As some theory was touched upon today, I thought in the context of Arlanda or any similar spaces it might be relevant to check out Lev Manovich's article "The Poetics of Augmented Space" :

Augmented space also represents an important challenge and an opportunity for contemporary architecture. As the examples discussed in this essay demonstrate, while many architects and interior designers have actively embraced electronic media, they typically think of it in a limited way: as a screen, i.e., as something that is attached to the ‘real’ stuff of architecture, i.e. surfaces defining volumes. Venturi’s concept of architecture as ‘information surface’ is only the most extreme expression of this general paradigm. While Venturi logically connects the idea of surface as electronic screen to the traditional use of ornament in architecture and to such features of vernacular architecture as billboards and window product displays, this historical analogy also limits our visions of how architecture can use new media. For, in this analogy, an electronic screen becomes simply a moving billboard or a moving ornament.

Going beyond the ‘surface as electronic screen paradigm’, architects now have the opportunity to think of the material architecture that most usually preoccupies them and the new immaterial architecture of information flows within the physical structure as a whole. In short, I suggest that the design of electronically augmented space can be approached as an architectural problem. In other words, architects along with artists can take the next logical step to consider the ‘invisible’ space of electronic data flows as substance rather than just as void – something that needs a structure, a politics, and a poetics.

Also, Michel Foucault's text "Of Other Spaces" might be useful in this context, talking about an airport as a non-place (?):

There are also, probably in every culture, in every civilization, real places - places that do exist and that are formed in the very founding of society - which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias [...] As for the heterotopias as such, how can they be described? What meaning do they have?