New York
New York’s BQE Is Falling Apart. The City Can’t Agree on How to Fix It.
The triple cantilever runs along the edge of Brooklyn Heights, a wealthy and politically connected neighborhood. It stands as a symbol of resistance to Robert Moses, the power broker who rammed highways through communities.
When Mr. Moses tried that approach here in the 1940s, Brooklyn Heights residents pushed back, and Mr. Moses rerouted the Brooklyn-Queens Expressway around them.
At the top sits the Brooklyn Heights Promenade, a cherished landmark with skyline views where generations of New Yorkers have come for their first date.
Below, two levels of traffic jut out like drawers pulled from a dresser. The highway is the main artery between Brooklyn and Queens, and it is part of Interstate 278, the only road that connects New York’s five boroughs.
The cantilever, which opened in 1954, was designed to be used for 50 years. The risks only go up as it continues to deteriorate year after year, even as its life span has been extended with interim measures. While city officials and transportation engineers say imminent collapse is not a threat, other catastrophes could still strike, like concrete falling off and hitting vehicles.
Since 2018, two New York City mayors — Bill de Blasio and Eric Adams — have announced that they would fix this vital artery. But both administrations were unprepared for the ferocious community opposition to their ideas on how to proceed. Both struggled to build any consensus at all as local residents countered with their own ideas. The endless back and forth led to more delays and inertia.
The standoff over the B.Q.E. has become, more broadly, a symbol of the power that local communities wield over critical infrastructure projects around the nation.
Though community opposition is hardly new, it is thriving today as residents have become more nimble and sophisticated at influencing projects, or halting them entirely. They strategize about just who to target with their ads and protests, assemble technical experts and consultants to argue on their behalf, and extend their reach with email blasts, online petitions and social media.
In Los Angeles, a plan to widen the 710 Freeway, one of the nation’s busiest freight corridors, was canceled in 2022 amid community opposition. A major street improvement project in Detroit was paused last summer, in part over the public’s concerns about its design, while state officials took another approach. And a Buffalo project championed by New York Gov. Kathy Hochul to reconnect communities divided by a highway stalled recently after a state court ruled in favor of critics.
This community pushback is often characterized as NIMBYism — the “not in my backyard” impediment to change — but the reality is more nuanced. Many Brooklyn residents say they are not against improving the B.Q.E., and, in fact, are fighting for a better future with less traffic and more space for people.
But now, time is running out for the triple cantilever.
A highway in decay
The cantilever structure anchors a 1.5-mile stretch from Atlantic Avenue to Sands Street that is owned by the city. The rest of the 16-mile highway belongs to the state.
Even before the latest effort, state transportation officials had sought to rehabilitate the cantilever section in 2006. They dropped the project in 2011, citing fiscal concerns and other priorities. That left the problem to the city.
The triple cantilever was increasingly flagged for potential safety hazards, said Bojidar Yanev, a former city transportation official who oversaw inspections from 1989 to 2018. “The structure was unraveling,” he said.
Since at least 1996, the city has fastened metal mesh sheets to the underside of the roadway, particularly below joints, as a stop-gap measure to hold crumbling concrete in place and prevent accidents.
The growing areas protected by the mesh sheets became the most visible sign of the triple cantilever’s decay. It was not easy to inspect the internal structure, which was enclosed in concrete like a catacomb, Dr. Yanev said.
Inspectors cut openings into the walls of the cantilever in 2016, finding that water and road salt had penetrated the structure at the joints. This caused the steel rebars in the concrete to corrode and expand, forcing chunks of concrete to fall off. Without major structural intervention, this degradation progressively weakens the triple cantilever’s strength.
In September, Times reporters captured video of the undersides of the triple cantilever to understand the structure’s current state.
Analysis of the footage revealed hundreds of steel mesh sheets placed along the structure’s undersides, including at the cantilever’s deteriorated joints, to hold the concrete in place.
City officials say the triple cantilever is safe until at least 2029, with current protective measures. They closely monitor the structure and have taken steps to stabilize it, including making repairs and installing sensors to ticket overweight trucks. After that time, the city may have to further restrict traffic to reduce weight on the cantilever.
First wave of ideas
Mayor de Blasio’s administration presented two options in 2018 to rebuild the cantilever, touching off the fiercest battle over the B.Q.E. since it was built.
Polly Trottenberg, then the city transportation commissioner, told residents in Brooklyn at the time that “none of the options are going to be very lovable, and that’s the challenge we face.”
One option would rebuild the highway lane by lane and reroute traffic around the construction. The more controversial proposal, favored by the city, would erect a temporary six-lane highway over the promenade while the lower decks were rebuilt.
Both options would mean losing access to the promenade for years, but the temporary highway would also bring traffic, noise and pollution right to the doors of Brooklyn Heights.
City’s idea: Temporary highway
Furious residents rallied to save the promenade. They raised tens of thousands of dollars to fund their campaign, hired public relations and lobbying consultants, and started a petition that garnered more than 70,000 signatures.
Of course, the promenade itself was born from an earlier fight with Mr. Moses. In 1942, the Brooklyn Eagle newspaper learned that a new highway could cut through the neighborhood and warned: “Plan for Express Highway Through Heights Is Shocking.”
Residents demanded that it be pushed toward the industrial waterfront and suggested building a “double-decker highway” to take up a smaller footprint, and a roof to cover the noise and fumes — which became the promenade.
Mr. Moses later wrote that “the two shelves of the cantilevers carrying commercial traffic and the overhanging cantilever roof for the promenade and park were designed for the greatest benefit to the Heights.”
This time, many Brooklyn residents, as well as architects and urban planners, looked to places like San Francisco, Seattle and Rochester, N.Y., that have torn down or repurposed highways to reconnect neighbors and create more housing, parks and transit.
Two alternatives to the city’s ideas illustrate how Brooklyn residents see this as an opportunity to make radical changes that would benefit their neighborhoods and the city.
Mark R. Baker, a lawyer, businessman and parks activist, proposed in 2019 to move all the traffic to street level and enclose it in a ventilated tunnel. The cantilever would become a three-level park, called the “Tri-Line,” similar to Manhattan’s High Line.
“We had to protect the promenade, which is one of the most spectacular open spaces in New York City or the world, really,” Mr. Baker said.
Alternative idea: The ‘Tri-Line’
Roy Sloane, a graphic artist and advertising executive, advocated for his earlier idea from 2010 for a tunnel, which would help divert traffic away from the cantilever section.
The “Cross Downtown Brooklyn Tunnel” — which would become the new alignment for Interstate 278 — would alleviate the traffic and pollution that spills off the B.Q.E. onto streets in the area. The triple cantilever could then be rehabilitated for cars and light trucks going between neighborhoods, and, with less traffic, nearby sections of the highway could also be turned into boulevards.
“Through traffic is the issue for the residential neighborhoods that are parallel to the B.Q.E.,” Mr. Sloane said.
Alternative idea: The tunnel
Other notable concepts included one by Bjarke Ingels Group to transform the triple cantilever into “BQ-Park,” a grander version of Mr. Baker’s Tri-Line. The City Council, working with Arup, an engineering firm, floated an idea to demolish the triple cantilever and replace it with a three-mile bypass tunnel.
After hearing from residents, Scott Stringer, then the city comptroller in 2019, jumped in with a proposal to limit the cantilever to trucks, while adding bus and bike lanes and a park.
City officials promised to consider all these ideas. Mr. de Blasio, a former Brooklyn councilman with deep ties to the borough, convened a panel of experts to study the B.Q.E.
The panel reported in January 2020 that the cantilever was in worse shape than believed and called for safety measures, including removing two of the six traffic lanes to reduce vehicle weight.
Carlo A. Scissura, who led the panel, said the city was not ready to choose among the various concepts without more comprehensive engineering studies. “It would have just been like, ‘Oh, this looks beautiful, let’s just do it,’ ” he said.
When the coronavirus gripped New York in March 2020, resources shifted to the health crisis, and the momentum to fix the B.Q.E. was lost.
Shortly before leaving office, Mr. de Blasio said the city would postpone a permanent solution and instead spend more than $500 million to shore up the B.Q.E. for 20 years.
Second wave of ideas
After Mr. Adams became mayor in 2022, he decided the B.Q.E. could no longer wait. He hoped to tap into federal infrastructure funds unlocked by the Biden administration and start construction within five years.
Mr. Adams had opposed the city’s temporary highway idea in 2019 as Brooklyn borough president. And his new administration presented three new concepts — “The Stoop,” “The Terraces” and “The Lookout” — that shifted the focus to open space.
The Stoop grew out of community interest in BQ-Park, the idea proposed by Bjarke Ingels Group in 2019. City officials hired the firm to help pressure test BQ-Park, only to find that it could not be built because of infrastructure constraints. The Stoop was developed as an alternative concept, but was later shelved amid criticism from residents about the design.
City’s idea: The Stoop
Vishaan Chakrabarti, an architect and urbanist, said that many of the visions for the B.Q.E. did not fully consider engineering and cost constraints. “Communities get enamoured with ideas that aren’t viable, and then they start thinking worse of the ideas that are viable,” he said.
City officials said the B.Q.E. was an important economic artery, and that without it, trucks would jam nearby streets. They tried to strike a balance between a safe, modern highway and quality-of-life concerns, they said.
Since 2022, they have held 30 public meetings about the B.Q.E. In response to feedback, they committed to a plan that would not impact the promenade or Brooklyn Bridge Park, or require taking private property. They helped secure a $5.6 million federal grant to improve neighborhoods along the state-owned sections.
Still, many Brooklyn residents complained about a lack of transparency. They said many of their questions were not fully answered and their suggestions went nowhere.
As public discussion evolved over the years, three broad groups of stakeholders emerged: neighbors, dreamers and pragmatists.
The neighbors saw an opportunity to improve public transit and to reduce the impact of traffic on their health, safety and climate. The dreamers went further and envisioned tearing down the highway for more housing, businesses and parks, and shifting to more sustainable ways to move people and freight. The pragmatists focused on maintaining a vital traffic corridor that would still be needed in the future and fixing a cantilever that had become a safety hazard as soon as possible.
A leading voice of the neighbors was Lara Birnback, the executive director of the Brooklyn Heights Association, who said the city should develop “a more holistic, forward-thinking solution.” The association, which is part of the Brooklyn-Queens Expressway-Environmental Justice Coalition, has called for a corridorwide plan.
“Our perspective at this point is, let’s not spend billions and billions of dollars cementing the status quo, no pun intended, by shoring up the cantilever for 100 years,” Ms. Birnback said.
In the dreamer camp was the Institute for Public Architecture, which highlighted the harmful legacy of the B.Q.E. through community meetings, an oral history project and a documentary by Adam Paul Susaneck, an urban planner. The dreamers asked: What would a future without the B.Q.E. look like?
Antonio Reynoso, the Brooklyn borough president, said he saw a future with more freight moving on the waterways and less reliance on polluting highways like the B.Q.E. He told city transportation officials that he would like them to explore the option of tearing down the cantilever. But he said that option was never presented in community meetings.
Pragmatists like Samuel I. Schwartz, a former chief engineer for the city Transportation Department who established a transportation research program at Hunter College, urged city officials to immediately fix the cantilever and leave amenities like parks to be added later. He pointed to the Williamsburg Bridge as a cautionary lesson. In April 1988, it was shut down for more than a month after decades of neglect, causing widespread chaos.
“There should be urgency,” he said, “because something is going to happen if nothing is done.”
Third wave of ideas
Many New York projects have run into opposition, like the $10 billion plan to replace the Port Authority Bus Terminal that was substantially revised last year with community input. “Community opposition is a way of life,” Mr. Schwartz said. “It doesn’t mean we stop.”
But the B.Q.E. has often seemed adrift, without a strong champion at the helm to build consensus. Communities have a right to speak out, and “the job of government is to hear the voices and then whittle it down into something that works,” Mr. Stringer said.
Brooklyn Councilman Lincoln Restler said the Adams administration has seemed more interested in checking a box than really collaborating with the community. Any plan for the B.Q.E., he added, faces multiple layers of government review and approvals and will require community support to move forward. “We’ve got a long way to go,” he said.
In 2024, the Adams administration presented another concept for the B.Q.E. — the city’s third attempt — this time emphasizing an engineering solution: a two-level, stacked highway that would be supported on both sides.
City’s idea: Stacked highway
Marc Wouters, an architect and urban planner, countered with yet another idea. In 2019, he had partnered with the Brooklyn Heights Association on a plan to protect the promenade. Since then, he has spent thousands of hours working on his own to take field measurements, build 3-D models and test engineering scenarios.
The result is the “Streamline” plan, which would be quicker to build, cost less than other options, and have minimal impact on the promenade and surrounding area, Mr. Wouters said. It would move all traffic to an expanded bottom deck and repurpose the upper deck for bike lanes and a park.
“I’m hoping that it advances because it does seem to check a lot of boxes off for the community,” he said.
Alternative idea: Streamline plan
Last month, Mayor Adams urged Transportation Secretary Sean Duffy to start the environmental review process for the B.Q.E., which would consider a range of plans and allow construction to begin in 2029. “After a fix for the B.Q.E. languished for decades, the Adams administration advanced this project further than ever before to build a safe, resilient highway,” said Anna Correa, a spokeswoman for Mr. Adams, this week.
But a new mayor, Zohran Mamdani, will take over in January and may have his own ideas. Mr. Mamdani knows that protecting the safety and stability of the B.Q.E. is “an urgent priority for the city,” said his spokeswoman, Dora Pekec. “After years of patchwork fixes that have only offered temporary fixes, the Mamdani administration will work to deliver a permanent solution for the city-owned sections of the B.Q.E. that both meets community needs and preserves this essential transportation corridor,” she said.
That will not be a quick or easy process. Big hurdles remain, including how to pay for the project. It was passed over for federal funding in 2024 and could cost up to $5 billion, depending on the plan chosen.
“I think the B.Q.E. has just bedeviled and frustrated everybody who’s ever driven on it, looked at it, and worked on it — it’s like a curse,” Ms. Birnback said.
Note: The ideas illustrated in the story are schematic interpretations by The New York Times, based on the original proposals.
Video at the top of this article by Todd Heisler. Additional work by Nico Chilla.
New York
How a Writer and Literary Agent Lives on $48,000 in Riverdale
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Ask Lori Perkins what was the biggest bargain she ever scored and her life story comes pouring out. The Advanced Placement classes she took at a public high school, Bronx Science, helped her do four years of N.Y.U. in three. She bought her first apartment with money from a buyout she negotiated with a landlord. Got a break on her wedding from a hotel banquet director who was about to retire and a deal on her divorce for landing her lawyer a book contract.
“Every big thing in my life has been a bargain,” Ms. Perkins said last month as she stood in her apartment high above the Hudson River surrounded by the fruits of a lifetime of haggling.
The Herman Miller Noguchi glass coffee table? An invisibly chipped floor model for $700. To save the $700 delivery fee, she and a friend drove up to Westchester, wrapped it in a blanket and rolled it home “like Lucy and Ethel through the hallway.” The fox fur coat hanging over the chair? $20 new at a vintage shop. “When I looked it up, it was a $575 coat.”
The co-op apartment itself — three bedrooms on the 18th floor of a building on a hilltop in Riverdale in the Bronx — was a foreclosure special: $125,000 in 1992.
It is the apartment of someone who has lived — who is living — a full existence. A sign on the bright orange wall in the kitchen says “A clean house is the sign of a wasted life.” Shelves in every room groan beneath the weight of thousands of books.
Setbacks and Silver Linings
As a literary agent, Ms. Perkins, 66, has sold some 3,000 titles, including seven best-sellers — perhaps you’ve read Jenna Jameson’s memoir “How to Make Love Like a Porn Star.” She runs a publishing house, Riverdale Avenue Books, specializing in L.G.B.T.Q. erotica. She edited the zombie bodice-ripper anthology “Hungry for Your Love” and has written or co-written nine books herself, including a pair of paperbacks, “Two Dukes and a Lady” and “Two Dukes Are Better Than One,” that birthed a hybrid genre she calls “duke ménage.”
In the last few years, she’s endured some setbacks, but each one has had a silver lining. Burning through her 401(k) — over $100,000 — to pay for her late mother’s dementia care let Ms. Perkins qualify for Medicaid so that when she got breast cancer early in the pandemic all her expenses were covered. Her treatment at Mount Sinai led her to teach journaling to breast cancer survivors, which led to a grant from the Bronx Council on the Arts to teach at her local senior center, where she has discovered a whole community.
The aftereffects of cancer, coupled with a plunge in her publishing house’s overseas sales, which she attributes to Trump-fueled anti-American sentiment, forced her to downshift a couple of gears, take more time to enjoy things and embrace frugality as a lifestyle.
Here’s the state of her hustle, 2026: She’s getting $22,000 from Social Security, about $20,000 as an agent, a couple thousand for freelance writing and, hopefully, another couple for running writing workshops. She signs up for focus groups, “usually about being old,” and will squeeze about $1,000 out of that. And she has lined up a 10-day, $3,000 gig as a Board of Elections poll worker. All told, she’s looking at little under $50,000.
How to Afford the Day-to-Day
On the spending side, the monthly maintenance on her apartment is $2,000, though she’s looking to downsize and move to a lower floor, which she figures could cut her cost in half. “Somebody can call me and buy my apartment right now.” $750,000!
The maintenance includes use of the complex’s outdoor pool, but she rents a cabana with an umbrella for $500 a year “because I can’t go in the sun, after radiation,” she said.
Insurance on her aging Volkswagen Beetle is $1,900 a year. Her annual pilgrimage to Maine costs about $1,200. Most of the rest is day-to-day stuff. Groceries are maybe $200 a month. “I go to Stew Leonard’s where they have dollar beers,” she said.
She allots $250 a month for entertainment, including meals out. She gets the $10 lunch special to go at the local Chinese restaurant and heats it up for dinner. She never misses Restaurant Week.
She does $5 movie Tuesdays at the Showcase Cinema in Yonkers, $4.50 for Broadway tickets through Club Free Time, an online publication. She re-ups her Hulu and Disney+ subscriptions on Black Friday, when they’re $1.99 or $2.99 a month. She’s going to see Bruce Springsteen at Madison Square Garden on Saturday and the tickets were $130, “so that’s most of my budget for May, but it’s worth it.”
What about museums? Dollar admission at the Metropolitan Museum of Art and the Cloisters for city residents, free Fridays at the Whitney, pay-what-you wish hours at the Guggenheim. “I used to be a member of all of them, and if I ever had more money I would go back to being a member, but right now I’m taking advantage of their generosity,” Ms. Perkins said.
Her wardrobe budget is minimalist like her fashion. “If it’s winter, I’m wearing black pants and a black shirt. And if it’s summer, I’m wearing a black dress.”
Even her splurges have been bargains. The cruise she took in Italy, using money she had saved by taking the toll-free Broadway Bridge instead of the Henry Hudson Bridge when she drove to Manhattan, was effectively free after she won $1,000 gambling on board.
The Middle Class Fantasy
“I really believe you can do almost anything if you research and plan,” Ms. Perkins said. “It’s the spontaneity that’s hard. And we as Americans are really spoiled.”
Looking back on her journey, Ms. Perkins has reached some conclusions that surprised her.
“Cancer saved my life,” she said. “The life that I was leading was exhausting because I was trying so hard to keep up with this fantasy of middle-classness.”
Now, she said, “I don’t care if I’m wearing last year’s shoes, I don’t need to go out every night to a Michelin-starred restaurant, because I go two times a year, and you know what, when you save up for it, it’s more joyful. Every single thing. Every little joy is a bigger joy. I can’t explain it. I took so much for granted when I had more money.”
Did she mention she’s working on another book?
“It’s called ‘La Vida Broka: How to Live Richly When You’re Dirt Poor,’” Ms. Perkins said. “Just buy the book, because it’s all going to be in there.”
We are talking to New Yorkers about how they spend, splurge and save.
New York
Maya Lin Connects Nature to a New Manhattan Skyscraper and Beyond
On a recent spring afternoon, the renowned artist and designer Maya Lin clambered up and down a rocky outcropping in Central Park in New York, undeterred by the crowd of tourists that was shooting photos nearby.
While they snapped selfies, she reflected on how this place — and similar geology near her childhood home in Athens, Ohio — had inspired her latest creation: the stone facade on the western walls of the 60-story JPMorgan Chase skyscraper in Midtown Manhattan. Estimated to have cost from $3 billion to $4 billion, and with glowing artwork at the summit visible citywide, it opened last fall and occupies the block between 47th and 48th Streets and Madison and Park Avenues.
Her project, “A Parallel Nature,” is a sculpture composed of two 59-foot-tall and 55-foot-wide gray stone walls set in an intricate design, with plants that peek out from the crevices. An array of flowers has been newly planted on the walls this spring.
Lin’s long career and passion for the environment made her a natural choice for the project.
Now 66, she began her career as a 21-year-old senior at Yale University when she won a competition to design the Vietnam Veterans Memorial, which was dedicated in 1982 in Washington, D.C. Among her many recent projects is the water fountain installation titled “Seeing Through the Universe” for the Obama Presidential Center in Chicago, set to open to the public next month.
Five of Lin’s works will also be on view at Pace Gallery’s booth at Frieze New York this week. There are pieces that call attention to bodies of water that are disappearing or that have already disappeared — Lake Chad in North Africa and the Aral Sea in Central Asia — along with a piece focused on the Antarctic Circle, and a new silver sculpture, “Silver Yellowstone,” that is inspired by the Yellowstone River, widely considered to be the longest free-flowing river in the lower 48 states.
In a recent series of interviews in her home office on Manhattan’s Upper East Side, at the JPMorgan Chase building and during the ramble through the rocky terrain near the lower eastern end of Central Park known as the “Dene,” a British term for a valley, Lin described the woods and rock cliffs she remembered from growing up in Ohio.
“Water would just subtly drip down the cliffs, and there would be ferns and grasses and things growing there,” she explained, adding, “I was definitely out there in nature almost daily, and very concerned about environmental issues.”
Central Park, which Lin explores regularly when she is in Manhattan, was its own inspiration. Her family also has a home in southwestern Colorado, where she hikes and bikes every summer.
In 2022, she and representatives of JPMorgan Chase and Tishman Speyer, the development manager of the new skyscraper, took a daylong walk through the park, looking for a rock formation that could serve as the model for “A Parallel Nature” and “bring a little bit of the character” of the park to the building, Lin said.
They initially failed to identify anything appropriate. Lin returned the next morning on her own and came across the Dene, which she had seen on previous walks through the park.
“When I first got a call to look at the building site, I realized that the subway would be running underneath it,” Lin explained. “And I saw an excavation photo of Grand Central Station that showed that its construction cut through Manhattan’s bedrock. And I just had an idea, ‘What if I could bring bedrock to the surface in the middle of Manhattan?’”
“What I am interested in is, quite literally, grounding you in what might be right below your feet that you might not be aware of,” she added.
Capturing the Dene on the exterior wall of the skyscraper, Lin explained, would enable her to express the character of an exposed stone outcropping in Manhattan, quite literally bringing bedrock to the surface, in a way that echoes the Dene in Central Park.
Lin identified a type of gray granite from Barre, Vt., for “A Parallel Nature” that she called a perfect match with the metamorphic rock known as gneissic schist on which the JPMorgan Chase skyscraper sits.
The 239 stone pieces mounted atop the artwork’s two walls were cut by the Quarra Stone Company, a Wisconsin-based stone fabricator that transported the stone on large, flatbed trucks from Vermont to Wisconsin and then to Manhattan. Lin called the installation of the walls on the facade of the skyscraper her most difficult commission yet.
“Trying to create something that would be a balance between natural and man-made was the aesthetic challenge,” she explained. “And to keep the artwork as a sculptural creation rather than an architectonic solution — also the engineering to fabricate and install — were intricate and extremely complex.”
The stonework on each wall is composed of over 100 pieces of granite, Lin said, “so by grouping 15 to 20 pieces together and ever so slightly tilting them, I was able to create larger groupings to help create what I call city states. These helped make each wall feel like it was comprised of larger plates.”
Each of the pieces is hung, in a puzzle-like formation, from a steel bracket system installed on a steel ladder frame system anchored to the concrete support wall on the lowest level of the building’s Madison Avenue facade.
At the foot of each wall is a streambed with waterworn rocks that came from near the headquarters of the Wisconsin fabricator, chosen to work well with the gray granite walls. Water gently flows in the beds, creating a burbling stream in the middle of Midtown traffic cacophony. Lin calls the stream “an unexpected natural moment in the busy city.”
There are also two sources of water on the walls themselves, meant to irrigate the plantings in the walls’ seams. One is a drip irrigation line installed behind what Lin calls “plant pockets,” holes 10 to 12 inches deep that range in length from 3 to 7 feet and that are designed to hold the artwork’s vegetation.
The second is a drip irrigation system that runs along the top of the rock walls. This gently drips continuous streams of water that find their way down and beneath the surface of the rock, nourishing the plantings in the crevices and ledges. The system is designed to encourage plant growth and to bring the sound of trickling water to the facade.
Lin is working with specialists on the plantings, including Blondie’s Treehouse, a Manhattan plant installer and supplier; Cecil Howell, a Brooklyn-based landscape architect who has worked with Lin on a number of recent environmental art installations; and Richard Hayden, the project’s consulting horticulturist, who is also the senior director of horticulture for the High Line, a public park built on a historic elevated rail line on Manhattan’s west side.
Though some plants were installed in late October, it was understood that since water would not be available until late fall, spring would be the ideal time for fresh planting.
Urban environments are tough on plants, Lin explained, calling the site’s horticulture “an experiment.” The horticulture team is trying more than 30 varieties of plants to see which ones thrive where, she said, adding that she expected the plants to be monitored and plantings adjusted quarterly.
Lin said she wanted “to create a predominantly native New York landscape reminiscent of what you might find naturally growing on rocks and within crevices in actual rock faces and ledges” to make visitors aware of the nature around them.
New plants growing this spring include maidenhair fern, Eastern red columbine, creeping phlox, Christmas fern and dwarf crested iris.
Just across from each of the artwork’s walls are a flower garden and native red maple trees, as well as long, sinuous concrete benches designed by Norman Foster, the skyscraper’s architect, all meant to create a sort of public park.
“A Parallel Nature,” as its name implies, “neither tries to perfectly recreate nature, nor feel architecturally fabricated,” Lin explained. “It is a work that makes ambiguous the line between the natural and the man-made.”
The sculpture is one of five works of public art commissioned for the new building by JPMorgan Chase — whose art collection was founded in 1959 by David Rockefeller, then executive vice president and vice chairman of Chase Manhattan Bank. The skyscraper’s other new works include that LED light work at the summit by Leo Villareal, whose art will also be on view at the Pace Gallery exhibit at Frieze; two paintings by Gerhard Richter in the building’s lobby; a 3-D printed, bronze column by Foster, also in the lobby; and a display of light and motion at the lobby’s elevator banks, driven by custom A.I. models by the Turkish artist Refik Anadol.
David Arena, head of global real estate for JPMorgan Chase, said the bank had deliberately lifted up both the Madison Avenue and Park Avenue bases of the new building 85 feet to create more outdoor space for pedestrians. “When passers-by step on the Madison Avenue curb,” he said, “they are awe-struck, think differently, have a moment of respite.”
“We thought it would be a great spot to make a gift to Manhattan and to people in the neighborhood who can come up, have a seat, enjoy a cup of coffee, enjoy some great art, maybe think differently,” he said.”
He also called Lin “one of the most accomplished modern-day artists, a strong enough talent to be a counterpoint to Norman Foster.”
Lin agrees with Arena’s predictions about the artwork. “Even though it can dialogue with the building in scale, it adds an unexpected, natural respite from the busy street life, offering a different feeling,” she said.
New York
‘She Studied Us for a Moment With Theatrical Longing’
Under Cover
Dear Diary:
On a false-spring afternoon, my boyfriend, Luis, and I went to the wine bar around the corner from my Williamsburg apartment. We were sitting at the bar having a private conversation when I asked Luis for the time.
“It’s 7:30,” a blonde woman beside us said before he could answer.
She turned toward us with the bright, urgent expression of someone who had already decided we were all having a drink together. She was drunk, her mascara intact, but only just.
“What do you guys do?” she asked.
I told her I was a first-year teacher in Queens. Luis said he would be graduating in the spring and was looking for a job in marketing.
She studied us for a moment with theatrical longing, and then she leaned in so far that her shoulder nearly touched mine.
“I have a secret,” she said, beaming. “You can’t tell anyone.”
We promised.
She glanced toward the open windows, then back at us.
“I have my second interview with the C.I.A. tomorrow,” she whispered.
Luis and I looked at each other.
“If anyone asks,” she added, “tell them I’m interviewing with the Culinary Institute of America.”
A few minutes later, we paid our check, wished her luck and promised not to tell a soul.
— David Reyes-Mastroianni
Moon Over Manhattan
Dear Diary:
I was walking out of Central Park on a cold February evening when a woman who couldn’t have been five feet tall approached me.
“Have you seen the moon?” she asked.
I tried to brush her off, but she repeated herself.
I turned to see the most brilliant full moon shining above the park. It stopped me in my tracks on a day when I had been in constant motion.
I turned to thank the woman, but she was gone. It was as if the moon herself had come down to demand attention and had left as soon as attention was paid.
— Rebecca Falcon
Wrapped Up
Dear Diary:
Late one night after I moved to Manhattan from the rural South in 1989, I was riding the No. 6 train home from my job at Mortimer’s when I sat down across from what appeared to be a man completely wrapped in a sheet and lying across several seats.
He was wrapped so tightly that there seemed to be no way he could have done it himself.
I couldn’t discern any movement. Not a breath. Not a sound. Did he need help? Was he dead? Was this performance art? What should I do?
No one else seemed to be paying any attention, but my agitation must have been visible, because finally, an impeccably dressed older woman wearing white gloves and a hat with a lace veil leaned toward me.
“I don’t think he wants to be disturbed,” she said.
— Brian McMaster
Pretty Peaches
Dear Diary:
I was walking down 79th Street when I heard a woman with a large, coral-colored cockatoo on her shoulder say: “Excuse me. Can you hold my bird?”
I looked around. Was she talking to me?
She huffed at my two seconds of confusion.
“Just put your arm out!” she said.
I did, and while this woman answered her phone, her imposing bird with claws as big as my hands hopped onto my wrist, then sidled up my arm and onto my shoulder.
She was heavier than I expected. Not quite like having a dog on my shoulder, but maybe a cat.
I wanted to look at her. It’s not every day you have a large bird sitting on you, but I was afraid that if I did, she might gouge out my eyeballs with her imposing beak.
I decided to fix my eyes on a nearby street sign and hope for the best. The bird told me her name was Peaches, that she was 7 years old and also that she was pretty.
My first thought was: Well, aren’t we a little full of ourselves? But then I caught myself. Good for you, Peaches, I thought. I wish I had your confidence.
I told Peaches I had an appointment and hoped her owner would get off the phone soon.
Then Peaches gripped my shoulder a little tighter with her claws and stretched the top of her body up and over my head so that I was wearing her like a pair of earmuffs.
“I love you,” she said.
We stayed in this magical bird hug for a minute or two before her owner whisked her off my shoulder with a halfhearted “Thanks” and hurried away.
Peaches turned her head 180 degrees, seemed to look at me longingly and disappeared into the day.
— Eileen Kelly
Out of Stock
Dear Diary:
It was a Saturday, and I was on Fifth Avenue and 14th Street. Two young women were walking and talking behind me.
“Is there anything you need at the market?” one said.
“The will to live,” the other replied.
I couldn’t help myself.
“I don’t think they sell that there,” I said.
We all laughed and kept going.
— Nancy Lane
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