the connective tissue between these programmes.
35 · THE WATERFRONT PROMENADE
The waterfront public realm keeps building scale lower at the edge and visually connects indoor commercial spaces with the outdoor promenade. Restaurants, event spaces and the riverfront become continuous. This is hospitality as urban permeability: the resort gains value because the public can move along and through it.
36 · ARTSCIENCE MUSEUM
The ArtScience Museum gives Marina Bay Sands a cultural institution with a form independent from the hotel towers. Its presence matters because it broadens the destination beyond accommodation, gaming and retail. For LHL, the museum shows how cultural programming can sit inside a commercial hospitality ecosystem without being reduced to lobby art.
37 · CRYSTAL PAVILIONS
The Crystal Pavilions extend the destination onto the water. Reached by bridges and underwater connections, they were designed for restaurants, retail and nightlife. The north pavilion became the Louis Vuitton Island Maison. This is a clear example of luxury retail and hospitality sharing one architectural infrastructure.
38 · THE LOUIS VUITTON ISLAND EFFECT
The Louis Vuitton pavilion illustrates how a hospitality district can host a luxury maison as an experience rather than merely as a shop. The building’s island condition, bridge arrival and relationship to the bay turn retail into destination theatre. Safdie authored the spatial platform; the brand authored the retail experience within it.
39 · A TOURISM ICON
Marina Bay Sands rapidly became a visual shorthand for Singapore’s twenty-first-century tourism economy. That symbolic role is partly architectural and partly institutional: Las Vegas Sands, Singapore’s planning authorities, tourism policy, hotel operations and global media all contributed. Safdie designed an image capable of carrying that wider system; he did not create the system alone.
40 · SPECTACLE AND CIVIC LIFE
The legitimate criticism of megaproject hospitality is that spectacle can overwhelm everyday urban life. Safdie’s response is to insist on permeability, public paths, transit connections, gardens and meeting spaces. Whether every visitor experiences the complex as genuinely civic is a matter for evaluation, but the design intent is clear: spectacle is tied to public circulation rather than isolated behind a gate.
41 · CLIMATE AND NATURE
Landscape is used throughout Marina Bay Sands to moderate scale and climate. Planting appears at promenade, podium and roof levels. The principle links back to Habitat: density requires compensating contact with nature. In tropical Singapore that idea becomes both experiential and environmental.
42 · HUMANIZING DENSITY
Safdie’s hospitality work is most coherent when read as a long argument about density. Habitat 67 gives each dwelling a terrace; Mamilla gives pedestrians streets and courtyards; Marina Bay Sands gives a megaproject internal streets and a sky garden. The formal vocabulary changes, but the problem remains constant.
43 · HOSPITALITY AS DISTRICT
The most transferable lesson from Safdie is that a hotel can be a district component rather than the destination’s only protagonist. This has become increasingly relevant as luxury hospitality moves into mixed-use urban developments, branded residences, cultural quarters and transport hubs.
44 · AIRPORTS AS HOSPITALITY
Safdie’s airports belong to the same story because arrival is a hospitality act. At Toronto Pearson Terminal 1, daylight and clear spatial order are used to help passengers understand movement through a complex building. The architecture attempts to reduce anxiety before any lounge, hotel or premium service begins.
45 · BEN GURION AND PEARSON
Ben Gurion and Pearson demonstrate that Safdie’s concern with movement is not limited to leisure architecture. Segregated passenger flows, security, baggage, retail and orientation must coexist without making the traveller feel trapped in infrastructure. This experience of choreographing mass movement feeds directly into later resort and mixed-use work.
46 · JEWEL CHANGI AIRPORT
Jewel Changi, opened in 2019, fuses airport operations with gardens, leisure, retail, restaurants and hotel facilities. Safdie described the project as joining marketplace and paradise garden. It is a particularly clear LHL case because the airport itself becomes a destination that residents and non-flying visitors use.
47 · THE AIRPORT AS PUBLIC REALM
Jewel reframes the airport from terminal to urban center. The traveller, shopper, diner and local visitor occupy the same broad civic environment. This collapses an old distinction between transit infrastructure and destination hospitality.
48 · THE SINGAPORE EDITION
The Singapore EDITION and Boulevard 88 opened as a built mixed-use project in 2024. Safdie Architects designed the architecture of the 204-room hotel and paired residential towers. It is smaller than Marina Bay Sands but conceptually revealing: privacy, landscape and separate identities are produced inside one dense urban composition.
49 · THE COURTYARD
A sunken planted courtyard separates and joins hotel and residences at The Singapore EDITION. Lobby, restaurant and bars look into the garden, while lower-level meeting and event spaces open toward it. The courtyard turns landscape into shared visual infrastructure without erasing operational separation.
50 · THE SKYBRIDGE
A ninth-storey skybridge contains a 43-meter pool, sun deck and outdoor bar among greenery. The device is unmistakably related to Safdie’s long interest in elevated communal space, but it is scaled to a luxury hotel rather than a megaproject. The idea becomes more intimate without disappearing.
51 · IAN SCHRAGER
The Singapore EDITION was developed in dialogue with Ian Schrager and the EDITION design team. Safdie’s office explicitly credits the collaboration. The authorship boundary is therefore straightforward: Safdie Architects shaped building, site and major spatial systems; Schrager and the brand team shaped the EDITION hospitality identity and much of the interior experience.
52 · RAFFLES CITY CHONGQING
Raffles City Chongqing opened in 2020 as another vertically integrated city. Eight towers combine residences, offices, hotel, serviced apartments, retail and recreation, linked by a major horizontal structure. The project continues Safdie’s exploration of how streets and public space can be translated into very dense three-dimensional urbanism.
53 · THE HOTEL INSIDE THE VERTICAL CITY
One of the Chongqing towers transitions from office to hotel above the skybridge. This arrangement makes hospitality one layer inside a larger vertical district rather than a freestanding tower. It is a direct extension of the principle visible at Mamilla and Marina Bay Sands: the guest participates in a broader city system.
54 · THE HORIZONTAL CONNECTOR
Safdie’s later mixed-use work repeatedly uses bridges, sky gardens and horizontal connectors to prevent towers from behaving as isolated objects. These devices are expensive and technically demanding, but they create shared amenities and orientation. In hospitality, they can turn circulation infrastructure into the most memorable part of the stay.
55 · FROM HABITAT TO THE RESORT
The line from Habitat 67 to Marina Bay Sands is not one of visual imitation. It is a continuity of organizational questions: can private units coexist with communal space, can density preserve nature, can circulation become social space, and can the roof or bridge become a new ground plane? Hospitality gave Safdie the budgets and programmes to test these questions at extraordinary scale.
56 · STREETS INSIDE BUILDINGS
Safdie repeatedly converts corridors into streets and lobbies into civic rooms. This is one of the clearest reasons his work matters to hospitality. A guest judges a hotel not only by the room but by the quality of movement between arrival, elevator, dining, pool, meeting, retail and city. Safdie treats those transitions as architecture.
57 · PUBLIC REALM AS SERVICE
In conventional hospitality, service is delivered by staff. Safdie adds a spatial layer: architecture itself can serve by orienting the guest, providing shade, offering views, shortening confusion and creating places to pause. This does not replace human service, but it can either support or sabotage it.
58 · THE GUEST AND THE CITIZEN
Safdie’s strongest mixed-use projects allow the hotel guest and local citizen to share parts of the same environment. The distinction between public and private remains operationally controlled, but the building gains life from overlap. Marina Bay Sands and Jewel Changi are especially clear examples.
59 · HERITAGE VERSUS ICON
Mamilla and Marina Bay Sands represent opposite architectural conditions. In Jerusalem, Safdie works through stone, scale, preservation and an inherited city. In Singapore, he creates a new skyline on reclaimed land. The same architect succeeds by changing formal language rather than imposing one signature aesthetic.
60 · STONE AND GLASS
Safdie’s hospitality career moves between heavy masonry and high-performance glass, between arcades and skybridges. What persists is not material but structure of experience: threshold, sequence, garden, view and collective space. This is why his work can remain recognizable without requiring a single visual motif.
61 · HE DOES NOT AUTHOR SERVICE
Safdie does not set room-cleaning standards, train concierges, run restaurants or manage loyalty programmes. LHL should not turn architectural prominence into operational authorship. His contribution is the spatial framework within which hospitality teams work.
62 · HE DOES NOT AUTHOR INTERIORS ALONE
Several hospitality projects involve strong interior collaborators. Piero Lissoni at Mamilla and Ian Schrager’s EDITION team in Singapore are obvious examples. Even at Marina Bay Sands, specialist designers, engineers and operators shaped major components. Architectural authorship must stay specific.
63 · HE DOES NOT AUTHOR OWNERSHIP
Alrov, Las Vegas Sands, CapitaLand, City Developments and other clients supplied land, capital, programme and commercial objectives. Safdie transformed briefs into spatial systems, but the economic model belongs to owners and developers. This distinction is especially important in mixed-use hospitality where architecture and development strategy are inseparable but not identical.
64 · SAFDIE AND JOHN PORTMAN
John Portman, LHL-P-191, is the closest internal comparison. Portman made the atrium hotel and mixed-use complex into a commercial urban machine; Safdie works with many of the same programme types but usually pushes harder toward landscape, public paths and visual porosity. Portman’s interior city is often centered on the atrium; Safdie repeatedly tries to reconnect the complex to exterior civic life.
65 · SAFDIE AND IAN SCHRAGER
Ian Schrager authors atmosphere, social programming and hotel identity from inside the guest experience. Safdie authors the spatial and urban armature. Their Singapore EDITION collaboration is useful precisely because the two forms of authorship coexist without becoming interchangeable.
66 · SAFDIE AND ADRIAN CHENG
Adrian Cheng’s K11 model and Safdie’s mixed-use projects meet at the idea that retail, culture and hospitality can form one destination system. Cheng approaches from development, collecting and cultural programming; Safdie approaches from architecture and urban design. The Library should connect the records but not collapse the roles.
67 · SAFDIE AND ALFRED AKIROV
Mamilla provides the direct bridge to LHL-P-521 · Alfred Akirov. Safdie shaped the district’s architecture and urban sequence; Akirov provided the owner-developer agency that carried major phases into operation. Their relationship is one of architect and capital author working on the same place from different sides.
68 · SAFDIE AND SHELDON ADELSON
Marina Bay Sands similarly connects Safdie to LHL-P-035 · Sheldon Adelson. Adelson’s integrated-resort business model defined the commercial proposition; Safdie turned that proposition into an urban and architectural system recognizable around the world. Neither contribution explains the project alone.
69 · THE 2030 MARINA BAY SANDS DEVELOPMENT
Safdie Architects is designing a new Marina Bay Sands development now under construction, including a 570-suite hotel tower, a multi-level Skyloop, arena and additional MICE space. Groundbreaking took place in 2025 and the target is 2030. Under LHL rules this future project is evidence of continuing authorship, not a completed hospitality object and should not be written as if already operating.
70 · SUCCESSION INSIDE SAFDIE ARCHITECTS
The office now works through a broader leadership group, including senior partners who have carried major Asian projects. The biography should therefore distinguish Safdie’s founding authorship from the continuing institutional authorship of Safdie Architects. Current projects are collaborative products of the practice, not one man drawing every line.
71 · WHAT HE CHANGED
Safdie helped normalize the idea that hospitality at very large scale can still be organized around human movement, gardens and public space. He gave the integrated resort a civic ambition, turned the hotel roof into landscape, made airports into destination environments, and showed that historic districts and new megastructures can share an underlying concern with streets and community.
72 · WHAT HE DID NOT CHANGE
He did not invent luxury hotels, integrated resorts, airport retail, mixed-use development or sky gardens. He did not solve the social contradictions of megaproject development, and architecture cannot by itself make a commercial complex democratic. His contribution is narrower and stronger: a repeatable spatial method for humanizing large programmes.
73 · LHL CONNECTIONS
LHL-164 · Marina Bay Sands — principal existing anchor and clearest demonstration of Safdie’s integrated hospitality urbanism. LHL-020 · The Set Collection — current register connection to Mamilla as a member property. LHL-665 · Alrov Properties — owner/developer context for Mamilla. LHL-P-521 · Alfred Akirov — developer authorship of Mamilla, distinct from Safdie’s architecture. LHL-P-035 · Sheldon Adelson — capital and integrated-resort authorship at Marina Bay Sands. LHL-P-191 · John Portman — comparison for the hotel-as-city and mixed-use complex. Recommended new house cards: Mamilla Hotel; David Citadel Hotel; The Singapore EDITION. Recommended architecture/practice link: Safdie Architects as a firm-level source, without replacing the People record.
74 · TIMELINE
1938 — born in Haifa. 1953 — moves with his family to Montreal. 1961 — graduates from McGill University in architecture. Early 1960s — apprentices with Louis I. Kahn in Philadelphia. 1964 — establishes his own practice to realize Habitat 67. 1967 — Habitat 67 opens at Expo 67. 1970 — establishes a Jerusalem branch. 1972 — commissioned for the Mamilla urban plan. 1998 — David Citadel Hotel opens in the Mamilla district. 2005 — Marina Bay Sands design competition is secured. 2009 — Mamilla Hotel opens. 2010–2011 — Marina Bay Sands opens and becomes fully operational; SkyPark and ArtScience Museum define the completed destination. 2015 — receives the AIA Gold Medal. 2019 — Jewel Changi Airport opens. 2020 — Raffles City Chongqing opens. 2024 — The Singapore EDITION and Boulevard 88 are completed. 2025 — groundbreaking for the next Marina Bay Sands development. 2030 target — new Marina Bay Sands hotel / Skyloop project scheduled for completion; future, not yet a built LHL object.
75 · ⚑ CANDOUR
Authorship. Safdie’s major hospitality works are collaborative. Alrov, Las Vegas Sands, CapitaLand, City Developments, public authorities, operators, interior designers, engineers and local executive architects retain independent authorship. Mamilla. The district took decades and passed through changing development teams and political conditions; it should not be narrated as a single uninterrupted act by one architect. Marina Bay Sands. Safdie designed the architectural and urban framework, but the integrated-resort business model and operations belong to Las Vegas Sands and its leadership. Interiors. Piero Lissoni at Mamilla and Ian Schrager / EDITION at The Singapore EDITION must be separately credited. Scale. Claims that megaproject public space is genuinely civic are interpretive; the projects remain privately financed and managed environments with access controls. Future work. The new Marina Bay Sands development is under construction with a 2030 target and is not treated as an operating project. Register boundary. LHL-164 is a verified existing anchor. A separate Mamilla Hotel house code was not verified in the current register and should be created or confirmed before being cited as an existing code. Admission. Safdie is included for a transferable model of hospitality architecture — the hotel and resort as connected public realm — not for fame, awards or the visual recognizability of Marina Bay Sands.