Coney Island and the High Line are two locations where one can escape the busy urban life, yet still be in or near the city. In Delirious New York, Koolhaas describes Coney Island as a place once filled with “technology of the fantastic” with theme parks for entertainment and leisure (29). In “A Walk on the High Line,” Gopnik describes the High Line as a place “in which New York has returned to the wild with an almost Zen quality of measure, peaceful distance.” Likewise, in “Miracle above Manhattan,” Goldberger describes the High Line as “a rare New York situation in which a wonderful idea was not only realized but turned out better than anyone had imagined.”
However, during my first-time visits to both locations, I was a bit disappointed that the “studium view” of both locations did not reach my expectations as others described them. In Coney Island’s case, the entertainment value dissipated over time compared to the Coney Island Koolhaas described during the early to mid-20th century. In the High Line’s case, Gopnik and Goldbeger’s desc
riptions of the High Line were somewhat exaggerations compared to what I have observed.
For a Friday afternoon, Coney Island seemed like a ghost town. The amusement parks were closed or deserted. Closed-down arcades surrounded an empty arcade. More people were in Nathan’s than on the boardwalk and the beach. The activity didn’t even change much as I waited for sunset. However, the small details of Coney Island did impress me. I noticed the garbage cans throughout the boardwalk with words, “Do Not Litter,” or some variation painted on them. Some contained special messages, such as “Mama Loves Shanna” and “Ally <3 Lee,” and little child paintings of the ocean in the midst of the chipped paint and rust. I felt that the ocean was a cemetery for the names that were painted on the garb
age cans, filled with fading cries for a cleaner beach. I also noticed a sticker on a lamp post that said, “You were born original. Don’t be a copy,” as if Coney Island was speaking out to everyone. Coney Island was no longer seen as the “fetal Manhattan” as Koolhaas described, but instead it was its own kind in its entirety (30).
The next day I walked through the High Line on a cloudy afternoon. As mentioned in Goldberger’s “Miracle above Manhattan,” places transitioned around the High Line as if they were like “episodes.” For instance, the 10th Avenue Square was a theater-like complex with the city streets as an infinite stream of motion picture. Continue walking down south and one would then enter the sundeck, a tropical paradise-like section of the High Line. I admired the preserved use of the railroad tracks to echo of what it once used to be and to create an artificial coexistence of 
nature and industrial life with the trees and grasses growing over the tracks. Leisure on the High Line was limited though, from sitting on benches to relaxing on the sundeck. Despite the presence of the lawn around 23th Street, the space was not enough for recreational activities because many would either simply rest or sit on the grass. Jogging was even not an option with the constant congestion of crowds.
While visiting both sites, I noticed some striking similarities. Both attempted to create a tropical paradise-like atmosphere, whether it was the artificial palm trees on the Coney Island beach or the sundeck on the High Line. The murals around the Coney Island boardwalk and the abstract building structures around the High Line both reflected an a
rtistic taste in the societies nearby. Furthermore, the messages on the garbage cans in Coney Island and the concept of the High Line itself reflected society’s interest for preservation. Amazingly enough, both were locations of interest for wedding photos. In Coney Island, a couple, along with their family, took photos on the beach with the ocean and sunset as the backdrop. On the High Line, a couple took photos with the back of a church (around 21st Street) as a backdrop in the midst of people walking by.
Although I did mention that I was a bit disappointed of Coney Island and the High Line as a whole, I admired many of the small details. Will I consider revisiting those sites again? Of course. Who knows what I will see in my next visit?
Works Cited
Goldberger, Paul. “Miracle Above Manhattan.” National Geographic April 2011: 122-137. Print.
Gopnik, Adam. “A Walk on the High Line.” The New Yorker May 21, 2001: 44-49. Print.
Koolhaas, Rem. Delirious New York. New York: Monacelli Press, 1994. Print.
