Icons of NYC: Coney Island and The High Line

By Isuree Katugampala On September 25, 2011 · Leave a Comment · In Site Essay, Site Observations

It is New York City when vertical and horizontal lines dominate the landscape, when unrecognizable languages assault the ears, and when art is discreetly infused into the landscape. Coney Island and the High Line are both quintessentially New York, however they forge their own experience into the fabric of New York City.

The black, massive overhead railroad, at first glance, seems to introduce a more threatening aspect to the city, unnecessary with the underground subway system in place. Walking up to the top of the railroad, every preconceived notion is instantly destroyed. An innovative and inviting feature of New York City, the High Line, once threatened to be destroyed, creates a new space for visitors (Goldberger). The High Line is an urban park, the floorboards riddled with sprouts of different plants, cleverly reminding the viewer that however urban and architectural New York City gets, no one can ever remove nature from the area. Even the aroma of the plants confused the visitor as to where they actually were – the smells of the city perfectly covered. The scenes of the High Line nearly exhibit a forecast of what may happen if humans were to suddenly disappear from New York City. Like a set from Planet of the Apes, plants took over the urban landscape of the city; however this landscape was more controlled than if run by ape overlords. One interesting aspect of the High Line is the benches, which look like they are naturally growing out of the structure. The integration exposes the intentions of the designers of the High Line – to introduce a more innovative way of assimilating nature into urban life.

The buildings surround the abandoned line, finally granting the ordinary pedestrian a view of the roofs. Those walking on the High Line seemed always to look outward, toward the river or toward the views of the skyscrapers and littered streets. This reflects one of the purposes of the High Line’s creations – to present the city in a different way. There was something to love in the dark, ruin of the High Line; two heroes (who formed the Friends of the High Line) shared their vision of the saved treasure with the rest of the world (Goldberger). The city is at anyone’s reach while on the elevated line, but far away enough to allow the viewer to appreciate the architecture involved in it. Every part of the High Line is drawn with lines, horizontal, vertical, diagonal, just as the city is. It is clear that the neighborhood has influenced theHigh Line, the plants frame the buildings, highlighting the profiles of the buildings. In one portion of the High Line, a bleacher like system is constructed, leading to clear glass panels, showcasing the city as if it there were some sort of performance. The performance is clear, the spontaneous happenings of New York City (today it is a wedding right on top of the High Line).

Unlike the High Line, Coney Island is not one single entity – it is a vast, complex neighborhood – including an amusement park, an aquarium, and a stadium. Cutting through the parking lot, the activity of the neighborhood was apparent – many different basketball games taking place, loud music permeating through the air, and whistles blowing from all different directions. The walls of the stadium featured 9/11 memorials, listing the brave men and women that risked their lives. Walking further up the ramp, the beach comes to view as well as the iconic “Parachute Jump.” Like in Manhattan, to see the entirety of the structures on Coney Island, one must look up. The Wonder Wheel, Steeple Chase, and Cyclone penetrate the sky – presenting a world of illusion introduced to reality. However, unlike the High Line, Coney Island becomes almost simulated. Though, this artificiality in the architecture of Coney Island does not halt visitors from enjoying the attractions – in fact it is what draws them in (Koolhaas 35). Becoming “the total opposite of nature” (Koolhaas 33), Coney Island’s purpose is apparent – to build a resort of imagination, constructed in steel, and emblazoned with amusement – “a fetal Manhattan” (Koolhaas 30).

The trashcans seemed to be an emblem of Coney Island, strange enough. Around every ten steps along the boardwalk was a trashcan, but it was transformed into art – a message is placed in the midst of a colorful painting “Keep Our Beach Clean,” “Don’t Litter.” Further into the neighborhood was a large mural of … something; people jumping in water, a fish larger than these humans, and huge resigned faces, seemingly everything and nothing at once. Artwork like this littered all of Coney Island, in a way reminding the visitor of the sometimes strange American culture provided by the area. Hot dogs, hamburgers, baseball, roller coasters, boardwalks, and steel structures, all captured this essence of America, with the compactness and activity resembling New York City. While the High Line provided an escape from the bustle of Manhattan to view it from a different vantage point, Coney Island infused and contained the activity of its visitors. The novelty of Coney Island is well defined, with the old architecture from which it was derived exposed in the styles of the amusement park and the signage of the small eateries. A performance of sorts was occurring at Coney Island as well, a circus of illusion clashing with reality.

It is New York City when words fail in describing the sizzling action occurring through countless moments. Folding into the membrane of New York City are two attractions – Coney Island and the High Line, each capturing an aspect of the future and the past, freezing it into the present and making it available for countless visitors to experience the true New York City – in its various forms as a thriving existence.