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trylon500

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About trylon500

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    Century 21 Exposition
  1. When it came to representing the sprawling nature of the foreclosure crisis in New York City, the artist Damon Rich figured out that the best thing to do was to shrink it down to size. And so he used the 9,335-square-foot Panorama of the City of New York, the intricate architectural model built for the 1964 World’s Fair, and hundreds of neon-pink triangles to demonstrate just how the city has been marked by economic troubles. See article: http://www.nytimes.com/2009/07/08/arts/design/08panorama.html
  2. This morning on New York 1 http://www.ny1.com/content/top_stories/955...ms/Default.aspx
  3. Billy Joel plays at the NY State Pavillian

    Hey Al, How did you get tickets? I tried but to no avail.
  4. Yessongs SIP Recap Pt2

    Hey Al, how was the zoo and the exoskeleton of the Churchill Center?
  5. Yessongs SIP Recap Pt2

    Yep, that’s me. Number 10. Had a great time. It was wonderful meeting everybody. When I got back home that day my girlfriend asked me, how was it? I told her that I just met the nicest group of people. Can’t wait for the next SIP. Attached is a Then and Now of the SIP troop heading across Meadow Bridge.
  6. SIP Sunday, June 22, 2008

    I saw it. It was fantastic. Makes a great companion piece to the Panorama.
  7. SIP Sunday, June 22, 2008

    I saw it. It was fantastic. Makes a great companion piece to the Panorama.
  8. O.C. Fair Lights

    I’ve seen those OC lights. I was wondering if they are the correct WF height. Was there a standard height? They seem a bit shorter to me. I remember, at the fair, they seemed very tall when I was a kid. But then again I was about three and a half feet tall at the time. Also found this lamp among the luminaries. (Photo 2) Was this from the WF?
  9. Then and Now

    Yes, those carvings are very nice. I cringe every time I see kids skateboarding over them.
  10. In The New York Times today: http://www.nytimes.com/2008/05/11/nyregion...amp;oref=slogin Like Rainfall, Restored Map Trickles Home Seventy years after it was booted out of the World’s Fair and 60 years after it was last seen by the public, a gorgeously sculptural relief map of the New York City watershed has finally reached its intended destination: the New York City Building, now the Queens Museum of Art, in Flushing Meadows-Corona Park. A 540-square-foot relief map of the city’s watershed, created in 1938, is being rebuilt at the Queens Museum of Art. Freshly restored by a conservation company in Ohio, the map arrived at the museum on Thursday as 25 panels in 25 packing crates. These were eagerly pried open by museum staff members in what became a game of “Find the City.” The first crate yielded the seashore around Sandy Hook, N.J. The second, landlocked Hunterdon County, N.J. It took an hour to locate the panel with four of the five boroughs. As the crates lay open on the museum floor, some showing the astonishing topography of the Catskill Mountains and the enormous reservoirs nestled among them, the search underscored the magnitude of the watershed. The city is a tiny fraction of the 2,000-square-mile expanse from which its water comes. “We really wanted people to see the whole watershed,” said Emily Lloyd, the commissioner of the city’s Department of Environmental Protection, which financed the $150,000 restoration. It is to be on public view at the museum beginning June 22. The environmental agency inherited the map from its organizational ancestor, the Department of Water Supply, Gas and Electricity, which planned to exhibit it in the New York City Building at the 1939-40 World’s Fair in Flushing Meadows. The map, contoured plaster on built-up plywood sections, was constructed for $100,000 by the Cartographic Survey of the federal Works Progress Administration. Not only was the cost amazing (roughly $1.5 million in today’s dollars), so were the dimensions: 18 by 30 feet, or 540 square feet, larger than many apartments. And that was the problem faced by the planners of the fair, including Louis Skidmore, a founder of the architectural firm Skidmore, Owings & Merrill. In July 1938, they decided they could not possibly allocate enough space for the map in the city pavilion. The archival trail seems to go cold for a decade. The map does not re-emerge until 1948, at the city’s Golden Anniversary Exposition in the Grand Central Palace, an exhibition hall that used to stand on Lexington Avenue, north of Grand Central Terminal. Under the headline “Wonders of City Graphically Told,” The New York Times described a second-floor exhibit by the Board of Water Supply including a “great relief model of the system, reaching from the city to the watersheds in the Catskills.” Aqueduct routes and pumping stations were illuminated with tiny lights. The map hibernated in storage in Brooklyn and Manhattan until its rediscovery in 2005, peeling, chipping and spalling, with damage from real water and dust so thick it rendered landmarks illegible. Shoes had crossed the terrain. Mountains had crumbled. The environmental agency and the Queens Museum joined to save it. “The model was built for the World’s Fair site, so it seemed like a completely logical decision,” Tom Finkelpearl, the museum director, said at the time. “We feel it’s the only place for it.” It was sent to McKay Lodge Inc., an art conservation company in Oberlin, Ohio, from which 25 of the 27 panels returned last week. Two others had come back earlier. Dee Pipik, a conservation technician for McKay Lodge who spent a year and a half working on the map in sections, said her only glimpse of it in its entirety had come from old photographs. “I’d love to see it myself — as a whole,” she said by telephone. Ms. Lloyd, the environmental commissioner, called the map a civic treasure. “We really felt that it was not only part of New York history,” she said, “but we also thought it was such an extraordinarily important teaching tool.” Because the far-flung water system is substantially the same as it was in 1938 — by virtue of its monumentality and the immutability of gravity, the principle on which it all works — the map is quite up-to-date. “That,” Ms. Lloyd said, “says something about the vision of the people who designed it.”
  11. The NYWF - Then and Now

    We made it to furthest reaches of the park on the eastern edge of the Fair’s amusement area. First time I explored this area of the old fair grounds. See map detail. Here are some photos Bill and Don standing on support pads for the monorail beams. We saw at least eight pads all along monorail path. The area around the pads seemed to have sunk a bit. Parts of that park area seem very marsh-like. In the background of the second shot, workers are getting ready for the annual Meadow Lake Dragon Boat Festival. That area is the location of the fair’s Hawaii Pavilion Bill has his trusty Fair map and Don is holding part of The New York State Tower roof panel.
  12. Anyone going to be at FMCP on August 2?

    Sounds great Bill. I dig “Then & Now” pics the most!
  13. New $63M Control Tower To Land At LaGuardia

    Here's the 60's tower. Looks like it would make a nice lamp. <a href="http://www.panynj.gov/CommutingTravel/airports/html/lga_65_history/19.html" target="_blank">http://www.panynj.gov/CommutingTravel/airp...history/19.html</a>
  14. From Friday's Times http://www.nytimes.com/2007/02/02/arts/design/02pano.html On the Town, Sized Down, Jazzed Up Joe Fornabaio for The New York Times East River views: David Strauss of the Queens Museum of Art on the New York City Panorama. By COREY KILGANNON Published: February 2, 2007 There is a spot in New York City where you can watch the dawn blush over Jamaica Bay in Queens and slip swiftly down the shore to Coney Island in Brooklyn, then hop across New York Harbor to suburban stretches of Staten Island. Joe Fornabaio for The New York Times A small world after all? At the Queens Museum of Art, a panorama built for the 1964 New York World’s Fair has been revitalized. As the Bronx begins to bustle and Manhattan jolts to life, the chirping of birds gives way to the snort of street sounds and taxi horns. And then a smooth voice-over reminds you that the city is “the center of civilization.” This virtual New York City sunrise comes courtesy of the Queens Museum of Art, in Flushing Meadows-Corona Park, and can be experienced once an hour from any vantage point on the balcony walkways around the perimeter of its New York City Panorama, which has been closed since October for renovation and reopens Sunday with a newly installed audiovisual accompaniment presentation. The panorama reopens with the museum’s new exhibition on Robert Moses, who had the panorama built for the 1964 World’s Fair. It became a permanent exhibit in the Queens Museum when the museum opened in 1972 in the fair’s old New York Pavilion building. The panorama, the museum’s centerpiece, is widely known as the world’s largest architectural model of a city, and yet remains relatively obscure. Yes, there have been live tour guides and headphone tours, but for decades the extent of its presentation apparatus has been the aging dimmable house lights. Museum officials have long wrestled with ways to revitalize the model and expand its possibilities. They even mused about asking New York developers and building owners to sponsor a model in the panorama in return for a little sign on it plugging the real building. (Are you listening, Mr. Trump?) They finally became sold on the benefits of adding a multimedia accompaniment, after seeing a temporary presentation created for the International Olympic Committee in 2005 to show how the city could be converted to an Olympic village. “The panorama is by far our biggest attraction, and we really wanted to bring it to life and attract more viewers,” said the museum’s director, Tom Finkelpearl, who explained that the new equipment — with its ability to spotlight different parts of the city with audiovisual sideshows, could be adapted to give various types of New York theme presentations. The model was built with incredible topological and architectural accuracy. Its roughly 895,000 tiny buildings, streets, parks and bridges are made mostly of wood and plastic and all built to scale, from bridge length to park acreage to skyscraper height. The 321 square miles of the city’s five boroughs are sprawled over the model’s 9,335 square feet. An inch equals 100 feet, Far Rockaway is a jump shot from Central Park, and the 1,500-foot-tall Empire State Building is 15 inches. The beach at Coney Island is just over 13 feet long, the Staten Island ferry would travel 22 feet, and the Bronx Zoo covers 1,500 square inches. The panorama, which lacks people, traffic, trash and other real-life elements, was originally built for $672,000. Other than a 1992 overhaul that modernized many of the low-rise buildings and added newer structures, this upgrade is its most significant. It cost $750,000, part of which was originally earmarked for a “Tribute in Light” to replace the 13-inch gray blocks that represent the twin towers. But tests indicated that the light would be seen only if there was dust in the air, so for now the blocks remain in place. The new presentation equipment, a stack of computerized audio and sound equipment, sits high on a balcony. It is connected to video projectors, speakers, automatically controlled spotlights and a network of colored lights around the perimeter, near the ramp that affords viewers a bird’s-eye view of the metropolis. Mr. Finkelpearl said the presentation recalled some of the original bells and whistles that accompanied the panorama when it opened at the World’s Fair and is meant to give viewers the feel of a helicopter ride over the city. Viewers rode in fake helicopter cars on tracks around the periphery of the model. Narration was provided by the newscaster Lowell Thomas (who uttered the “center of civilization” line). One recent weekday Mr. Finkelpearl stood on the walkway for a demonstration of the 12-minute presentation about New York and Robert Moses and how the model was built partly to emphasize his accomplishments in consolidating the city with bridges and highways connecting the boroughs. Each borough is spotlighted, as are the Hudson, Harlem and East Rivers. Ellis Island is lighted, and you can hear the sound of voices of the huddled masses. A strobe light depicts the chaos of Midtown Manhattan. This is, after all, the Queens Museum, and the most fuss is made over Queens. The presentation includes audio and video clips recorded recently in specific ethnic neighborhoods like Jackson Heights’s Indian immigrant community and the Greeks and Arabs of Astoria. Also on hand was Blagovesta Momchedjikova, a tour guide for the model whose enthusiasm for it has earned her the nickname “Queen of the Panorama.” Ms. Momchedjikova, who helped develop the script, now teaches a writing class at New York University, using the model as an inspiration and subject matter for memories of New York. She wrote a 250-page doctoral dissertation on the model. The embodiment of the ethnic mix of Queens, Ms. Momchedjikova is a Bulgarian immigrant who married a Senegalese immigrant, Mady Cisse, and they have a baby boy named Moussa, the Senegalese version of the name Moses. She said she was excited about the presentation but emphasized that viewing the model also is a personal, meditative experience, a communion with your own personal New York, the cognitive model you have in your memory where all your memories — where you lived, worked, fell in love — play out. “Most people want personal time with the model because it’s a big repository of all we’ve experienced in New York,” she said. “It gives us a tactile experience of where we’ve been and where we want to go.”
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