The Urban Redevelopment Authority (URA) agreed, saying the proposed station would "realise the tremendous commercial and aesthetic potential" of the Singapore River.

Others, such as DBS Land and Far East Organisation, supported the proposed station as it would fill a "major gap" in transportation access to the area.

[12] Compared to the cut-and-cover method, the TBM was considered less time-consuming, had lower risks of tunnel flooding, and minimised environmental damage to Clarke Quay and the river.

While initially opposed by the management of Clarke Quay, the launch shaft was located at the former Whampoa Garden due to optimal soil conditions.

[13] Explosives were used for the hard rock under Fort Canning Hill when workers tunnelled between Clarke Quay and Dhoby Ghaut.

Sensitive structures, such as an underground enclosed reservoir atop Fort Canning and a telecom microwave tower, were closely monitored.

Explosives were also used for another hard rock under the North-South line (NSL) tunnels near Dhoby Ghaut station as the manual excavation was too slow.

A tactile system, consisting of tiles with rounded or elongated raised studs,[32] guides visually impaired commuters through the station.

[23][34] The Reflections by Chua Ek Kay is displayed at this station as part of the Art-in-Transit (AiT) programme, a showcase of public artworks on the MRT network.

[35] Complementing these artworks are floor tiles, each adorned with painted eyes reminiscent of those found on tongkangs or Chinese junks,[36] and they serve as navigational aids for station commuters.

[35] The work was inspired by Chua's observations of contemporary river life and childhood memories of the bustling Teochew Street area, where the station now stands.

These include the arrival of early migrants in the 19th century, the bustling activity of tongkangs navigating the river, the architectural landscape surrounding it, and the street celebrations by its banks.

[37] The silkscreened mural was originally rendered in ink on rice paper before being transferred onto vitreous enamel panels in the United Kingdom.

Mirroring the river's ever-changing hues with the weather, the colours in the brass work from "dominant reds" to "striking greens", accented with traces of gold on aquamarine.

He further explained that the more abstract nature of the brass mural could "open up a wider space for imagination" through the work's changing colours, movement, and rhythm.

[37] He applied brushstrokes to the brass sheets before immersing them in a chemical bath, resulting in an etched effect with ageing acid-tinged patches that transitioned from turquoise to green, orange, and dark brown.