IN THE LATE 1930s, new yorkers barely into middle age could remember a very different Fifth Avenue. The boulevard, a mere decade or so earlier, had been a residential neighborhood of immense Gilded Age houses. It had since been fully given over to commerce, represented by department stores like Saks Fifth Avenue and Bergdorf Goodman as well as the immense Rockefeller Center complex. In March 1939, the city tried to restore a wisp of grace to the limestone canyon. “That business section of Fifth Avenue, which has not known the sight of trees since the days of the stately mansions and the horse and buggy,” one press outlet wrote, “took its first step in arboreal recovery” when a “50-foot elm tree, the first of eight to be planted at Rockefeller Center, was placed into the huge pit prepared for it at Fifth Avenue and 51st Street.”
The elms didn’t last, although there are more trees along the sidewalks today, including one in that same curbside spot (honey locust). Nor did the instinct to humanize Fifth Avenue, which in the 85 years since has grown ever more off-putting to any method of movement that isn’t on four wheels. It took about 50 of those years before New York City’s planners grasped that prioritizing cars is a disaster for a city like ours, and another decade or so before they started to act on this dawning principle. Robert Moses and his literally my-way-or-the-highway attitude was a major reason for that, but a lot of the Establishment agreed with him. The auto-centric avenues we ended up with do not even work for drivers: It is not uncommon to see crawling traffic in front of Rockefeller Center at midnight. Pedestrians are uncomfortably packed on the sidewalks, too, especially during summer-tourist and holiday-shopping seasons. Fifth Avenue, you could argue, is a victim of its own success. Everyone wants a piece of it, and there isn’t enough to go around.
Diese Geschichte stammt aus der October 21 - November 03, 2024-Ausgabe von New York magazine.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der October 21 - November 03, 2024-Ausgabe von New York magazine.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
Trapped in Time
A woman relives the same day in a stunning Danish novel.
Polyphonic City
A SOFT, SHIMMERING beauty permeates the images of Mumbai that open Payal Kapadia's All We Imagine As Light. For all the nighttime bustle on display-the heave of people, the constant activity and chaos-Kapadia shoots with a flair for the illusory.
Lear at the Fountain of Youth
Kenneth Branagh's production is nipped, tucked, and facile.
A Belfast Lad Goes Home
After playing some iconic Americans, Anthony Boyle is a beloved IRA commander in a riveting new series about the Troubles.
The Pluck of the Irish
Artists from the Indiana-size island continue to dominate popular culture. Online, they've gained a rep as the \"good Europeans.\"
Houston's on Houston
The Corner Store is like an upscale chain for downtown scene-chasers.
A Brownstone That's Pink Inside
Artist Vivian Reiss's Murray Hill house of whimsy.
These Jeans Made Me Gay
The Citizens of Humanity Horseshoe pants complete my queer style.
Manic, STONED, Throttle, No Brakes
Less than six months after her Gagosian sölu show, the artist JAMIAN JULIANO-VILLAND lost her gallery and all her money and was preparing for an exhibition with two the biggest living American artists.
WHO EVER THOUGHT THAT BRIGHT PINK MEAT THAT LASTS FOR WEEKS WAS A GOOD IDEA?
Deli Meat Is Rotten