New Amsterdam Market: reviving New York’s public market An automaker takes a creative approach

New Amsterdam Market: reviving New York's public market   An automaker takes a creative approach to renewable energy   O Christmas tree   Is "solutionism" getting us nowhere?   A global movement tours to south america forms to facilitate sharing   Brooklyn's tours to south america holiday markets bear green gifts   A tribute to Andrew H. Green: New York's forgotten visionary   Seeing like a tourist: Grand Central Terminal walking tour   MAS Summit: imagine a donut above Grand Central, and Park Ave with a park in the middle  
Public Installation Proposal Via archi­tects Ouida Bid­dle and Arnal­dur Geir Schram, the begin­ning of an ongo­ing inves­ti­ga­tion of ways to bring City Atlas to the street: PUBLIC INSTALLATION PROPOSAL FOR CITY ATLAS "The aim of design­ing a space for City Atlas is to raise pub­lic con­scious­ness tours to south america about new inno­va­tions hap­pen­ing in the city of New York. We want this space to be inspir­ing. tours to south america We want it [...]  
Micro Textile Lab One mini-grant tours to south america went to Laura San­sone, who has used it to make her Micro Tex­tile Lab — an inven­tion which she is now bring­ing to Green­mar­kets around the city. Laura uses the Micro Tex­tile Lab to teach peo­ple nat­ural dye­ing, spin­ning and weav­ing. You can fol­low Laura's progress in the accom­pa­ny­ing blog. ____ Orig­i­nal tours to south america pro­posal : [...]  
Field Lab One mini-grant went to Kaja Kühl, who has used it to develop her Field Lab, an edu­ca­tional biore­me­di­a­tion project at a com­mu­nity gar­den in the South Bronx. tours to south america You can fol­low the progress of Kaja's project on the accom­pa­ny­ing blog. Below is her orig­i­nal pro­posal for Field Lab. ____ A research and edu­ca­tion gar­den to clean up con­t­a­m­i­nated [...]     EVENTS
Is "solutionism" getting us nowhere? - It has become all-too-sexy to throw a few apps at a societal problem and hope that it goes away. But how do we make the jump from knowledge to real solutions?... More
A global movement forms to facilitate sharing - Inventive thinkers are developing the means to do 'more' in life, and do it more efficiently. Make more connections, be more productive, get better results, and do it in a framework that can enrich the future for succeeding generations. The key efficient step is sharing and collaboration.... More
Lo oking to enter­tain out of town friends or rel­a­tives this hol­i­day tours to south america sea­son? Take advan­tage of the oppor­tu­nity to act like a tourist in your own town and sign up for a walk­ing tour with the  Munic­i­pal Arts Soci­ety . The weekly Grand Cen­tral Ter­mi­nal walk­ing tour (every Wed, 12:30 – 2 pm), led by New York native Marty Shaw of  Man­hat­tan­Walks  , offers unique and enter­tain­ing insights into one of the city's his­tor­i­cal sights. It's free and worth the time.
Long­time New York­ers will remem­ber that Grand Cen­tral was not always as "grand" as it is today. Like many sites of mass trans­porta­tion, it strug­gled with the rise of auto­mo­biles after World War II . Bud­get cuts to stave off bank­ruptcy included elim­i­nat­ing all main­te­nance costs except for a once per week sweep­ing. When the Ter­mi­nal was restored in 1990s, the ceil­ing was cov­ered in dirt, entirely obscur­ing the paint­ings we see today. tours to south america When it was finally cleaned, an analy­sis of the ceil­ing grime revealed an 80 per­cent nico­tine con­tent, a rem­nant of bygone days when peo­ple smoked inside the ter­mi­nal. Today, a square of soot remains pre­served in the south­west cor­ner of the ceil­ing. It is vis­i­ble tours to south america from the ground if you fol­low tours to south america one of the gold bands all the way to cor­ner above Track 30.
His­toric traces per­sist through­out the build­ing, if you know where to look. On the oppo­site side of the ceil­ing, there is a small hole vis­i­ble just north of the east stair­case. In 1957, dur­ing the Sput­nik era, Pres­i­dent Eisen­hower sought to dis­play mil­i­tary might. The fed­eral gov­ern­ment dis­trib­uted Red­stone rock­ets to be pub­li­cally dis­played in squares tours to south america and cen­ters tours to south america through­out the coun­try. The rocket made for Grand Cen­tral was sent out in pieces and, when assem­bled, mea­sured 127 feet. The ter­mi­nal ceil­ing, how­ever, mea­sured 125 feet. To accom­mo­date the rocket, by anec­dote, a hole was cut in the ceil­ing. Accord­ing to Marty, they used to cover the hole with a "shmear of blue paint and plas­ter" but decided it was a good story and today it remains unobstructed.
[Ed. note — it does not appear that the rocket would have been tall enough to reach the ceil­ing. But it is a reminder that dur­ing the Cold War New York­ers under­stood them­selves to be on the front line. The Kodak bill­board on the left, occu­py­ing the space where the Apple store is now, says "The cam­era tours to south america records our power for peace."]
The preser­va­tion efforts tours to south america of the 1990s reflected decades of fight­ing to main­tain the mon­u­ment. In 1954, pro­pos­als by the New York Cen­tral Rail­road included tear­ing down the Ter­mi­nal, lead­ing to a law­suit. In 1975, the Supreme Court struck down the Terminal's land­mark sta­tus and preser­va­tion­ist mobi­lized quickly to save build­ing. Jaclyn Kennedy Onas­sis saw an arti­cle in the New York Times and lent her sup­port to the preser­va­tion com­mis­sion, of which she was named pres­i­dent on the spot. Their efforts were suc­cess­ful and are often sited as the first major vic­tory for his­toric preser­va­tion in NYC . Today, a plaque in Van­der­bilt hall com­mem­o­rates their efforts.
In addi­tion to its sig­nif­i­cance as a his­tor­i­cal land­mark and exam­ple of the Beaux-Arts style (a neo­clas­si­cal archi­tec­ture style), Grand Cen­tral Ter­mi­nal marks impor­tant moments in trans­porta­tion his­tory and the impact of trans­porta­tion on the way we design cities and build­ings. In 1902, a fatal acci­dent between two loco­mo­tives occurred because of the lack of light­ing and ven­ti­la­tion, and the pol­lu­tion tours to south america caused by steam loco­mo­tives then in use. Munic­i­pal author­i­ties gave the rail­road until 1910 to get rid of steam locomotives.
Head engi­neer William J. Wil­gus then spear­headed the nec­es­sary tech­no­log­i­cal inno­va­tions, includ­ing the elec­tric loco­mo­tive and tur­bine. The changes required financ­ing and Wil­gus came up with another ground­break­ing inno­va­tion, this time in pol­icy and eco­nom­ics. He pro­posed rent­ing the air space above the sur­round­ing tours to south america land. To this day, build­ings pay rent to rail­road for cubic feet of air space above rail­road land, coin­ing tours to south america the phrase "pulling money from air" and set­ting a prece­dent that con­tin­ues in urban devel­op­ment to this day.
Trans­porta­tion cen­ters tours to south america reflect not just design con­ven­tions and tech­no­log­i­cal inno­va­tions of their time, but also pro­duce and reflect the cul­tural and socioe­co­nomic con­texts from which they emerge. The famous stair­cases of the Main Con­course tell one such story. Known for the sump­tu­ous use of mar­ble, the Main Con­course tours to south america fea­tures tours to south america two stair­cases – the east and west. The west stair­case was part of the orig­i­nal build­ing though tours to south america the east stair­case appeared dur­ing a later expan­sion.  Besides loca­tion, the stair­cases bear sev­eral dis­tinc­tions. While the east stair­case is plain, the west fea­tures tours to south america handrail carv­ings of oak and acorn. The motif of oak and acorn repeats through­out the build­ing, includ­ing on the chan­de­liers. Cor­nelius Van­der­bilt, the Terminal's orig­i­nal financier, chose the design as his fam­ily crest because it rep­re­sented the rags to riches tale of a mid­dle class man becom­ing one of New York's most pow­er­ful and wealthy res­i­dents. A less obvi­ous dis­tinc­tion is that the east stair­case is one inch nar­rower tours to south america than the west. Design­ers claimed that when arche­ol­o­gists of the future dig up Grand Cen­tral Ter­mi­nal in 1000 years, they will know that the west stair­case was the orig­i­nal because tours to south america it is slightly wider. This prompted Shaw to announce, "tour guides don't make up sto­ries, you don't have to, because the truth is so stu­pid." A slightly less humor­ous dis­tinc­tion is that the orig­i­nal stair­case was built on the west side because that was the side wealthy trav­el­ers would use. At the time, the east side of Man­hat­tan hosted squat­ters, meat­pack­ing fac­to­ries, tours to south america and man­u­fac­tur­ers. In other words, not Grand Central's main cus­tomer base.
Trans­porta­tion cen­ters do so much more than get us from point A to point B– they pro­vide a cross-section of life and serve as com­mer­cial, social, and eco­nomic cen­ters. From host­ing tele­vi­sion broad­casts to ten­nis matches to hol­i­day shop­ping kiosks, Grand Cen­tral Ter­mi­nal remains a hub of NYC and a vibrant aspect of urban life.
The famous 125-foot-high ceil­ings of the Main Concourse–painted by French painter Paul Helleu in 1911–feature a view of the Mediter­ranean sky as it appears October-March. After the build­ing tours to south america opened, peo­ple real­ized that the over 2500 starscape was, in fact, back­wards. Offi­cials cov­ered the mis­take by claim­ing that it was inten­tional "so you can see what God sees when he looks down from heaven."
The Trans­porta­tion sculp­ture out­side of the Ter­mi­nal fea­tures Mer­cury, Min­erva, Her­cules who clus­ter tours to south america around a clock that is the largest piece of Tiffany glass in world. If you look closely, tours to south america you'll see that the roman numeral four is wrong, appear­ing as " IIII " rather than " IV ."
The Oys­ter Bar in the Din­ing Con­course is, accord­ing to Shaw, one of the worst places in the world to have an illicit affair. The ter­ra­cotta tours to south america tiles, arranged in a her­ring­bone pat­tern in arches, will carry sound across the room, even if you are whispering.
This entry was posted in Lifestyle , Uncategorized and tagged architecture , Cold War , Education , Grand Central Terminal , history , manhattan , municipal art society , transit , walking tour on December 7, 2012 by Megan McRobert .
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