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This station's platforms, built in tunnel, jut out from a cube-shaped volume through which the staircases from the mezzanine descend to the transept. This space is graced with exciting decorative architecture, featuring walls of glass bricks as well as light fixtures, arranged on rails, in unusual cubical industrial forms.
The transept level itself has an efficient layout; the escalators feed directly toward the Snowdon platform, permitting a direct flow of traffic towards the departure site. Arriving passengers cross a bridge over the tracks to get to the foot of the escalators.
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The mezzanine is a broad open-plan area, decorated in much the same style as the platforms. It overlooks the volume and is bathed in natural light from the Saint-Michel Est kiosk above. A tunnel with unusual undulating walls connects it to the Saint-Michel Ouest kiosk across the street.
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The kiosks on either side of Boul. St-Michel continue the flair of the station's design in their zig-zag glass brick walls and in the larger eastern kiosk's undulating lines.
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The platforms themselves are shortened, being the length only of a six-car train rather than the nine-car length of every other station. The full-length platform was built, but the remainder was not decorated and is closed off to allow a control room to be built. The unfinished platforms are visible from the western end of the platform.
The station's artworks are four large murals behind glass bricks, each created by a different artist on the theme of the life and landscapes around a lake.
On the departure platform, the mural with playful human figures on a grey background is by Charles Lemay, and the one with vivid basic colours is by Marcelin Cardinal (above). On the other side, Normand Moffat interprets the subject in shades of brown, and Lauréat Marois in blue, white, and black, entitled Habitacle (below).
These colourful works brighten up the far end of the platform and break up the brown tile cladding of the walls.
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