New York
The Disaster to Come: New York’s Next Superstorm
This is what rain can do in New York City.
In July, Jessica Louise Dye was on the subway when she recorded a video of a “cascading wall of water coming at us.” Scenes like these are becoming more and more common. They also hint at what’s to come.
The next hurricane could inundate the city in a far worse way than Superstorm Sandy in 2012, according to new projections. Much of that increase has to do with extreme rain.
The largest city in the country is mostly a cluster of islands. Its inlets and rivers rise and fall with the tides.
Sandy produced a deadly storm surge, and in 2021, the remnants of Hurricane Ida introduced the damage of extreme rainfall. The next hurricane could bring both.
It would not have to be a major one. A weaker hurricane, dumping sheets of rain and moving in a northwest direction from the ocean, would wreak havoc, experts said.
First Street, a climate risk group in Manhattan, created a model of the damage a storm on such a track could have. In this example, a Category 1 hurricane would make landfall in New Jersey at high tide like Sandy, amid rainfall of four inches per hour — one of the more extreme scenarios.
The results showed a 16-foot storm surge, two feet higher than Sandy’s, which when combined with a torrential downpour, could put 25 percent of the city under water.
Today, such a storm is not impossible. It could happen about once every century, said Jeremy Porter, who leads the group’s climate implications research. “But it will become more normal with the changing climate,” Dr. Porter said.
Some of Manhattan’s most iconic spots would be submerged. Downtown, that would include parts of Chinatown, SoHo and the financial district.
In the Bronx, Yankee Stadium would be nearly surrounded by water, up to 11 feet in places.
Highways that hug Manhattan would see up to 10 feet of flooding, while farther north, a part of the Cross Bronx Expressway that dips before an underpass could be submerged up to 47 feet.
But Manhattan and the Bronx would largely fare better than the boroughs that border the ocean. Brooklyn, Staten Island and Queens, with miles of low-lying neighborhoods and dire drainage problems, would bear the brunt – over 80 percent – of the flooding.
Property damage across the city could exceed $20 billion, twice as much as Sandy caused, according to First Street.
Here are some of the neighborhoods, starting inland and moving toward the coast, that would see the worst of the destruction.
Bedford-Stuyvesant, Brooklyn, could see as much as 11 feet of stormwater.
A large hilly ridge cuts through the middle of Staten Island, Brooklyn and Queens. Its natural elevation provides some of the city’s most spectacular views.
Bedford-Stuyvesant, in Central Brooklyn and north of the moraine, could see as much as 11 feet of stormwater, including along tree-lined streets with brownstones worth millions. Ground-floor apartments that can rent for as much as $4,000 would fill up like cisterns.
South of the moraine, East Flatbush could see nearly eight feet of water.
Four years ago, rains from Ida flooded the streets here.
“Water was gushing in from everywhere,” said Renée Phillips, 62, a 50-year resident. “That storm was something I’d never seen in my lifetime,” Ms. Phillips said. “And I hope and I pray that I never see it again.”
This October, Ms. Phillips’s street flooded again. Her 39-year-old neighbor drowned in his basement apartment. Ms. Phillips outside her home. Though she rents out apartments on the first floor, maintaining them is difficult because of water damage.
Based on First Street estimates, her house could face up to six feet of flooding in the next storm.
After Ida, Ms. Phillips escaped by wading through her flooded street while carrying two dogs and a cat. Her waterlogged property grew mold and the first floor had to be gutted.
She did not have flood insurance because she did not live in a designated flood zone. Ms. Phillips took out a loan for $89,000 to replace her boiler and fix the first floor. She was just beginning to consider repairs on the rest of her property when the deluge this fall set her back again. The boiler she had installed after Ida was destroyed, leaving her without heat.
“I’m distraught,” said Ms. Phillips, who was grieving her next door neighbor, and panicked about her finances.
“I feel like I have no control over the situation,” she said.
Kissena Park, a residential neighborhood in East Flushing, Queens, could get over 19 feet of storm water.
Ida flooded basement and first-floor homes here, killing three people.
Three years later, in 2024, at a community meeting, Rohit Aggarwala, the city’s climate chief and the commissioner of the Department of Environmental Protection, explained the reasons to residents.
“The area is a bowl,” he said. Kissena Park also was built over waterways and wetlands, he added.
But there was a third factor, Mr. Aggarwala said: A major sewer artery was there, responsible for 20 percent of storm and wastewater in Queens. When the sewer got overwhelmed, it created a bottleneck in Kissena Park.
All of these forces were at work during Ida.
Michael Ferraro, 32, who works in information technology, was returning from moving his car to higher ground, when he discovered that his street had turned into a raging river.
“I tried to swim, but the currents were taking me down,” he said, explaining that grabbing onto a fence saved his life.
Michael Ferraro’s home was inundated during Ida. His neighborhood flooded again this fall.
Based on First Street estimates, his house could be completely submerged during the future storm they projected.
Upsizing the sewer for Kissena Park would cost billions and take decades, according to the city’s Department of Environmental Protection.
Hamilton Beach, just west of Kennedy Airport, was built over coastal wetlands. The neighborhood could see up to nine feet of flooding.
Southeast Queens was once mostly salt marsh, which provided crucial protection against flooding. But over the years, city leaders filled the marshes in to build neighborhoods, highways and Kennedy Airport.
The water frequently returns.
In Hamilton Beach, when the tide is higher than usual, water pours into the neighborhood from a nearby basin and up through the sewers.
This August, on a clear evening, it flooded again. Some residents moved their cars to higher ground. Others, walking home from work, borrowed plastic bags from neighbors to wrap around their shoes. Sump pumps wheezed, and garbage bags floated through the streets.
Roger Gendron, 63, a retired truck driver and neighborhood flood-watch leader, took it in from his second-floor porch. “A storm that is hundreds of miles off the coast is doing this,” he said. “Just imagine what a direct hit would do.”
In August, tidal flooding, a regular occurrence in Hamilton Beach, forced residents to roll up their pants and move their cars.
Roger Gendron at his house in Hamilton Beach. Water could rise to his second-floor porch in a storm, according to First Street projections.
Hamilton Beach and other areas surrounding Jamaica Bay, the largest wetland in New York City, are prone to compound flooding, when heavy rain and coastal flooding combine.
The Department of Environmental Protection, which oversees the city’s water systems, has a 50-year plan to build out such a network. It is 10 years in and has spent over $1.5 billion so far. The work includes a major sewer expansion north of Kennedy Airport.
“If the airport were still a wetland, we wouldn’t have to build a gigantic sewer under the highway,” said Mr. Aggarwala, the head of the department, on a recent tour of the work site.
In 40 years, once the entire system for southeast Queens is complete, the pipes here and in other parts of the network will be able to transport over one billion gallons of storm water to the bay.
And this is just one corner of the city. It will take at least 30 years and about $30 billion to improve the parts of the sewer system that are the most vulnerable to storm water, Mr. Aggarwala said.
Throughout New York, city leaders are reckoning with decisions that were made some 100 years ago to build infrastructure on wetlands.
“The work is endless,” said Jamie Torres-Springer, president of construction and development for the Metropolitan Transportation Authority, during a recent tour of a subway yard.
The 30-acre subway yard in the eastern Bronx — the city’s third largest — was built over a salt marsh, where a tidal creek used to flow. Of the transit system’s 24 subway yards, which maintain and store thousands of train cars, 13 are vulnerable to storm surge.
The city’s two biggest yards now have flood walls, drainage improvements and other protections. Work on the eastern Bronx yard is scheduled for next year.
In Brooklyn, Coney Island would be under up to six feet of water, with bridges and roads washed out.
Sandy devastated the Brooklyn peninsula.
“We’re afraid every day that it’s going to happen again,” said Pamela Pettyjohn. During the superstorm, a sinkhole opened under her home.
She and other residents are concerned that the new developments, some of which include higher sidewalks and elevated bases that encourage water to flow under, around or through them, could worsen flooding in lower-lying areas, while taxing an already-overburdened sewer system.
And, with few ways on and off the peninsula, the addition of thousands of residents here could make a hurricane evacuation even more perilous.
Pamela Pettyjohn placed a flood barrier outside her home before a storm this summer.
Her house could face nearly six feet of flooding.
After Sandy, Ms. Pettyjohn, a retiree, spent her savings rebuilding her home. She is living without heat because salt water from the storm slowly rusted out her boiler. The soaring cost of flood insurance keeps her from buying a new one, she said.
During Sandy, many bungalows in Midland Beach flooded, and they have since been repaired and put up for sale. Some are so inexpensive that New Yorkers can own them outright. Two neighboring bungalows, for example, are on sale as a package deal for $325,000, in a city where the median price for one home is about $800,000.
Without a mortgage, though, there is no mandate to buy flood insurance. Some homeowners could lose everything in the next hurricane.
“People are still deniers here,” Mr. Tirone said. They will continue to snatch up real estate deals in flood zones, he continued, until the government dictates to them otherwise.
He added: “The question is, ‘What’s that going to take?’ ”
Methodology
The 3-D base map in this article uses Google’s Photorealistic 3D Tiles, which draw from the following sources to create the tiles: Google; Data SIO; National Oceanic and Atmospheric Administration; U.S. Navy; National Geospatial-Intelligence Agency; General Bathymetric Chart of the Oceans; Landsat / Copernicus; International Bathymetric Chart of the Arctic Ocean; Vexcel Imaging US, Inc.
Times journalists consulted the following experts: Phil Klotzbach, Colorado State University; Paul Gallay, Klaus Jacob, Jacqueline Klopp and Adam Sobel, Columbia University; Franco Montalto, Drexel University; Amal Elawady, Florida International University; Ali Sarhadi, Georgia Institute of Technology; Kerry Emanuel, Massachusetts Institute of Technology; Lucy Royte and Eric W. Sanderson, New York Botanical Garden; Zachary Iscol, New York City Emergency Management; Andrea Silverman, New York University; Fran Fuselli, Northwest Bronx Community and Clergy Coalition; Bernice Rosenzweig, Sarah Lawrence College; Brett Branco and Deborah Alves, Science and Resilience Institute at Jamaica Bay, Brooklyn College; Philip Orton, Stevens Institute of Technology; Jorge González-Cruz, University at Albany, SUNY; Stephen Pekar and Kara Murphy Schlichting, Queens College, CUNY; Tyler Taba, Waterfront Alliance.
New York
How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn
Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.
“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”
Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”
He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.
New York
How a Museum Security Guard and Artist Lives on $51,000 in Parkchester
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?
Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.
Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.
“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”
Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.
“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.
A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.
Love at First Sight (With New York)
As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.
A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.
“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”
The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.
“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”
A Slower Pace
Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.
The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.
The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.
He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.
The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.
Splurging on Plants and Experimental Harsh Noise Records
Mr. Compton may not have any children, but he is a proud “plant dad.”
His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.
When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.
A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.
On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.
When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.
His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.
“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.
Looking Ahead
Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.
Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.
Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.
“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”
We are talking to New Yorkers about how they spend, splurge and save.
New York
10-Minute Challenge: The Ceiling at Grand Central
You made it time. If you want to look a little longer, just scroll back up and press “Continue.”
Look up.
Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.
Look up to see the stars.
One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:
The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.
Who says there isn’t magic in Midtown?
The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:
But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:
Here’s Taurus, the bull:
A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).
Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.
Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”
Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”
How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.
Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.
“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”
The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.
Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.
But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.
“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.
For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”
Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.
“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”
The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.
Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.
Take what you want. Take what you need.
***
By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:
The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.
See you there.
How we took the photograph
To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.
This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.
Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.
-
Austin, TX2 minutes agoMan shot and killed by police after pointing gun at people in Austin, Texas
-
Alabama9 minutes agoAlabama has Talent returns with local connection
-
Alaska12 minutes agoAlaska Sports Scoreboard: July 11, 2026
-
Arizona17 minutes agoCardinals Mailbag: Latest on Jacoby Brissett, Carson Beck, and Arizona’s QB Future
-
Arkansas24 minutes agoArkansas tips its hat to blues pioneer Larry “Totsie” Davis in England dedication
-
California27 minutes ago‘Explosive diarrhea’ parasite surfaces in California as health officials fear statewide surge
-
Colorado32 minutes agoThis Quiet Colorado Town Is An Underrated Gem For Nature Lovers
-
Connecticut39 minutes agoCar catches fire in Trumbull