Up in the Park

Iwan Baan
The new High Line between 19th Street and 20th Street, looking north, June 2009; photograph by Iwan Baan

The form a city assumes as it evolves over time owes more to large-scale works of civil engineering—what we now call infrastructure—than almost any other factor save topography. The collective imagination fixes on the most conspicuous symbols of urban identity: the grand architectural set pieces of political and religious authority that predominated until the last century, when spectacular high-rise monuments to financial might reshaped skylines around the world. But without the development of complex and often ingenious systems for providing increasing numbers of city dwellers with water, sanitation, transportation, energy, and communications, our unprecedented modern megalopolises could never have emerged.

With alarming frequency lately we have witnessed a series of American infrastructural disasters, including the collapse of a highway bridge linking Minneapolis and St. Paul; the explosion of underground steam ducts in midtown Manhattan; and inundations caused by failures of antiquated water mains, weakened dams, and inadequate levees, most catastrophically in New Orleans. Advocates of a comprehensive national initiative to repair or replace aging public works have stressed how such an undertaking would spur economic recovery. But whether it does so or not, the inescapable crisis of our crumbling infrastructure must be confronted, and sooner rather than later.

Another question that arises as cities mature is what to do with outmoded infrastructure. Many architectural preservationists were slow to concede the historical merit of utilitarian landmarks until the 1960s and 1970s. An unusual reclamation project from that period looms larger in hindsight: the land-scape architect Richard Haag’s Gas Works Park of 1970–1975 in Seattle, which recycled a defunct gasification plant into a new kind of public recreation space. Haag perceived the raw beauty of the lakeside site’s abandoned mechanical components—monolithic tanks, totemic gauges, Mondrianesque pipelines—and incorporated them into his scheme as found objects. Haag’s novel idea outraged traditionalists (not least the park’s principal benefactors, who refused to have it named after them), but to others the concept seemed reasonable at a time when artists like Mark di Suvero and Alexander Liberman were appropriating I-beams and drainage culverts for their monumental outdoor sculptures.

The case for the imaginative greening of “brownfields”—derelict industrial sites, in planners’ jargon—was tremendously advanced with the opening this June of the first segment of New York City’s High Line, a linear park superimposed on the eponymous long- defunct cargo railroad trestle that wends through nearly a mile and a half of Manhattan’s West Side from midtown to Greenwich Village.

The High Line was erected some thirty feet above street level, between 1929 and 1934, by the New York Central Railroad, to speed delivery of materials and foodstuffs directly to factories and processing plants, as part of New York City Parks Commissioner Robert Moses’s West Side Improvement Project (three decades before he conceived of a crosstown highway that…

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