Free Public Education in Nature and Art, Combined in Original Central
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Backgrounder: the New York Botanical Garden's Legacy Of
Moore in America: Monumental Sculpture at The New York Botanical Garden May 24 – November 2, 2008 Backgrounder: The New York Botanical Garden’s Legacy of Natural and Designed Landscapes The New York Botanical Garden, a 250-acre site that has been designated a National Historic Landmark, offers a wealth of beautiful landscapes, including a hardwood Forest, ponds, lakes, streams, rolling hills with dramatic rock outcroppings carved by glaciers, and New York City’s only freshwater river, which runs through the heart of the Forest in a magnificent rock gorge. These picturesque natural features have been further enhanced by more than a century of artful plantings, gardens, and landscapes designed by the nation’s leading landscape architects and garden designers. As a result of both its natural and human legacies, the Botanical Garden today offers an exceptional setting for outdoor sculpture. Scenic beauty and stunning natural features Following the New York State Governor’s approval on April 28, 1891, of The New York Botanical Garden Act of Incorporation, a site needed to be selected for the location of this new educational and scientific institution. Selection turned to an undeveloped park in the central Bronx. In 1887, a published description of this area notes, “it would be difficult to do justice to the exquisite loveliness of this tract without seeming to exaggerate…gigantic trees, centuries old, crown these summits, while great moss and ivy-covered rocks project here and there at different heights above the surface of the water, increasing the wildness of the science.” An 1893 newspaper account describes the romantic vistas of an old stone house, snuff mill, and other artifacts of previous land use, while surrounded with “almost every tree known to the American forest in the Northern clime.” The underlying bedrock, dark gray Fordham gneiss, shapes many rock outcrops, rolling hills, and steep slopes, ranging from 20 to 180 feet above sea level. -
Prospect Park Primary Source Packet
PROSPECT PARK PRIMARY SOURCE PACKET Student Name Prospect Park Primary Source Packet INTRODUCTORY READING "Timeline." Park History. Prospect Park Alliance, Web. 28 Jan 2014. ADAPTATION In 1834, the City of Brooklyn was chartered, and during the next 30 years it became the third largest city in the country, following only New York (Manhattan) and Philadelphia. Thousands of European immigrants settled in the growing city and sprawling farms gave way to homes. At the same time public parks were gaining popularity in America. Beginning in 1858, the design team of Frederick Law Olmsted and Calvert Vaux transformed more than 800 acres of jagged rock into Central Park in Manhattan. It was the first landscaped public park in the United States. Soon after a movement grew in Brooklyn for a park of its own. Leading the effort was James Stranahan, a businessman and civic leader. In the early 1860s, Stranahan argued that a park in Brooklyn "would become a favorite resort for all classes of our community, enabling thousands to enjoy pure air, with healthful exercise, at all seasons of the year…." Calvert Vaux sketched Prospect Park’s present layout for Stranahan. Vaux convinced Olmsted to join the effort, and construction of the park began on July 1, 1866 under their supervision. Olmsted and Vaux’s plan included rolling green meadows, carriage drives with scenic lookouts, waterfalls, springs and a forest. Organized sports gained popularity throughout the first half of the 1900s and the Park continued to host parades and celebrations that drew huge crowds. Parks Commissioner Robert Moses opened the zoo, bandshell and several playgrounds in the 1930s. -
Eureka Du 1200 State Street, Utica 13502 NY Ydux5
Name: Eureka Du Address: 1200 State Street, Utica 13502 NY Email: [email protected] Typography and Information Design PrattMWP College of Art and Design Class #1 Professor: Christina Sharp Content 1.creative brief 4.ideation 2.research 5.development 3.inspiration 6.conclusions Creative Brief In this map project we are selecting a New York State Park, and redesign an engaging and exciting map for the park in Adobe Illustrator for potential visitors through compositions, symbols, icon systems, labels, illustrations, and colors. The redesigned map should be practical and able to be used in the real world. My choice on the New York State Park is the Central Park in Manhatten New York. I Chose Central Park because of my own experience. As a first time visitor in New York last year, I visited Central Park with my cousin who has been living in NewYork for seven years. While I was doing my research, I did not find any map for first-time visitors from the central park official website. If I were on my own while I first visited Central Park, I would not be able to know where to begin my visit. I am sure that the other first-time visitors would have the same problem. These are the reasons that my map is designed for first-time visitors who have a limited amount of time. In my map, I featured several top attractions in and around the park. I also included some top-rated restaurants around and inside the park since Knowing where to consume good food is essential during visiting. -
ANDREW HASWELL GREEN-A Sketcn OE HIS ANCESTRY, LIEE and WORK
200 American Antiquarian Society. [April, ANDREW HASWELL GREEN-A SKETCn OE HIS ANCESTRY, LIEE AND WORK. BY SAMUEL SWETT GREEN. THEMISTOCLES is quoted as saying: "I know how to raise a small and inconsiderable city to glory and greatness." Seth Low, Mayor of New York when Mr. Green was killed, in announcing his death to the Board of Aldermen wrote: "It may truthfully be said that to no one man who has labored in and for the city during the last fifty years is the city under greater and more lasting obligations than to Andrew H. Green. The city itself, in some of its most beautiful and enduring features, is the monument of his love; and the city may well cherish his honored name with the undying gratitude that is due to a citizen who has made it both a greater and a better city than it was." Andrew Haswell Green was bom on Green Hill in Worcester, Massachusetts, October 6, 1820. He was a son of William Elijah Green and his third wife, Julia Plimpton. The father was born on Green Hill in 1777 and died in his eighty-ninth year, in the room in which he was born. He was graduated from Brown Univereity in 1798, studied law under Judge Edward Bangs of Worcester, became his partner and was afterwards connected in the practice of the law with Judge Bangs's son, Edward D. Bangs, for several years Secretary of State of Massachusetts. During the latter part of his life he withdrew from the practice of his profession and spent his time in the cultivation of his farm. -
2006 - 2007 Report Front Cover: Children Enjoying a Summer Day at Sachkerah Woods Playground in Van Cortlandt Park, Bronx
City of New York Parks & Recreation 2006 - 2007 Report Front cover: Children enjoying a summer day at Sachkerah Woods Playground in Van Cortlandt Park, Bronx. Back cover: A sunflower grows along the High Line in Manhattan. City of New York Parks & Recreation 1 Daffodils Named by Mayor Bloomberg as the offi cial fl ower of New York City s the steward of 14 percent of New York City’s land, the Department of Parks & Recreation builds and maintains clean, safe and accessible parks, and programs them with recreational, cultural and educational Aactivities for people of all ages. Through its work, Parks & Recreation enriches the lives of New Yorkers with per- sonal, health and economic benefi ts. We promote physical and emotional well- being, providing venues for fi tness, peaceful respite and making new friends. Our recreation programs and facilities help combat the growing rates of obesity, dia- betes and high blood pressure. The trees under our care reduce air pollutants, creating more breathable air for all New Yorkers. Parks also help communities by boosting property values, increasing tourism and generating revenue. This Biennial Report covers the major initiatives we pursued in 2006 and 2007 and, thanks to Mayor Bloomberg’s visionary PlaNYC, it provides a glimpse of an even greener future. 2 Dear Friends, Great cities deserve great parks and as New York City continues its role as one of the capitals of the world, we are pleased to report that its parks are growing and thriving. We are in the largest period of park expansion since the 1930s. Across the city, we are building at an unprecedented scale by transforming spaces that were former landfi lls, vacant buildings and abandoned lots into vibrant destinations for active recreation. -
Central Park:Park: Beautifulbeautiful && Kindkind
NewNew YorkYork CityCity’’ss CentralCentral Park:Park: BeautifulBeautiful && KindKind ByBy DaleDale LaurinLaurin,, RARA PartPart IIIIII SamenessSameness andand Change,Change, FirmnessFirmness andand FlexibilityFlexibility AA Friendship,Friendship, BasedBased onon KindnessKindness andand Criticism,Criticism, SavesSaves thethe ParkPark TheThe StructuresStructures ofof CentralCentral Park:Park: AssertiveAssertive andand YieldingYielding Sameness and Change; Firmness and Flexibility Many people think that Central Park is largely natural, that—as the famous New York Journalist Horace Greeley said on seeing it for the first time: “It’s good they left it alone.” But if Vaux and Olmsted had left the land north of 59th St. as they found it, CentralCentralCentral Park:Park: BeautifulBeautiful && KindKind instead of this vista, CentralCentralCentral Park:Park: BeautifulBeautiful && KindKind we would have this. CentralCentralCentral Park:Park: BeautifulBeautiful && KindKind Hard as it is to believe, Central Park is more a work of art than a product of “mother nature,” and one that called for tremendous effort and made for tremendous change. In his role as construction superintendent, Olmsted mobilized a workforce that numbered hundreds of men, clearing away refuge dumps, dredging swamps, moving tons of earth and rock, excavating—not only for the submerged cross-streets—but for miles of drainage pipe, filling in and preparing the soil, building bridges and park structures, laying down pathways and roads, and planting thousands of trees, shrubs, and plants on this largely barren site—and all according to the Greensward plan. CentralCentralCentral Park:Park: BeautifulBeautiful && KindKind However, the designers didn’t arrogantly change everything. They carefully studied and worked with the topography and existing elements of the site, leaving—for instance—- many of the magnificent rock outcroppings and rugged terrain intact, as natural features. -
American Society of Landscape Architects Medal of Excellence Nominations C/O Carolyn Mitchell 636 Eye Street, NW Washington, DC 20001-3736
AMERICAN SOCIETY OF American Society of Landscape Architects LANDSCAPE ARCHITECTS Medal of Excellence Nominations NEW YORK 205 E 42nd St, 14th floor c/o Carolyn Mitchell New York, NY 10017 636 Eye Street, NW 212.269.2984 Washington, DC 20001-3736 www.aslany.org Re: Nomination of Central Park Conservancy for Landscape Architects Medal of Excellence Dear Colleagues: I am thrilled to write this nomination of the Central Park Conservancy for the Landscape Architects Medal of Excellence. The Central Park Conservancy (CPC) is a leader in park management dedicated to the preserving the legacy of urban parks and laying the foundations for future generations to benefit from these public landscapes. Central Park is a masterpiece of landscape architecture created to provide a scenic retreat from urban life for the enjoyment of all. Located in the heart of Manhattan, Central Park is the nation’s first major urban public space, attracting millions of visitors, both local and tourists alike. Covering 843 acres of land, this magnificent park was designated as a National Historic Landmark in 1963 and as a New York City Scenic Landmark in 1974. As the organization entrusted with the responsibility of caring for New York’s most important public space, the Central Park Conservancy is founded on the belief that citizen leadership and private philanthropy are key to ensuring that the Park and its essential purpose endure. Conceived during the mid-19th century as a recreational space for residents who were overworked and living in cramped quarters, Central Park is just as revered today as a peaceful retreat from the day-to-day stresses of urban life — a place where millions of New Yorkers and visitors from around the world come to experience the scenic beauty of one of America’s greatest works of art. -
Central Park: an American Masterpiece
CENTRAL PARK: AN AMERICAN MASTERPIECE Central Park, constructed from 1857 to 1873, is a unique and long-recognized masterpiece of landscape architecture and an important work of 19th-century American art. Central Park’s designers, Frederick Law Olmsted and Calvert Vaux, struggled to establish themselves as artists and to equate their work with the venerable tradition of landscape painting. When the Park was near completion, Olmsted affirmed its status as a “single unified work of art.” Like every other work of art, Central Park is entirely difference that seasonal foliage and vegetation bring to each man-made. The only natural feature on the Park site is carefully composed landscape. the metamorphic rock called Manhattan schist, which is One criterion used to critique a great work of art is its approximately 450 million years old. To create the Park’s longevity—the ability to elicit emotion and communicate naturalistic lakes and streams, low-lying swamps were meaning long after its creation. In this sense, Central Park drained, a naturalistic shoreline was established, and is a masterpiece that has survived the test of time. City water pipes were installed; to create the Park’s vast, undulating meadows, swampland was filled with soil and Like every great work of art, Central Park requires constant rock outcrops were leveled with gunpowder; to create the care and attention to maintain its present beauty and energy. Park’s three woodland areas, barren rock-strewn slopes In the 1960s and 1970s the century-old preserve had become were planted with millions of trees, shrubs, and vines. forsaken and dilapidated. -
Parks, People, and Property Values: the Changing Role of Green Spaces in Antebellum Manhattan
Portland State University PDXScholar History Faculty Publications and Presentations History 4-2017 Parks, People, and Property Values: The Changing Role of Green Spaces in Antebellum Manhattan Catherine McNeur Portland State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/hist_fac Part of the United States History Commons Let us know how access to this document benefits ou.y Citation Details McNeur, Catherine, "Parks, People, and Property Values: The Changing Role of Green Spaces in Antebellum Manhattan" (2017). History Faculty Publications and Presentations. 34. https://pdxscholar.library.pdx.edu/hist_fac/34 This Post-Print is brought to you for free and open access. It has been accepted for inclusion in History Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Catherine McNeur Parks, People, and Property Values The Changing Role of Green Spaces in Antebellum Manhattan Abstract: The role that parks played in Manhattan changed dramatically during the antebellum period. Originally dismissed as unnecessary on an island embraced by rivers, parks became a tool for real estate development and gentrification in the 1830s. By the 1850s, politicians, journalists, and landscape architects believed Central Park could be a social salve for a city with rising crime rates, increasingly visible poverty, and deepening class divisions. While many factors (public health, the psychological need for parks, and property values) would remain the same, the changing social conversation showed how ideas of public space were transforming, in rhetoric if not reality. When Andrew Jackson Downing penned his famous essays between 1848 and 1851 calling for New York City to build a great public park to rival those in Europe, there was growing support among New Yorkers for a truly public green space. -
Central Park Conservancy
CENTRAL PARK An American Masterpiece Central Park, constructed from 1857 to 1873, is a unique and long-recognized masterpiece of land- scape architecture and the most important work of American art of the 19th century. Central Park’s co-designers, Frederick Law Olmsted and Calvert Vaux, struggled to establish themselves as artists and to equate their work with the venerable tradition of landscape painting. When the Park was near completion, Olmsted affirmed its status as a “single unified work of art.” Like every other work of art, Central Park is entirely day. Come back to the Park throughout the year and marvel man-made. The only natural feature on the Park site is at the difference that seasonal foliage and vegetation bring to the metamorphic rock called Manhattan schist, which is each carefully composed landscape. approximately 450 million years old. To create the Park’s One criterion used to critique a great work of art is its naturalistic lakes and streams, low-lying swamps were drained, longevity — the ability to initiate emotion and communicate a naturalistic shoreline was established, and city water pipes meaning long after its creation. In this sense, Central Park is a were installed; to create the Park’s vast, undulating meadows, masterpiece that has survived the test of time. swampland was filled with soil, and rock outcrops were leveled with gunpowder; to create the Park’s three woodland areas, Like every great work of art, Central Park requires constant barren rock-strewn slopes were planted with millions of trees, care and attention to maintain its present beauty and energy. -
Annual Report of the Commissioners of the State Reservation at Niagara
226695 I '^4%. TWENTIETH ANNUAL REPORT COMMISSIONERS State Reservation at Niagara FROM OCTOBER U I9u2 TO SEPTEMBER 30, 1903 TRANSMITTED TO THE LEGISLATI^KE FEBRUARY 4. 1904 ALBANY OLIVER A . Q U A Y L E State Legislative Pbinteb 1904 : State of New York No. 34. IN ASSE^MBLY, February 4, 1904. TWENTIETH ANNUAL REPORT OF THE Commissioners of the State Reservation at Niagara* Niagara Falls,, N. Y., January, 1904. To the Honorable S. Frederick Nixon^ Speaker of the Assembly, A Ihany, IV. Y. Sir.—I herewith transmit, for presentation to the Legislature of the State of New York, the Twentieth Annual Report of the Commissioners of the State Reservation at Niagara, for the fiscal year ending September 30, 1903. Yours respectfully, 19 01 ^ It ^ • CHARLES M. DOW, President. TWENTIETH ANNUAL REPORT COMMISSIONERS State Reservation at Niagara* FOR THE FISCAL YEAR FROM OCTOBER I, 1902, TO SEPTEMBER 30, 1903. Commissioners. CHARLES M. DOW, President. • GEORGE RAINES, ALEXANDER J. PORTER, THOMAS P. KINGSFORD, ALVAH K. POTTER. Treasurer and Secretary. EDWARD H. PERRY. Superintendent. EDWARD H. PERRY. CONTENTS, Paob. Letter of transmittal 3 Names of Commissioners 4 Report of tlie Commission 9 Changes in the Commission 9 Death of the Hon. Andrew H. Green, President 10 Death of the Hon. Thomas V. Welch, Superintendent ^. 12 R6sum6 of improvements 14 Estimated receipts 15 Requirements for ordinary maintenance 15 Requirement for electric lighting and power 16 Report of the Treasurer 21 Report of the Superintendent 47 System of water pipes 47 Grading and tree -
Calvert Vaux: Architect and Planner by William Alex
Calvert Vaux: Architect and Planner by William Alex alvert Vaux, architect and planner, is an unjustly neglected nineteenth-century figure. Long overshadowed by his more famous partners, Andrew Jackson Downing and Frederick C Law Olmsted, Vaux has failed to receive recognition a the first professional in America to combine the talents oflandscape designer, architect, and planner. Working with Downing during the early 1850s, Vaux established a set of distinctive domestic architec tural designs that served as a standard throughout the remainder of the century. Vaux initiated the process that led to the creation of Central Park in New York and Prospect Park in Brooklyn, and per suaded Olmsted to join him in both endeavors. Their designs for these two prototypical country parks in the city were of crucial importance in forming the urban face of nineteenth-century indus trial America. Vaux shared the strong reformist impulse that infused many of his contemporaries and saw his work as an opportunity to translate "the republican art idea" into physical form. While the ultimate effect of this effort is still much debated, Vaux and Olmsted created. parks that were clear manifestations ofa particular notion of the democra tizing value of amenable public spaces. Vaux also found an outlet for his concern in designs for shelters for the Children's Aid Society and for the first buildings of the Metropolitan Museum of Art and the American Museum of Natural History, soon to become two of New York's pre-eminent cultural institutions. Although Calvert Vaux's greatest achievements were collaborative, they nonetheless bespeak a creative genius that for too long has gone uncelebrated.