Tag Archives: New York City

The wood-burning fireplace is on the way out, not green enough

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Wood-burning fireplaces are more decoration than heating apparatuses in modern homes. But the New York Times reports that even its decorative or symbolic value may not be enough to counter the arguments against their use:

Hard as it may be to believe, the fireplace — long considered a trophy, particularly in a city like New York — is acquiring a social stigma. Among those who aspire to be environmentally responsible, it is joining the ranks of bottled water and big houses…

Organizations like the American Lung Association are issuing warnings as well: the group recommends that consumers avoid wood fires altogether, citing research that names wood stoves and fireplaces as major contributors to particulate-matter air pollution in much of the United States.

Wood smoke contains some of the same particulates as cigarette smoke, said Dr. Norman H. Edelman, the chief medical officer for the American Lung Association, as well as known carcinogens like aldehydes; it has also been linked to respiratory problems in young children…

Perhaps not coincidentally, sales of wood-burning appliances dropped to 235,000 in 2009 from 800,000 in 1999, according to the Hearth, Patio and Barbecue Association.

Fireplaces are akin to McMansions? I would be curious to know how much effect a wood-burning fireplace has on the average person or how much pollution wood-burning fireplaces across the US release into the air. Then some comparisons could be made between the polluting effect of fireplaces and other objects (like McMansions or bottled water). In addition to the pollution, we could also consider how much wood is burned yearly in fireplaces and where this wood typically comes from.

Beyond the ideas about health and being green, the article fails to discuss several ways to keep a fireplace without burning wood. One option: have a gas fireplace. This may not be too green as well – it does burn gas. But you wouldn’t then have the release of particles into the air. The second option, which seems to be gaining in popularity: purchase an electric heater that looks like a fireplace. I see numerous advertisements for these all the time. Lots of benefits here: you still get the heat, nothing is burning (wood or gas), they are relatively cheap, you don’t have to worry about a chimney and keeping that clean, and you can move the “fireplace” around fairly easily depending on where you want it. There are some electricity costs but you can still retain the decorative or symbolic value without burning wood.

In NYC: an indoor park/art installation, complete with fake grass and sunshine

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Parkland is at a premium in urban centers, particularly in crowded Manhattan. One possible solution: build indoor parks/art installations that simulate outdoor parks.

It’s not truly a park, at least not in any sense that the parks department might recognize; it is the simulacrum of a park, an indoor copy that in weather like this becomes more real than the city’s broad but dormant expanses. The pseudopark, which occupies the Openhouse Gallery through the end of the month and which is open to the public every day from 11 a.m. to 6 p.m., beckons visitors with a vibrant gardenlike environment and a warm, sunny glow (along with, at certain hours, food vendors like Luke’s Lobsterand Mexicue).

A sociologist tried to make sense of this space:

Strolling around the place and watching the strangers at play, Dalton Conley, a New York University sociologist who has written about growing up in the city, observed that it was a quintessential New York phenomenon.

“One of the factors which, despite perceptions, makes it easy to parent here is that there are no backyards, so you’re not atomized,” Professor Conley said. “You just go to a park,” he said, and automatically find a bunch of other kids to play with. Parks have the same effect on adults, throwing them into close and easy proximity, and promoting unexpected social encounters.

Similar results have been achieved in other unnatural settings, most recently when Pipilotti Rist took over MoMA’s second-floor atrium with an oversize video installation and an enormous round couch on which viewers could just lie back and take it — and each other — all in. But that was under the protective cover of high art. It was critically sanctioned. It was safe. Park Here, in contrast, is just some random storefront, and the people flopped about it don’t necessarily have anything more in common than a preference for being inside to being outside. (Or is it the other way around?)

“As a permanent thing, people probably would say, ‘We need real grass,’ ” Professor Conley said. “But as a temporary thing, they accept the lack of verisimilitude. In fact, I bet some of it is ironic.”

So a random storefront can be transformed into a park-like space where strangers gather together to relax. Is there a future in such art installations?

It would be interesting to hear from those using this art installation. Do they see the irony? Do they feel like they are part of an art piece or is this simply another park space? Are they mainly hipsters or do we have a full range of ages and backgrounds?

Quick Review: The Devil in the White City

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I’m not sure what took so long for me to read The Devil in the White City: Murder, Magic, and Madness at the Fair that Changed America. I have had it on my shelf for years and it revolves around the 1893 Columbian exposition in Chicago, a topic that is greatly appealing to me. Here are some thoughts about this book that tells the story of both violence and urban history:

1. The setting of the Columbian Exposition is fascinating. The amount of planning and work that had to be carried out in order to transform Jackson Park, then a outlying and relatively unimproved area on the South Side of Chicago, was tremendous. There are certain moments in history that I wish I could have been a part of: attending this fair at its peak (late summer/early fall 1893) would have been fantastic.

2. I’m less certain that the mixing of these two stories, a murderer named Holmes plus the building and holding of this fair, was done well. Early on in the book, we know that Holmes is a murderer and the details trickle out throughout the rest of the text. This is a difficult task to accomplish: it is hard to be a murder story when we already know who did it. But Holmes’ particular story and end is still intriguing. I’m not sure exactly what the contrast between these two stories is supposed to be: the best of human accomplishment (the exposition) plus the darkest part of humanity (Holmes)? The murder illustrates the difficult settings in which the exposition had to be organized? Both events are meant to provide a portrayal of the City of Chicago, a rapidly changing and growing place at this time?

3. Daniel Burnham is a main character in this text as he moves from being a co-chairman of the exposition to the full director/czar. While we learn about his struggles in putting together the fair (and his triumph in having a successful fair), we don’t learn all that much about his architecture, planning, or what makes him tick. Burnham is a renowned figure in Chicago but I wish to have learned more about him.

4. There are a couple of interesting struggles in this book: between New York and Chicago and between the elites/professionals of Chicago and the working/lower classes. Regarding the cities, the book plays up the angle that this exposition was the opportunity for Chicago to show that it could compete with New York. In fact, New Yorkers did not think Chicago could pull it off. Chicago in this time was the upstart, the place with what seemed like unlimited potential. New York was seriously concerned about this and the growth of Chicago prompted New York a few years after this fair to annex more territory and develop its five boroughs system. What is lost in some of this is some of the big Chicago boosters in its early decades were Easterners themselves. In regard to social class, there is some mention here and there about labor struggles. But perhaps this could have been the other story instead of the murder plot line: as the elite of Chicago put together this marvelous fair to showcase their city, the city was roiling with an influx of laborers and labor unrest. The Haymarket event had taken place in 1886. And yet, this fair was intended to bring Chicago together in a way that had not occurred in previous decades. There is an interesting chapter toward the end about the aftermath of the exposition: the impression is that life went back to its bleak normalcy in the big city rather quickly.

5. Did this exposition really change America? I’m skeptical. The Ferris Wheel is an interesting invention, but ultimately a diversion. The buildings were impressive – but similar style and size can be found elsewhere. This exposition was certainly consequential for Chicago, cementing it is a world class city. The exposition also brought together an incredible variety of well-known people. But what is its lasting legacy?

On the whole, I enjoyed reading this book. The setting is interesting and the myriad of storylines is engaging. But it is hard to know what it all means. As a mix of history and story, this book is entertaining but lacks depth and significance.

Turning Robert Moses’ life into a musical

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Among American planners and builders, Robert Moses is a towering figure. In much of the early 20th century, Moses exerted a tremendous amount of power in the New York City region and had some impressive achievements. What better way to honor him than to turn his life into a musical?

This Saturday the Knickerbocker Chamber Orchestra is offered a sneak peak of “Robert Moses Astride New York,” a musical about New York’s infamous infrastructure czar. In honor of the event a reporter from the New York Times watched a recent rehearsal in the company of Robert Caro, author of the Pulitzer-winning and iconic biography of Moses, The Power Broker. Caro, it appears, enjoyed the performance:

Mr. Caro said he was particularly pleased by the musical’s last section, which recalls Moses’ dedication of a bench in Flushing Meadows, one of the parks he’d built. It is the poignant scene that concludes “The Power Broker,” in which Moses wonders why he wasn’t sufficiently appreciated.

Turning infrastructure into song. I would be curious to read the lyrics to the other songs to see how Moses, a polarizing figure, is portrayed.

How many people outside of New York City are aware of the legacy of Robert Moses?

Traveling through underground New York

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Walking underneath a city through the tubes, pipes, and sewers has always sounded fascinating to me. One New York Times reporter had the opportunity make an underground excursion and here is a description of the start of his journey:

Tuesday, 12:36 a.m.
Exterior Street, the Bronx

We inspect our exit point — a manhole in the middle of the road. Will Hunt, a bespectacled 26-year-old who is writing a book about the underground (“The last frontier,” he says, “in an over-mapped, Google-Earthed world.”) will serve as our spotter. Will’s job is to watch for traffic: ascending from the hole, we do not wish to be hit by a car. We are to communicate by walkie-talkie. Will ties a long pink ribbon to the inside of the manhole cover. Dangling downward, this will be our signal we have reached the end.

1:20 a.m.
Van Cortlandt Park, the Bronx

Down we go by way of sewer pipe, joined now by Andrew Wonder, a shaggy former film student making a documentary about Steve. The change is stark, immediate: darkness, shin-high water, a dull ammoniac funk. My eyes adjust, and I see an endless tunnel, rounded, eight feet high and made of faded brick. The floor is scummy and perilous to walk on. Within seconds, Steve, Erling and Andrew rip their waders: they’re taking on water. We nonetheless progress and, after 50 feet, the entrance disappears. Forgot how much I hate enclosed spaces.

1:48 a.m.
Bronx sewers

Amazing. The sounds down here are even more impressive than the sights and smells: the Niagara-like crash of water spilling in from side drains; the rumble of the subway; the guh-DUNK! of cars hitting manhole covers overhead, like two jabs on a heavy bag. Steve says we’re only 12 feet beneath the surface, but it feels far deeper. The familiar world is gone: only sewage now, the press of surrounding earth, the anxious dance of headlamps on the water. Every 100 feet or so, an archway appears and we can see a parallel channel gurgling beside us with a coffee-colored murk. I shine my headlamp down and watch a condom and gooey scraps of toilet paper float by. I check the air meter constantly: no trace of gas, and the oxygen level is a healthy 20.9 percent. I ask Steve how he navigates down here; he laughs. “Hey, Erling,” he calls out, “you’re taking care of the navigation, right?” Funny.

This sounds like an interesting adventure. But it also is illustrative of the important world of infrastructure beneath our feet that handles a lot of important functions. How this was all constructed in such a way that it was accessible and so that multiple systems could be in place (subways, sewers, phone and cable lines, etc.) is a remarkable feat of planning and engineering.

It also seems that a disproportionately large number of movie and television scenes take place in this environment. Such scenes often have a certain feel to them: a cold, dank place where monsters, rats, and criminals run around. I have read about “urban spelunking” groups that take it upon themselves to explore the underground worlds but I’m sure this is a relatively rare activity.

h/t The Infrastructurist

The effect of terrorism on New York City: more security measures

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There is little doubt that what happened on September 11, 2001 was consequential for the United States. But it is also necessary to think about how this event (and other terrorist acts) have affected the American way of life.  The AP looks into what it means for the daily lives of New Yorkers – here are a few snapshots of an altered city:

Visitors to the Statue of Liberty must go through two separate, airport-style security checkpoints. Taking pictures of the PATH trains that run under the Hudson is illegal. Even the city’s architecture is changing: closed “sky lobbies” are replacing ground-level public spaces; vehicle barriers are de rigueur.

At Rockefeller Plaza, concrete barriers emblazoned with “NYPD” blocked part of the streets running through the promenade, which draws thousands of visitors to see its Christmas tree and ice skating rink.

In the subways, train conductors tell passengers, “If you see something, say something.” So do posters and ticket machines. Police conduct occasional spot checks, setting up a table in stations and searching travelers’ bags at random.

Times Square — now partly transformed into a pedestrian mall — sports wider sidewalks aimed at creating buffer zones around high-profile buildings. Nearly every lamppost now has at least two domed cameras and an antenna for beaming live images to police.

“Cameras, cameras and more cameras,” said Robert Jacobs, 30, a visitor from Chicago. “Makes you wonder who’s got time to watch it all.”

The overwhelming theme in this story is security: a greater separation of pedestrians or workers from potential harm while at the same time increasing vigilance through cameras, checkpoints, and the active participation of residents.

But what does this mean for the average resident? A little more inconvenience and time to travel? Some visual reminders that terrorism is a consistent threat? What I would want to know: has terrorism significantly altered people’s mindsets (perhaps stress levels about possible attacks) and behaviors? Do people or businesses not move to New York City because of the possible threats? This article suggests terrorism hasn’t altered much beside raising the general level of anxiety by some amount.

h/t The Infrastructurist

Another consequence of financial crunch: public housing repairs

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The New York Times reports that public housing repairs have fallen even more behind due to the financial crunch affecting many governmental bodies: “Public housing is falling apart around the country, as federal money has been unable to keep up with the repair needs of buildings more than half a century old.”

While the story goes on to address particular cases in Baltimore and New York City, it’s hard to know from the story about how much of an issue this is. How much worse is the issue compared to five years ago? The only figure cited about a national figure for repairs was derived from a 1998 study. In Chicago over the last few decades, public housing repairs were frequently behind and more funding was requested even when economic times were good.

The zip codes with the most expensive real estate

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Forbes put together a list of the American zip codes with the most expensive real estate. Of the top 10, 9 out of 10 are in California or New York City. (The lone outlier is a New Jersey zip code.)

Becoming more popular in New York City: the pod hotel

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In order to provide hotels at a cheaper price in New York City, several groups are building “pod hotels.” These hotels are characterized by their small, but well-appointed, rooms:

With their wood paneling, velvet benches and Oriental carpets, most of the 150 rooms occupy just 50 square feet (4.6 square meters) and recalls boat cabins. A large mirror hangs on the wall to counter any claustrophobic feelings…

These hotels promise “micro-luxury:” air conditioning, a safe, a flat-screen television and free Wi-Fi. The Jane also offers its clients a bathrobe and slippers.

“We don’t sell a bed, we sell a room,” said Pod Hotel managing director David Bernstein. “The atmosphere is much cleaner and more upscale than in a hostel. The size is really what makes them affordable.”

As long as they can avoid the New York problem of bedbugs, I can imagine these would be popular in a city full of expensive hotels.