Art is contrived from the imaginations and creativeness of people, with the intention of provoking emotions and thoughts within others and reflecting on the recreational and cultural aspects of society. Upon visiting the High Line and Coney Island, both located in New York City, it was a “liberation” from the conventional lifestyle and congested city. The High Line’s and Coney Island’s present designs preserve parts of their historical predecessors, but combines natural elements with a meditative atmosphere and exposure of a different side of life with a freedom of expression mentality that is associated to it respectively.

Approximately a century ago, Coney Island was fabricated by men as a result of the altering attitudes in society, transitioning from a strict traditional lifestyle established by Victorian ideologies of maintaining discipline and abstinence to one with an essence of being more lenient and unserious. People were supposed to work diligently and dedicate all leisure time to work. However, with the evolution of transportation and the rise of labor unions, it enabled them to set aside some money and time for themselves. Amusement parks were created to allow people “to live inside a fantasy” and to explore the side of the world they couldn’t experience in the comfort of the city, such as horseback riding, which “is a form of sophistication not available to the people who replaced the original visitors” and because “real horses can never coexist in adequate numbers on the same island with the new visitors,” artificial horses were utilized (Koolhaas 10 and 37).

When visiting Coney Island, I noticed how Luna Park has been restored to a more modernized look and there was a small firefighter ride, alluding to the Midget City Fire Department that ironically fought the big fire of Dreamland (Koolhaas 49 and 76). The area the Steeplechase Park once occupied for its mechanical horses has now become a Minor league baseball stadium for the Brooklyn Cyclones, with the Parachute Jump being the sole survivor of the park. The external layer of paintings comprised of various colors on walls of buildings along the boardwalk and particularly trash cans portrayed the positive, fun, and exciting appearance of Coney Island, which is emphasized by the use of bright colors, and gave their “accommodations” life, a glossy texture, and additional significance. Street performers could be seen preparing and perfecting acts that told stories not through words, but through movements. Coney Island’s beach provides a natural touch to its surrounding “synthetic” environment, but because of the beach’s physical relative closeness to the urban setting, it is overshadowed.

If one were to juxtapose Coney Island with the High Line, the natural elements of the High Line conspicuously stand out because of its elevated position, which isolates it from the rest of the city. An “elevated rail line” that was previously an “abandoned relic,” was resurrected based on a plan that “struck a balance between refinement and the rough-hewn, industrial quality of the High Line” (Goldberger). Unlike Central Park, the High Line was conceived in a natural way, in that wild plants invaded it without any interference, while Central Park was “cosmetic in many ways,” in which its plants were all planted by humans (Gopnik). When visiting the High Line, I was truly amazed at its transformation from the Sternfeld photo shown in Gopnik’s article that shows “what spring in New York actually looks like when it’s left up to Spring” to a promenade with planting areas consisting of the original plants that were initially there and some introduced by humans, stone plank flooring and fountains that make up the irrigation system used to help water runoff travel to planting beds, viewing platforms to look down on the city and perceive it as being more ordered because of how most garbage on streets looked miniscule to the eye, large areas set aside for performances, etc.

An intriguing structure I encountered was the “Still Life with Landscape” sculpture, which incorporated feeding spots and birdbaths to represent the relationship displayed between the plants that inhabit the High Line and the High Line structure itself. Bisected by the promenade, forming an open gateway, people can physically interact with it while walking through it. The “Digital Empathy” sound tracks installed in the park’s elevators, fountains, and bathrooms were also unique to me because they caught me off guard in the sense that the content of the messages was warm and caring, but the way it executed the delivery of them was through a technological voice that sounded very cold, presenting how two very contrasting things can coincide with one another. The open space of the High Line allows people to momentarily elude New York City’s limited land and constantly growing population and is accentuated by the empty lots and partially vacant residencies that surround it. Gopnik mentions how it is the “most peaceful high place in New York.”

Coney Island and the High Line exhibit the difference between the artificial and natural. However, even though Goldberger and Gopnik emphatically point out the natural state of the High Line prior to its construction, with all of the wild plants growing there naturally without any interference from humans, they are still technically growing on a man-made structure. New York City will forever be a fabricated environment as a whole, and the idea of nature residing in it can somewhat be considered futile, for its original foundations were long disturbed and uprooted by previous generations.

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.

For more photos, please visit my E-portfolio page!

Some may call New York City a “concrete jungle,” but in my opinion, it is the best city in the world.  Two places that we had the opportunity of visiting were Coney Island and the High Line.  I’ve been to Coney Island many times before, but never even heard of the High Line until given this assignment.  It was an interesting experience to compare two completely different, yet similar places, one of which I was familiar with, and the other which I’ve never been to.

Coney Island, located in Brooklyn, is a fun-filled place where people come to experience a good time.  There are so many things to do which attracts a high number of tourists and visitors.  In the summer, the beach is always crowded with people, taking the sun or swimming in the ocean.  The boardwalk, filled with restaurants, arcade games, and occasional events is also always busy.  Deno’s Wonder Wheel Amusement Park is home of the famous Wonder Wheel, an official landmark that has been operating since 1920.  The swinging and rolling cars make this ride like no other Ferris wheel.  Luna Park also has many different rides, including the Steeplechase found in the Scream Zone.  As described in Rem Koolhaas’s Delirious New York, “a favorite activity of the cosmopolites…was horseback riding”(37).  Also in Luna Park is the Cyclone, another official landmark.  Opened in 1927, many people still come to ride this famous wooden roller coaster that’s been operating for over 80 years.  Along with visiting these two parks, many people go to eat at the original Nathan’s and enjoy the “famous frankfurters.”  The New York Aquarium, which is open 365 days a year, is also located in Coney Island.  MCU Park, home of the Brooklyn Cyclones is where many fans gather to see a real Brooklyn team play ball.  I think Coney Island really reflects the high energy of its neighborhood. The boardwalk is always packed with people, the streets are crowded with visitors, and police are on constant patrol.

When I think of Coney Island, “art” is definitely not the first thing that comes to mind.  However, when doing this project and walking through Coney Island, I actually became aware of all the art surrounding me.  As you walk down the boardwalk, you may notice that every garbage can is painted in a uniquely different way.  The walls of the public restrooms are filled with murals.  There are artists sitting on benches waiting to draw pictures of you.  To me, the beach itself is a work of art.  Coney Island is one place that everyone should visit!

I consider the High Line, located in Manhattan, a respite from the city, yet one with it.  To me, walking the High Line is an experience like no other.  New York City is made up of streets, buildings, automobiles, and lots of people.  When you walk on the High Line, although you are in this big city, you’re transported far from it.  Instead of walking on the busy streets down below, avoiding cars and waiting for streetlights to change, you can take a peaceful walk on the High Line.  It’s amazing how an abandoned, obsolete railroad was transformed into a beautiful public park unlike any other.  With benches all along the way, and plants and flowers surrounding you (some growing between the train tracks that still remain), there is a whole new feeling of being in New York.  In this fast-paced environment, the High Line provides the opportunity to slow down and take your time “to stop and smell the flowers.”  I looked over the railing and saw New York through different eyes.  “That little height makes even ugly things below look orderly and patterned” (Gopnik).

Unlike Coney Island, the High Line is located in a very artsy neighborhood.  As you walk on the streets below and on the actual High Line, there are many vendors selling different works of art.  Taking the unused train tracks and transforming them into a public park expresses an artistic creativity.  The benches were constructed in a crafty way, with some resembling train tracks, others welcoming visitors to have a seat.  The way the plants were rooted was also done creatively.  My favorite part was the way the water flowed under some of the benches.

Coney Island and the High Line are two very remarkable places in New York that everyone should visit.  Both places allow visitors to get to know New York City, not only as the “capital of the world,” or the hustle and bustle of Midtown and Times Square, but also as a recreational place where one can relax, reflect, and enjoy their time in the middle of this big city.

Works Cited:

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.

As I was traveling on the F train heading towards Coney Island, I could barely recall the last time that I’ve actually visited this amusement park. Perhaps I was five or maybe even younger. My recollection seemed to consist of me being afraid of my life, as my parents boarded me onto a rollercoaster. No other images came to my mind. The posters and banners that advertised Coney Island seemed to display huge rollercoasters paired with vivid colors. Everyone seemed to be either eating traditional, American fast food, or screaming on the top of their lungs, as they, themselves were on the top of a rollercoaster. In my mind, I actually compared it to the Atlantic City boardwalk, preparing myself for a “fun for all ages” wonderland.

When I finally arrived at Surf Ave. I could smell the food that was being served. There must have been dozens upon dozens of small shacks and restaurants. Everything seemed to involve food. Whether it was the huge sign in front of Nathans advertising the annual hot dog eating contest, or the many colorful shacks along the boardwalk, food part of, if not fully, the main attraction.

Before I physically entered the park itself, I noticed that the gate was painted with all these colorful, but yet semi-abstract paintings. They were all unique from each other. One’s advertising the park, and others just paintings of cartoon- animated people enjoying Coney Island. I actually thought this was a very nice addition to the park, especially since every other amusement park lacked the aesthetics. It seems like many amusements parks today only hang posters advertising rides, instead of letting artists map out how people really feel about the park. After the full visit, I could truly say that the artwork was my favorite part.

When I entered the park, I instantly felt a disconnection with it. I found myself disliking the park, even from the start. Everything seemed very artificial. Koolhaas’ observation that “…this infrastructure supports a largely cardboard reality” and that “technology + cardboard (or any other flimsy material) = reality (Koolhaas, 42) Even on a gloomy day when no one was there, it felt congested. All the rides were stacked right next to each other. Rollercoasters lined up with other rollercoasters. It seemed jam-packed, and that was a negative not only because it made me feel claustrophobic, but the sounds of multiple rides running at the same time, in the same 20 feet radius made it seem even closer to each other.

But what I thoroughly enjoyed was the boardwalk. This part of Coney Island seemed relaxing. Music was playing (finally a noise other than mechanical wheels on a track), and tables were set out so that families can enjoy a quick snack. The shacks also had interesting designs on them. And another thing I thought was interesting were the garbage cans. All of them had pictures on them that were drawn abstractly, like the paintings at the front gate. The garbage cans (even though they seemed like a minor detail) really juxtaposed the mechanical, congested gloomy feel of the park. It added a great layer of personality to the park.

Reading Delirious New York and personally visiting Coney Island, I could see the similarities between my opinions of Coney Island the analysis behind Koolhaas’ history.  I felt in par with Koolhaas’ analysis that Coney Island was too congested, and it seemed like it was built to fast, and it amazed too many people who looked at it at a superficial level. Koolhaas even takes a majority of his “Coney Island” chapter to talk about the superficiality of destroying Coney Island’s nature, and then creating this man-made “nature.”

The inordinate number of people assembling on the inadequate acreage, ostensibly seeking confrontation with the reality of the elements (sun, wind, sand, water) demands the systematic conversion of nature into a technical service… the introduction of electricity makes it possible to create a second daytime…giving those unable to reach the water in the daytime a man-made 12 hour extension. (Koolhaas 35)

To take one look at Coney Island, I could easily be content with the variety of rides, and the amazing smells of the food, but after reading about its history, I could see that underneath all the commotion, Coney Island seemed very one dimensional. It offered nothing but congestion and rollercoasters. But there were some points that I didn’t find as accurate as Koolhaas stated. Coney Island itself had no aesthetic qualities, but the boardwalk connected to it did. Its colorful paintings really stood out, and created more of a relatable family park. When I visited that day, there was a model doing a photo shoot there, and I found it ironic that she actually used the boardwalk and beach section of Coney Island in her photo shoot rather than using the amusement park itself, since that was the main attraction.

Also what I found interesting was that the community adjacent to Coney Island was not at all emerged into the Coney Island theme, in fact it seemed very disconnected from that area. Once I got off the subway station, I could tell that the subway tracks that ran above ground separated what was the touristy and loud Coney Island from the quiet neighborhood of apartments. I could have easily observed an imaginary wall dividing these two distinct areas. It was a bit amusing to see the contrast, that as I crossed the street, one side was lined with “Coney Island stores” selling key chains, t shirts and picture frames, and the other was a ordinary, quiet community.

The culture of Coney Island was almost non-existent. I feel as though the amusement park was trying to preserve the old, glorious days of when the park just opened, while mixing it with the modern views of an amusement park, which made it more congested. Also, the culture of Coney Island comes from all the tourists that visit, and since tourists are never the same, its culture is based on something that is forever changing.

The High Line, however, was a complete contrast to Coney Island. The area was serene and quiet. The only sounds you could hear were the casual conversations of people enjoying the area or the bustling of the city below the park. No one was in a rush to go anywhere. Though the whole park seemed to be a bit repetitive, it served as a place of relaxation, something that people of all ages, could truly appreciate.

I entered through the 14^th Street and 10^th Avenue entrance, and right when I entered I immediately felt the serenity of the area. People were sitting around on the benches and at the tables enjoying a cup of iced tea, and just letting themselves absorb the atmosphere of the park. Children were running around with Popsicle sticks while adults were taking photographs of the different landscaping.

The city around the High Line was completely emerged with the park itself. There was not a trace of differentiation between them. The High Line ran through its neighborhood, and everyone seemed to enjoy both the housing apartments around the High Line, as well as the park. Unlike Coney Island where the community had nothing to do with the attraction, the High Line was literally in people’s backyards. Plants that were growing from the sides of the park, grew into people’s fences. While walking through the path, I could actually hear people’s conversations in the apartment buildings. The two were inseparable.

The High Line wasn’t as aesthetically decorated as Coney Island was. While Coney Island had the abstract paintings, the High Line focused on nature. Most of its artistic décor came from the plants, which was beautifully juxtaposed by the rather artificial New York City. The part that I found interesting was the seating areas that had a plastic screen in the front, which let visitors sit and watch the city as if it was on television. I thought that was a very clever idea to let visitors enjoy the serene nature of the park, while not losing the atmosphere of being in the heart of New York City. Also, the benches that were placed in the park were also a very interesting piece of art, because one side was a regular wooden bench, but the other side was curved, so that it connected with the floor. At first I didn’t understand what this was used for, but then I saw a child sliding down the bench, and I realized how artistic and child-friendly it was.

The only thing I found ironic was that there were strings put up around the landscaping and signs that were posted, saying “Protect the Plants, Stay on the Path.” I found this strange because the High Line was basically a very ancient railway system that was no longer used, and so all these plants and weeds were the results, and after people saw how natural and not artificial it was, they really enjoyed it. But yet they institutionalized it, into a way that it was in this imaginary glass case, just as if it were in a museum. It reminded me so much of the Fluxus movement, where the artists meant for it to be touched and experienced, but yet people these days want to protect it, which defeats it’s meaning.

Joel Sternfield comments on the High Line saying that it is unlike Central Park because it

… is really cosmetic in many ways. This is a true time landscape, a railroad ruin. The abandoned place is the place where seasonality resides. These little shoots-see this! This is the real look of spring.” (Sternfield 45)

I disagree with this slightly because even though the nature aspect of the park was definitely there, it feel as if people did institutionalize it and made it cosmetic, (not as much as Central Park though). There were signs also saying that they were “Lawn Closed for Restoration” which I saw as an insult to the park. The park was already beautiful as it was, why do people have a need to control how nature grows? Of course the seasons change, and so some plants die off, but then people feel like the park should always maintain a specific look to it, and that is what made it a bit superficial for me. But I would definitely have to say that I relate more to the High Line because it shows more genuine culture than Coney Island does.

Koolhaas, Rem. Delirious New York. New York: Monacelli Press, 1994. Print.

Gopnik, Adam. “A Walk on the High Line.” The New Yorker May 21, 2001: 44-49. Print.

Approaching the High Line Park, my friend and I were surprised at how much the lumbering bridge-like structure looked more like an abandoned railway and less like a park. It was bewildering, and my friend questioned whether we were at the right place. It turns out we weren’t lost, and in fact this bizarre structure that cut through the buildings and alleyways was considered a recreational area.

Build in the 1930’s, the purpose of the rail line was to free the streets of the dangerous freight trains that distributed goods throughout the city. Soon however the rail line became abandoned. Decades later, the relic was made into a city park with an interesting ambiance amidst the colossal metropolis that surrounds its narrow walkway.

As I climbed up the stairs with my friend, a long stretch of grass, a makeshift lawn amongst the towering buildings that surrounded the area greeted us. It was a peculiar sight,something you wouldn’t expect amidst Manhattan, a city known for traffic jams and clouds of pollution. Walking forward, the sounds of the city and the crowded atmosphere created an interesting contrast with the park. Naturally a park is known for the wide stretch of open space that allows for freedom of movement and creates a tranquil atmosphere. The High Line was anything but that. People sometimes shoved each other, and it was overcrowded, a trait true to Manhattan itself. The sounds of nature were replaced by the sounds of car horns, construction and people. The park was more artificial than it was natural.

An interesting aspect of the High Line was how heavily it was integrated into the surrounding neighborhood. The park cuts straight through buildings and often runs by windows, raising the question of how anyone living there can sacrifice sunlight for privacy.  The park is raised above ground, a quality that has become the model for construction in Manhattan. For a metropolis that has run out of room, its only option is to build upwards and sooner or later, this will apply to not only residential structures, but to recreational areas as well. This above ground style however creates its own unique experience that is not found anywhere else in New York City.

Walking further along the park, I came upon a message drawn in spray paint on one of the buildings adjacent to the park. It said “R.I.P High Line,” and I immediately thought of everyone that disapproved of this area. I began think about those individuals who were in support of saving the highline, but not recreating it. There were people who loved the piece of New York as it was, and to them, changing it would be destroying that piece of the city.  People like John Sternfeld, a photographer who comes to shoot the park every season, see the High Line as something that is already accomplished and wish to keep it as it is.  (Gopnik)

Coney Island was an experience completely different from the High Line. I talked to one of the employees of the park  and luckily enough he turned out to be the assistant manager at Luna Park. He lead me to the managers office and gave me a bit of a history lesson on the park and let me take a few pictures.

The park is a recreational area filled with amusement rides and a nearby beach, all of which remind me of the traditional “fun in the summer sun” type of experience, and something which the High Line cannot offer.  Yet the  Coney Island amusement park encompases several distinct towering structures which you wouldn’t normally associate with Brooklyn. Examples include the Parachute Jump, the tall red and white obeservation deck and the Wonder Wheel. I was surprised at how much the lights, the crowds and the gigantic attractions reminded me of Manhattan. The park sat far from any buildings in an open area that looked out onto the ocean and lacked that tight crowded atmosphere of the High Line. Yet it shared so much qualities with Manhattan.

The amusement park had all the features that one would expect of the city. But why was it located here in Brooklyn? While pondering on that question I was reminded of Koolhaas’ description of the early days of the island. “Coney Island is the incubator for Manhattan’s incipient themes and infant mythology. The strategies and mechanisms that later shape Manhattan are tested in the laboratory of Coney Island before they finally leap towards the larger island. Coney Island is a fetal Manhattan.” (Koolhaas p 30.)

The Coney Island amusement park, even in its early days, strived to rival the architecture of Manhattan.  However over the years it became something unique for everyone in Brooklyn and now provides an experience unmatched by anything else in New York.

Walking along the boardwalk I noticed several garbage cans painted with a variety of designs. Unfortunately my camera died by nightfall but there was something unique about these garbage cans. I have seen them countless times before but when doing this assignment I noticed how well they reflect the distinctiveness of Coney Island.  The trash barrels which line the middle of the boardwalk are painted annually as part of the “Boardwalk Barrels of Fun Contest.” I was intrigued at how something that is usually associated with dirt and filth can be made into art by average individuals all around Coney Island. The idea of Fluxus Art struck my mind and I thought it was remarkable how both the exterior and interior of the garbage barrel can be thought of as an artistic object. There was no need for proffesional artists, like those who designed the art pieces on the High Line. Anyone who wished to paint a barrel could enter into the contest. The garbage cans reflect the personalities of everyone in the surrounding neighborhood, something that the High Line lacks. Whereas the High Line reflects a view of a select few individuals (its designers), Coney Island strives to be a product of its visitors. When a person throws something into those barrels, they are contributing to the art that makes Coney Island unique and special.

Works Cited:

Koolhaas, Rem. Delirious New York. New York: The Monacelli Press, 1994.

Gopnik, Adam. “A Walk on the High Line.” The New Yorker May 21, 2001: 44-49. Print.

Coney Island and the High Line speak volumes of the diversity in experiences and people one can find in New York.  “Conceived more than 100 years apart, these two New York City sites are both products of their times, reflecting different ideas about recreation, culture, and society.”  The differences between Coney Island and the High Line suggested in the above statement from our class syllabus put the contrast between these locations mildly.  Coney Island is connected to the amusement side of recreation; fun at the beach, the thrill of the rides, a night at the ballpark, the occasional fireworks show, but also to something grittier.  Coney Island isn’t exactly clean, in any sense of the word, but that’s a part of the fun, at least in my mind.  The High Line used to have a similar feel to it in the city; natural but unruly plant life, the occasional homeless person, but now that it’s been turned into a park it fits in with some of its more artsy surroundings.

I went to Coney Island on a Saturday or Sunday afternoon, I can’t remember which.  The sky was cloudy and the air was cool; it felt like one of the first days of autumn.  I took the Q there instead of the B36, thinking I could get some good photos of the area from the window, but none of them turned out well.  Coming out of the station, I walked past Nathan’s and MCU Park before heading to the boardwalk, and from there I went to Luna Park.  I’ve been to Coney Island nearly every summer I can remember, so there wasn’t all that much I wanted to do, especially since I went alone.  It was coming out of park that I noticed something interesting.  Outside of Nathan’s a group of motorcyclists had gathered for some kind of small concert.  Weaving through the crowd of onlookers, I couldn’t help but think of my uncle.  He wore a rather long beard and always had on a pair of dark sunglasses, so he had something of the biker look to him.  When he visited Coney Island with my father and I, my uncle and the bikers would sometimes lock eyes for a while or simply nod without saying a word, as though they recognized a kindred spirit in each other.

Going to the High Line was a little more difficult for me.  I missed my stop on the way there and almost got on the wrong train when I had to transfer. And once I arrived, it was already raining heavily.  The rain wasn’t a total hindrance though, as it did make the park smell fresher, adding to the whole nature experience.  I was a little surprised, actually, about how much I enjoyed being there.  The plant life provided a scenic contrast with the surrounding buildings, and the view over the streets was wonderful.

What really caught my attention though, were the benches. I’m not entirely sure why, but I really like the way they come out of the structure instead of being separate pieces.  Leaving the High I took the first set of steps I saw and got lost trying to find the station.  But before I did that, I noticed a piece of graffiti on a building close to the park and took some photos. I would later find out that it was Monsieur Chat that I photographed, a graffiti cat that originated in France.  More information on him can be found here.

Not far from M. Chat was another piece of graffiti, one that read RIP High Line. I don’t know what the artist’s intended message was, but what I took away from it was a lamentation of the High Line that had been abandoned, but not yet turned into a park, an emotion expressed by Joel Sternfeld, “He would not just like the High Line to be saved and made into a promenade; he would like the promenade as it exists now to be perpetuated, a piece of New York as it really is” (Gopnik).  Having known the High Line only as a park, I can’t completely relate, but I can understand the idea as it relates to Coney Island.  The renovations it’s received are improvements, but I still feel like they’ve taken away some of the character of the island.

Work Cited

Gopnik, Adam. “A Walk on the High Line.” The New Yorker May 21, 2001: 44-49. Print.

Two of the more exciting places in New York City to visit are Coney Island and the High Line amusement park. Both areas are a magnet for tourists and locals alike, and both are marvels that show the evolution of the city from the early 20^th century to the early 21^st century. Coney Island developed as a spot that would rival the architectural feats that Manhattan had achieved and act as a place for amusement and leisure in an otherwise busy and unsmiling city. The High Line was established only a few short years ago, and was built on an old railroad line. Many wanted this dilapidated crossing to be torn down, but with the support of many park enthusiasts, this rail line transformed into a place for relaxation and tranquility.

Coney Island is a gigantic beach/amusement park that attracts thousands of visitors in the summer. The old and young all gather to swim, dine, and go on the numerous rides in Luna Park. Coney Island functions as a neighborhood haven, with a family feel to it that one doesn’t necessarily get from going to Disneyland or Six Flags, because of the lack of neighborhood atmosphere. This haven is a landmark that everyone in New York City knows about, and its established legacy makes it almost iconic. In contrast, the High Line Park is relatively new and not as well known. It isn’t as mutually loved as Coney Island is, because there is still a small minority who wish the park wasn’t built, and instead wish that the old railroad was removed. However, the High Line is still widely visited and eventually may become as accepted and as known as Coney Island. The High Line, like Coney Island, provides a means of escape for those in the city. However, unlike the powerful and loud atmosphere that Coney Island has, the High Line is all about enjoying yourself with some peace and quiet.

Coney Island is well known for its boardwalk, but what I found particularly dazzling was the pier near the end of the boardwalk. That pier stretches deep into the water and from afar almost appears to be stretching out infinitely. The pier is special because it allows you to venture into the waters without actually leaving dry land. Once at the end of the pier, I felt as if the main boardwalk was in another world and I was looking out at the happy beachgoers, who were light years away from me. In addition, another rare and amusing oddity in Coney Island was the assortment of trashcans with designs on them. Some cans had a smiling sun, and others had a rainbow sailing past the boardwalk. The idea of creating artistic pieces with something as simple as trashcans was something very Brooklyn in my opinion. It reflected a belief that anything can be made beautiful, even something as simple and unsightly as a trashcan. And at the same time, this is essentially what Coney Island is; taking a drab stretch of beach and filling it up with so many lights that it almost becomes Brooklyn’s Time Square at night.

The High Line didn’t fall short of my expectations, and the beautiful landscaping wasn’t even the best part of the park. Inside were quirky attributes that gave the High Line a very playful touch. One of my favorite things in the park was the water fountain. Well, more specifically, all of the water fountains throughout the park. These fountains all did one thing which I’ve never had the pleasure of seeing anywhere else; they spoke to you. As my friends and I took a drink, a female voice sprung out from the fountain, talking to us about water. I was caught so off guard that I was unable to understand the rest of her message, but the point was clear and simple; the High Line was going to go above and beyond in all possible ways. Along with the water fountains were strange horizontal waterfalls that almost gave a beach-like feel to the park. One woman even dipped her feet in the waterfall to see if it was real. The High Line was already different in its creation because, after all, it had been built from an old railroad line. But with these little quirks, it seemed even more amazing to me.

In Delirious New York, Koolhaus talks about Coney Island and how it was meant to be a pleasure center for visitors. One look at Coney Island made it clear that everything built there was to excite and enthrall anyone who came. In addition, Koolhaus mentions that Coney Island is an artificial world built for those who can’t go out and experience it firsthand. On page 37 he notes: “…the ability to ride a horse is a form of sophistication not available to the people who have replaced the original visitors [inhabitants]”, when explaining the creation of Steeplechase Park. When visiting Coney Island, this description comes to mind. The fishing games remind me of those who would visit the park to experience a life that they couldn’t enjoy in the city, a life of fishing and hunting for themselves. In addition, the fire truck ride in the current Coney Island seemed to be homage to the midget firefighters who battled the flames that brought down Coney Island in the early 20^th century. This ride provided one of many links of the old Coney Island to the new.

Gopnik and Goldberger both talked about the High Line and its connection with nature, because after the rail line became untouched, it eventually grew into a literal urban jungle. One of the themes of the High Line was to preserve the natural feel while still creating a new park for everyone to enjoy. I felt that the park did some justice to this notion, because the rail lines and some of the natural foliage remained, but overall it had become more artificial than not. And that, in a way, symbolizes both Coney Island and New York in general. This entire city is artificial, and in our struggle to return to a more natural state of living we’ll either mock it, as the rides in Coney Island do, or we’ll tear down natural greenery and plant other vegetation, just to achieve a natural feel. In essence, we can never truly return to nature while still inhabiting the city, although it seems people will constantly develop new means of doing so.

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.