DL&W in the Media
WGRZ | DL&W Terminal chosen for Buffalo's latest public art project
Some colorful creations will soon grace the walls of Buffalo's DL&W Terminal downtown
Niagara Frontier Publications | Jacobs: $1 million in state funding for DL&W project
New York State Sen. Chris Jacobs announced he has secured $1 million in state funding to support the redevelopment of Buffalo’s Delaware, Lackawanna and Western Terminal Railroad station on the city’s waterfront.
Buffalo Rising | Project for Public Spaces: Repurposing Defunct Structures
Project for Public Spaces’ plans with developer Savarino Companies for repurposing the D&LW Terminal into a public market space.
Buffalo News | Editorial: A gift for Buffalo at the DL&W
Buffalo’s Delaware, Lackawanna and Western Railroad terminal project got a refreshing jolt of good news last week when transit authority commissioners awarded “predevelopment rights” to the Savarino Cos. of Buffalo for redeveloping the second floor.
Buffalo News | After slew of setbacks, DL&W resurrection back on track with Savarino as developer
Buffalo’s Delaware, Lackawanna and Western Railroad Terminal is on the way toward reclaiming its legacy as a bustling center of waterfront activity.
Niagara Frontier Publications | Higgins applauds progress on DL&W Terminal
Congressman Brian Higgins applauded momentum on the DL&W Terminal project.
Buffalo News | Savarino's vision for hulking DL&W terminal: a Canalside public market
Long before the coronavirus pandemic upended much of upstate New York’s economy, the plan to transform the Delaware, Lackawanna and Western Railroad Terminal into a Metro Rail station and commercial center was slowed by a lack of funding.
Buffalo Business First | DL&W Terminal could be a destination under new NFTA plan
Turning the DL&W Terminal into a transportation destination for Canalside and the Cobblestone District may be closer than many realize.
The Public | Looking Backward: DL&W Terminal, 1975
This is a Widelux photograph of the DL&W terminal at the foot of Main Street in 1975, taken by The Public’s Bruce Jackson.