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A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective
“A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective” compares Phase One with Phase Two, and describes what is proposed for Phase Three. Design features to be reviewed include the walk system, seat furnishings, plantings, signage and graphics, water feature and drinking fountains, public art, lighting, maintenance and irrigation, and Phase 3. The author also offers suggestions on economic impacts, restrictions and user activities, sustainability, and studies/research.
Originally, due to the length and photo essay nature of the contribution, the series was presented approximately every few weeks in 14 parts between 2013 and 2015; to ensure background information, the Series Introduction is repeated on all.
Part 7 – Lighting
By Steven L. Cantor, Landscape Architect – Originally Posted March 12, 2014
All Photos © Steven L. Cantor
Series Introduction
Phase One High Line on July 15, 2009.
Designed by landscape architect James Corner of Field Operations, architect Ricardo Scofidio of Diller Scofidio + Renfro with planting design by Piet Oudolf, the High Line, the remarkable linear park built on an abandoned railroad viaduct in New York City, has been enormously popular.
The design team anticipated how well green roof technology would function and adapt to the viaduct since it could handle at once the huge weight of several fully-loaded trains carrying heavy tonnage. As an intensive green roof, it has very few structural load limits which would curtail use. At peak use times there can be lines of pedestrians waiting to enter with as many as 20,000 visitors per day on weekends.[1]
The High Line has won numerous awards, and in particular several as a green roof, for example, in 2013 and 2010 from the American Society of Landscape Architects, Green Roofs for Healthy Cities in 2011, and in 2010 from the International Green Roof Association. This is a rare public project in which the success of the initial phase contributed to a high level of funding for subsequent phases.
7.16.11.
The High Line has benefited from intense scrutiny as a result of lectures in which the designers were questioned; public hearings, media critiques in newspapers, journals, and blogs; lobbying from specific organizations, such as the Rainforest Coalition; and comments from city government and other public officials.
Improvements or adjustments were implemented to some design elements of the first phase, and significant modifications were done in the second phase. Are these changes aesthetic, appropriate and ethical, and are they consistent with the goals of sustainability? Is the High Line a sustainable design?
Part 7: Lighting Discussion
Enjoying the High Line at dusk; 2.18.12.
A large variety of lighting types were used in the first phase of the High Line.
I counted at least eight distinct types: a bollard in the planting beds; a continuous LED lighting incorporated in the guardrails on either side of the trestle which achieves a ribbon-like glowing effect; the integrated bench downlights; uplights in planting beds; low ankle-high light strips along the edge of the walk or planting beds; large light posts at elevators and other entrances; special lighting for key elements like the water feature; and, finally, ambient lighting from nearby or overhead buildings.
Notice the dramatic effect of lighting at different times of the day on the same landscape in the two photos below of 7.04.11:
The lighting in the second phase is less varied. Some sections of the Philip A. and Lisa Maria Falcone Flyover in Phase Two have reasonably effective downlights and uplights.
The Falcone Flyover above and below on 2.18.12.
Unfortunately, they are often visible to pedestrians. As the plant materials, particularly the trees, reach maturity, the occasional glare or distraction of these lights will probably be somewhat muted by foliage or will need re-positioning.
The Falcone Flyover; 2.18.12.
The lighting effects would be more pleasing if the light sources were not so visible, so that visitors would sense an illuminated, accented or highlighted space rather than being drawn to points of light. It would be a relatively easy matter to adjust the locations of some uplights and downlights, so that they are not visible to pedestrians.
11.30.13.
In general, the lighting over the entire High Line is effective because it is recessive:
Subtle pools of light, the glowing effects provided by the defining guardrails and occasional accents give pedestrians enough assistance to easily meander along the route.
Additional High Line Public Art Photos
That’s it for now. I hope that these different sections of text and images of the High Line will generate discussion.
Come back next time for Part 8 of “A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective” where I’ll discuss Maintenance and Irrigation.
Steven L. Cantor
Photos © Steven L. Cantor are available for individual purchase.
Cumulative 14-part “A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective” Series End-notes
1. Ulam, Alex. “Back on Track,” Landscape Architecture Magazine. Volume 99, No. 10, October, 2009, p. 97.
2. http://www.thehighline.org/news/2012/01/24/major-milestone-for-the-high-line-at-the-rail-yards
3. http://www.thehighline.org/sustainability
4. http://www.thehighline.org/design/planting
Publisher’s Note:
See Steven L. Cantor’s ENTIRE 14-part “A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective” Series.
Steven L. Cantor, Landscape Architect
Photo by Thomas Riis.
Steven L. Cantor is a registered Landscape Architect in New York and Georgia with a Master’s degree in Landscape Architecture from the University of Massachusetts, Amherst. He first became interested in landscape architecture while earning a BA at Columbia College (NYC) as a music major. He was a professor at the School of Environmental Design, University of Georgia, Athens, teaching a range of courses in design and construction in both the undergraduate and graduate programs. During a period when he earned a Master’s Degree in Piano in accompanying, he was also a visiting professor at the College of Environmental Design at the University of Colorado, Boulder. He has also taught periodically at the New York Botanical Garden (Bronx) and was a visiting professor at Anhalt University, Bernberg, Germany.
He has worked for over three decades in private practice with firms in Atlanta, GA and New York City, NY, on a diverse range of private development and public works projects throughout the eastern United States: parks, streetscapes, historic preservation applications, residential estates, public housing, industrial parks, environmental impact assessment, parkways, cemeteries, roof gardens, institutions, playgrounds, and many others.
Steven has written widely about landscape architecture practice, including two books that survey projects: Innovative Design Solutions in Landscape Architecture and Contemporary Trends in Landscape Architecture (Van Nostrand Reinhold, John Wiley & Sons, 1997). His book Green Roofs in Sustainable Landscape Design (WW Norton, 2008), provides definitions of the types of green roofs and sustainable design, studies European models, and focuses on detailed case studies of diverse green roof projects throughout North America. In 2010 the green roofs book was one of thirty-five nominees for the 11th annual literature award by the international membership of The Council on Botanical & Horticultural Libraries for its “outstanding contribution to the literature of horticulture or botany.”
Steven’s most recent book is Professional and Practical Considerations for Landscape Design (Oxford University Press, 2020) where he explains the field of landscape architecture, outlining with authority how to turn drawings of designs into creative, purposeful, and striking landscapes and landforms in today’s world.
He has been a regular attendee and contributor at various ASLA, green roofs and other conferences in landscape architecture topics.
In recent years Steven has had more time for music activities, as a solo pianist and accompanist. In 2011 he performed a solo piano program at the Winter Rhythms festival at Urban Stages Theater. He’s a regular performer at musicales hosted in Chelsea and other settings in Manhattan. On August 25, 2013, Leonard Bernstein’s birthday, he performed with Stephen Kennedy Murphy a program of excerpts from the composer’s MASS and Anniversaries.
Steven joined the Greenroofs.com editorial team in December, 2013 as the Landscape Editor. In February, 2015 he completed his 14-part series “A Comparison of the Three Phases of the High Line, New York City: A Landscape Architect and Photographer’s Perspective.”
