• This website includes dozens of videos, hundreds of essays, and thousands of drawings created over the past twenty years. Search to learn more about the history of buildings, places, prisons, Newark, New York City, and my PhD research on spatial inequality.

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Warren Street School Demolition

As featured in:
1. Darren Tobia for Jersey Digs

2. The Vector, NJIT’s student newspaper
3. Read my analysis of campus architecture for some context on this demolition.

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“Those historians want to keep these old bricks. I can’t see why you’d want that s**t. F**k it. We might just slip in some new bricks. You can’t tell the difference anyway.”

– Conversation overheard between demolition workers at the Warren Street School

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“The university has never demolished any historic building of any value. Name one.”

– President of the university during a community meeting in October 2020

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When walking past the historic Warren Street School in spring 2021, a demolition scene by the local university shocked me. The building had been nominated to the National Register of Historic Places, together with five other Newark school buildings. Therefore, the drastic destruction should have been under state and local reviews. But demolition was approved on April 1, 2021, on April Fools Day.
The 150-year-old school was built by Jeremiah O’Rourke, the Supervising Architect for the U.S. Treasury Department and the architect of Sacred Heart Basilica and some of the largest civic structures in 1890s America. Before the university acquired the building in salvageable condition, it was the home of American History High School, founded by beloved Professor Clement Price to promote learning of American and local history by coming generations. Even with its windows now stripped out and demolition equipment parked around it, the grand master work for Newark’s proud history of public education was crying for this painful end delivered by the wanton and shameful act of university leadership.
At the orders of the university president, a short-sighted acceleration of demolition around the campus in the country’s third oldest major city has been savagely damaging the city’s history. These actions add to the list of hundreds of buildings already demolished in the area. While institutions like Rutgers and developers like RBH and the Hanini Group have embraced historic preservation, this university still insists on wiping the slate clean of history that it views not as an asset but as an inconvenience.

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The future of any great institution depends on the preservation and appreciation of its own history. I believe in saving old buildings not just because they are pretty. More than an argument for historic preservation on aesthetics alone, history – and the visible presence of history – shapes our appreciation for the sacrifices of those before us. Passing by the Warren Street School for twenty years, I thought every time of the thousands of immigrant children who attended school here for over 170 years uninterrupted. I thought of the Irish and Italian brick masons who carved the school’s terracotta ornaments by hand on wages of 5 and 10 dollars a day. I thought of these children’s parents, who came to Newark by steamship and steam engine to give to their children a better shot at life than they could ever dream of. I thought of the architect who built this building in the 1880s with care and love and hope that better civic architecture will produce better citizens.
It is the burden of history that shapes us, and it is on our commitment (or failure) to interpret and enrich history for the next generation on which each of us will be judged. I am reminded of architectural critic Ada Louise Huxtable’s words in 1963 when she described with horror the demolition of New York Penn Station.
“Until the first blow fell no one was convinced that Penn Station really would be demolished or that New York would permit this monumental act of vandalism against one of the largest and finest landmarks of its age of Roman elegance. Somehow someone would surely find a way to prevent it at the last minute – not-so little Nell rescued by the hero – even while the promoters displayed the flashy renderings of the new sports arena and somewhat less than imperial commercial buildings to take its place.
“It’s not easy to knock down nine acres of travertine and granite, 84 Doric columns, a vaulted concourse of extravagant, weighty grandeur, classical splendor modeled after royal Roman baths, rich detail in solid stone, architectural quality in precious materials that set the stamp of excellence on a city. But it can be done. It can be done if the motivation is great enough, and it has been demonstrated that the profit motivation in this instance was great enough.
“Monumental problems almost as big as the building itself stood in the way of preservation; but it is the shame of New York, of its financial and cultural communities, its politicians, philanthropists, and planners, and of the public as well, that no serious effort was made. A rich and powerful city, noted for its resources of brains, imagination and money, could not rise to the occasion. The final indictment is of the values of our society.
“Any city gets what it admires, will pay for, and, ultimately, deserves. Even when we had Penn Station, we couldn’t afford to keep it clean. We want and deserve tin-can architecture in a tin-horn culture. And we will probably be judged not by the monuments we build but by those we have destroyed.”

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Learn from the past.
Live in the present.
Plan for the future.

This was the inscription mounted at the Warren Street School’s entrance, which demolition cranes tore off and crushed in the dumpster. A site that once had a past, now has no past to learn from and to inform the present and future. Through demolition, our link with history is severed.

Bulldozer Urbanism

As featured in:

1. Preservation New Jersey: Ten Most Endangered Historic Places  May 18, 2021
2. After Warren Street School Demolished, James Street Named ‘Most Endangered’  May 18
3. Newark Historic District Designated as Endangered  May 18, 2021
4. James Street Community Rushes to Stall NJIT’s Demolition of Historic School  May 6, 2021
5. Nothing Lasts Forever, Not even at NJIT   February 1, 2021
6. SHPO Delays NJIT’s Plan to Raze 4 Historic Buildings    January 8, 2021
7. NJIT’s Plans to Demolish Buildings in Historic District Temporarily Derailed   January 7, 2021
8. Old Jail Could Inspire Youth to Stay Out of Prison – But Only If It Survives   July 4, 2020
9. NJIT’s Plans to Modernize Its Campus Could Cost Newark Some History   March 12, 2020

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James Street Commons demolitions completed and proposed as of April 2021

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Note: Visiting NJIT’s architecture school at age six and seeing students working there was what initially inspired my desire to study architecture. NJIT is an asset to Newark, and the school deserves the quality of campus architecture to match. I wrote and circulated this essay about NJIT’s under-performing campus design to members of NJIT and the Newark community. I am sharing it online, too, in the hope that future leaders of NJIT will collaborate with the community to create campus architecture that is culturally and historically sensitive to Newark.

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A Pedestrian’s Observations

Experiencing NJIT’s campus from the street

In publicity materials and in meetings with Newark residents and historians, the New Jersey Institute of Technology emphasizes the quality of its campus architecture and its track record of historic preservation. The school highlights its Central King Building (formerly Central High School) and Eberhardt Hall (formerly Newark Orphan Asylum) as trophies of historic preservation.
However, beyond its fortified campus carved out during the 1960s era of “urban renewal,” the university is now escalating its demolitions in the neighboring James Street Commons Historic District. Listed since 1978 on the National Register of Historic Places, this neighborhood is the city’s first historic district and contains some of Newark’s most significant historic assets. The spending of millions of dollars on building demolitions is odd when NJIT faced a 35 million dollar budget deficit in the first half of 2021,[1] and when other Newark institutions and developers are following an opposite path of historic preservation.
As NJIT expands into the James Street Commons Historic District, there is concern that new construction will not improve the built environment. For instance, NJIT’s proposal for 240 MLK included few to no windows at pedestrian eye level. The entrance to the parking garage and trash collection was from the side of the building that faced toward the residential neighborhood. Several other structures in the neighborhood are also at risk or have already been demolished by NJIT, such as Mueller’s Florist, which was a former corset and tin toy factory built in the 1880s to 1890s. Similarly, NJIT acquired the c.1890 brownstone at 317 MLK for ~$450,000 in livable condition. In following weeks and months before NJIT received demolition approvals, windows were left open and removed, thereby accelerating decay and water damage. The current demolitions follow a longer pattern among hundreds of other buildings demolished in my neighborhood. This would all be okay if only there was better quality architecture to replace what is being lost.
I write this essay as a series of architecture observations followed by recommendations. Firstly, I provide examples of how NJIT’s current campus design is detrimental to neighborhood street life. Secondly, I document the neighborhood’s appearance before and after NJIT’s interventions through my photo comparisons of past and present. Thirdly, I provide examples of more sensitive models for alternative neighborhood redevelopment.

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Completed in 2017, NJIT’s athletic facility is the newest building on campus.
The pedestrian view along the sidewalk has no windows.

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Demolition of the 140-year-old Bowers corset factory in progress (aka Mueller’s)

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Map of NJIT campus. Buildings that face toward the street with no windows at or near eye level are indicated with red lines. Surface parking lots and parking structures for commuter students and faculty are indicated with red squares.

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Architecture of Endurance in Manhattan Chinatown

As featured by City as Living Laboratory
And the Municipal Art Society of NY

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Eldridge Street Synagogue and Manhattan Bridge

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Welcome to Chinatown. With a population of ~150,000, this neighborhood is the largest ethnic Chinese community in the Western Hemisphere. Join us on a mile-long walk through space and time.
A few questions to keep in mind during our walk:
+ How has Chinatown changed over two centuries of urban growth? What has not changed?
+ What other cultures and ethnicities lived here before or simultaneously with the Chinese?
+ How are the challenges the Chinese faced imprinted on the built environment of Chinatown?
+ How does Chinatown street life blur the boundary between public and private space?

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Interactive Tour Map

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Thank you to Liza Cucco, Olivia Georgia, and Stephen Fan for co-creating this virtual tour. City as Living Laboratory has been exploring this neighborhood through walks for many years. A recent initiative explored issues of climate, equity, and health in Chinatown’s unique food system.

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Imagining a world after the coronavirus

Co-created with the Architectural League of New York

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The converging and ongoing crises of COVID-19, climate change, radical economic inequality, pervasive racism, and racist violence require that all systems, infrastructures, and institutions, including architecture, space, and cities, be reimagined. This reimagining must include how and to what ends architecture, landscape architecture, and urban design can act in the world.
This workshop, organized by The Architectural League of New York, brought architects, planners, and historians in conversation to listen to each other, identify critical issues, and develop ideas about what might and should be done.

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After the virus ends, millions will become used to – and even prefer – work from home. Employers downsize offices. Fewer people commute by car. Our now overbuilt highways and airports will be restored to nature.
Now thousands of vacant offices and buildings will be too expensive and energy inefficient. Abandoned towers, malls, airports, and arenas will become ruins, a modern Acropolis.
Instead of flying to Europe, eco-friendly tourists visit this new “Museum to American Civilization.”
Demolished highways and buildings in flood zones will become landfill. The sedimentary layers in these landfill mountains will be a geological history of American civilization in the Anthropocene.

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Credits

Directed by Tak Ying Chan
Written by  Myles Zhang
Narrated by Natsume Ono
Image credits
Tak Ying Chan (NYC Subway)
Tal Fuerst (Little Italy, Manhattan)
Natsume Ono (Ann Arbor, Michigan)
Hayden Bernhardt (Birmingham, Alabama)
Myles Zhang (NJ Meadowlands)
Special thanks
Julio Salcedo-Fernandez
The Architectural League of New York

Demolishing Public Space at New York Penn Station

What does old Penn Station’s loss reflect about the evolution of public space in New York City?

Written with Evander Price, recent PhD student in American Studies and chronocriticism at Harvard. Thanks also to Adam Brondheim for his insights about historic preservation in NYC.

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Download this essay as a PDF file

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The old waiting room, [1] once the largest indoor public space in New York City, is now a parking lot. [2]

Demolition crews began hacking away at the limestone walls, stone eagles, and thirty-foot tall Doric columns of old New York Penn Station in October 1963. In a construction industry where architects typically quote projects as lasting eighteen months, the demolition and rebuilding of old Penn Station lasted five years. At its 1910 opening, old Penn Station was the largest and most expensive infrastructure project ever built in New York City. The station’s associated service tunnels stretched 5.5 miles under the Hudson and East River. At 350 feet long and 150 feet high, old Penn Station’s waiting room was the city’s largest internal space. Construction cost $100 million, or $2.7 billion in 2020 adjusted for inflation. By 1963, this was the largest and most expensive structure ever demolished in New York City.[3]
In a 1963 conversation with The New York Times, the developer justified demolition as “putting passengers first” and then clarified: “The outside is the only thing of artistic value as far as I’m concerned. The handling of 200,000 passengers is much more important to me. […] In some areas the land is just too valuable to save anything that doesn’t fully utilize it.”[4] The developer’s aspirations for Penn Station’s replacement, however misguided, were no less monumental in their imagination: to construct a profitable office skyscraper and Manhattan’s largest arena for sporting events and conventions. Office workers and event spectators could move directly from trains to their seats without stepping outside, or engaging with the public space of the city streets.

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1968 advertisement for the new station [5]

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“The fact is that the redevelopment of the Pennsylvania Station into a $90 million building complex will transform the area from a static uneconomic burden on the railroad into a viable commercial and recreational center of benefit to the entire West Thirty-fourth Street neighborhood and the public at large.” – Allen J. Greenough, Pennsylvania Railroad President.[6]

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Architects have long positioned the demolition of monumental old Penn Station as a key moment in the discourse on historical preservation. This was, to quote leading New York City historian Kenneth Jackson, the moment when: “Human beings, myself included, have an unfortunate tendency to appreciate people and things only after they are gone. Pennsylvania Station is the catalyst for the historic preservation movement.”[7] The public realized that even a monument as expensive and permanent as Penn Station could vanish with no mechanism for the public to object. Activists pressured the city government to pass New York’s first ever landmarks preservation law in 1965.[8] Some historians, like Anthony Wood, have posited that the movement toward landmarks preservation began years before Penn Station’s demolition, and that this demolition was not critical in motivating landmarks preservation.[9] Nonetheless, in the following decades, the city protected over 120,000 historic buildings (comprising about 14% of New York City’s built environment).[10]
Less cited and discussed is how Penn Station’s loss parallels a larger late-twentieth-century trend to erode and privatize the commons. The demolition and rebuilding of old Penn Station is a lens to examine the competing tensions of economics vs. aesthetics and private vs. public interests. The demolition and reconstruction of old Penn Station mirrors the larger abandonment of government and corporate responsibility for maintaining and upholding public space.

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Although Midtown’s largest building in this c.1911 photo, skyscrapers soon surrounded Penn Station.[11]

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The Vanishing City of Newark

Vanishing City is a visual documentary about architecture and redevelopment in Newark.
I am witness to the poetic decay of my city’s cultural heritage. An abandoned barge sinks in murky waters.  A former factory tumbles before the wrecking ball.  A sea of weeds lays siege to a vacant home. An empty lot is a gaping hole, a missing tooth, in the urban body. As a wall crumbles to the ground, a tree, anchored to the wall, reaches for the sky. While my city’s industrial past succumbs to demolition, new buildings grow from old lots.
Behind this slow decay, there is a hidden beauty in the transient. It is the realization that what was built to last forever will not last. It is the expectation that the destruction of the past could contain the seeds of a better city. The ruin forces the viewer to imagine and reconstruct what was there in ways the restored building does not.
Will the monuments we erect to culture and capitalism endure? The ruins of the Athenian Acropolis became a symbol for democracy. Could the same fate await our society’s equivalent forums, the strip mall, grocery store, and drive-thru? Will we be good ancestors?
My transient urban environment compels me to examine and re-examine my sense of place before it vanishes from memory.

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Downtown Newark

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Newark Broad Street Station

Newark Metamorphosis

A story of urban change told through picture postcards

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Developed in collaboration with the Newark Public Library
for a summer 2018 exhibition on the history of Newark’s built environment

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An interactive map and photo project about Newark past and present, 1916 and today
Over the past century, Newark lost much of its architectural heritage and urban fabric. Along with cities like Chicago, Camden, and Detroit, Newark’s built environment evolved in response to population loss, urban renewal, and suburban growth. Explore the changing face of Newark in this interactive map with 150 comparative views of past and present streetscapes.
All historic images in this series are selected from the Newark Public Library’s collection of c.1916 postcards. All new photos were taken in 2016 to commemorate the 350th anniversary of Newark’s 1666 founding. My images capture Newark around 1916, at a moment just before American cities entered the automobile era. Postcards were a medium of communication popular in the early twentieth century. Many postcards feature views of Newark’s important landmarks; others are of mundane street scenes and structures. Through color corrections, careful editing, and marketing, these postcards present a curated and idealized view of Newark as postcard artists, business owners, and city planners desired the city to be remembered.

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Trouble navigating map? Watch video tutorial below.   |   View all images on a single page.   |   Spot a mistake? Contact Myles.

A city is more than its monuments, skyscrapers, and grand civic architecture. A city is a collection of structures, small and large, wood and stone, humble and grand. Newark has preserved its large monuments but has not maintained the cultural and urban fabric of its tenements, wood frame houses, warehouses, and single-family homes. Individually, these small-scale structures are humble and unimportant. Yet collectively, they constitute the living fabric of the city. Too many have been demolished in the name of progress, creating a cityscape radically different from the city’s height in the early twentieth century. For a short video about Newark’s evolving neighborhoods click here.

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Postcard

Launch map and read essay about urban change.

(Link opens in new window.)

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Related Projects

Old Essex County Jail
My exhibit on a long-abandoned Newark landmark
Newark Vanishing
A reflection and art project about demolition in Newark
Growing up in Newark
Essay about my childhood experiences in this city

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Newark, a century after 1916

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Downtown Newark

Downtown Newark in 1912 and in 2016. Note how the building at right, under construction in 1912, is now abandoned in 2016.

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In the turn of the century view of downtown Newark, one sees the architectural styles popular at the time: stone and granite victorian and gothic structures. At left, is Prudential’s old headquarters demolished in 1956. At left, is Newark’s central post office. Unlike today, the postal service was central to the functioning of society and was often the most important structure in a town. This post office happens to be in the Romanesque Style popular in the 1880s. After the post office outgrew this structure and moved elsewhere in 1934, the structure was soon demolished in the 1940s to 1950s to construct an unimpressive dollar store. All buildings in this image are currently demolished.

Prudential Insurance headquarters (left) and the City Post Office (right) c.1916. Both now demolished.

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Prince Street

Prince Street in 1916 and 2016. The complete and total loss of a neighborhood.

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Drawing by Winsor McCary, which first appeared in a 1928 article "Newark 58 Years from Today"- when Newark would be 150 years from the year of its 1836 incorporation as a city.

Drawing by Winsor McCary from a 1928 article “Newark 58 Years from Today” shows a futuristic city that never came to be.

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Launch map and read essay about urban change.

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Walking in Manhattan

Featured in this March 2019 interview from Ratrock
And in this July 2016 article from The Edublogger

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Strolling in New York City is a world tour. The street fairs of Spanish Harlem mesh into college town Columbia. Columbia gives way to the shabby chic of Harlem. A few blocks farther and I am drowned by the tourists of Times Square. Further still and I reach the bustle of Wall Street brokers. I stroll and try to identify the passing languages. Spanish in the outer boroughs. Polish in Greenpoint. Russian in Brighton Beach. Cantonese in Chinatown. French and German shoppers in SoHo. There could be no more fitting a place for the United Nations.
Reading Here is New York by E.B. White, I realize some aspects of New York have changed little in the past seventy years. The streets, cars, and tenements are different, but the essential spirit of dynamic and diverse urbanism remains. Here is New York.
Learn more about my New York walks in this mini lecture. Or browse the collections below of photos and drawings. They are organized into ten urban walks, with each day in a different Manhattan neighborhood.

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Day One: Chinatown and Lower Manhattan

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City Hall Park and the Financial District

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The image above is one of a series of six, each measuring 26 by 40 inches. Each drawing is of a single neighborhood in New York City, based on Google Earth satellite imagery. The drawing took between 60 and 100 hours of work.

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This ink and watercolor drawing of NYC Chinatown expresses my lifelong connection with this neighborhood. The Chinese moved here by necessity in the nineteenth century and were condemned by poverty to these narrow alleys and cramped rooms. Over time, they made the space their own through interventions in the cityscape. The large corporate skyscrapers and government offices in the distance tower over the immigrant tenement blocks.

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View more of my artwork about Chinatown.

Or read this essay reflecting on the everyday lives and architectures of Chinatown residents.

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Day Two: SoHo

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Mercer Street in SoHo

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Day Three: The East and West Village

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Day Four: The High Line

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Day Five: Madison Square

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Domino Sugar Factory (view from Williamsburg Bridge)

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Day Six: Midtown

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Jurgen from Germany

Jurgen from Germany

A musician named Jurgen approaches and observes my painting of Grand Central Terminal.
Jurgen: You are an artist.
Me: No, that is a title I have yet to earn. Are you from Germany? You sound like the director Werner Herzog.
Jurgen: Herzog? Him? His films put me to sleep. [Jurgen shows me his noteboook.] If I lived in Nazi Germany, the Nazis would burn my work, maybe even me. My grandfather, he used to go to rallies to give the Nazi salute. I still don’t know why he did that. I don’t think he even knew.

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A Latin American man driving a pickup truck rolls down his window and asks:
Him: How far is the Statue of Liberty from here?
Me: Oh… About seven miles.

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Jihadist proclaims that "America will soon be destroyed by fire!"

Convert proclaims: “America will soon be destroyed by fire!”

Elderly African-American man approaches and extracts a crumpled and blurry image of a dollar sign from his bag.
Him: Hey, can you draw me some money bags.
Me: Sure.
Him: You know, it’s for my product. I’ll pay you well. What’s your name?
Me: Myles Zhang
Him: You Chinese? You parents from China?
Me: No, America.
Him: No, China…!
He walks off.

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Convert preaches the impending doom of America on Sixth Avenue and 34th Streets:
“The US government, they invented this virus that will kill off all the Black people.”

View more of my work about Grand Central Terminal.

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Day Seven: Central Park

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Day Eight: Riverside Drive

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Waterfront

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Day Nine: Morningside Heights

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Cathedrals of Industry

Cathedrals of Industry: Saint John the Divine and the 125th Street Viaduct

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View more of my artwork about Saint John the Divine.

View more of artwork about Columbia University’s campus.

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Day Ten: Harlem and Washington Heights

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125th Street Viaduct in Harlem

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Golden Rectangles Superimposed

This composition visualizes movement through circling spirals that align to the Golden Rectangle.

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View more of my artwork about Harlem and the Bronx.

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New York City.

“The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain elusive.”
– E.B. White, Here is New York

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Murphy Varnish Lofts in Newark

Murphy Varnish, built in 1886, is one of Newark’s oldest factories still standing. Its brick walls, terracotta ornament, and intricate brickwork reflect a time when industrial structures were more than just functional. Murphy Varnish reflects a time when industry was central to Newark’s wealth and key to its future success. It is a monument to industry, built to last (and landmarked since 1979 by the National Park Service). Recent renovation efforts promise to turn this derelict structure into a community of apartments.
The summer after my first year at Columbia University, I had the privilege of working with the Studio for Urban Architecture & Design (SUAD), the architects hired to redevelop this derelict factory into about forty residential units. During my time at SUAD, I observed firsthand the workings of a small architecture firm and the inspiring conversion of an old factory into something viable and living. As my internship neared its end, I photographed the historic factory and created a detailed watercolor drawing of the finished renovation.Murphy Varnish B&W
During these three months, I learned that architecture is more than the creation of art and beauty for their own sake. It is a tool to build a stronger city through improving the built environment. For decades, Newark has seen architecture that does not value aesthetics or connect with the city’s rich history. Prefab, cookie-cutter homes are often built in Newark; they are out of place and context. These kinds of projects are set back from the street with little more than driveways and vinyl siding for the streetscape. Corporate monolith towers rise in the downtown; through catwalks and perimeter fences, their occupants need not engage with the city. Every morning and every evening, they can ride to and from Newark without setting foot outdoors or on city streets. For historic preservationists, much of the city’s old architecture was lost to parking lots, urban renewal, and urban blight.
In this context, Murphy Varnish is an exceptional outlier. In a city once home to thousands of small factories, Murphy Varnish is one of the few that remain. Old Newark maps show dozens of factories surrounding Murphy Varnish. In the past few decades, almost all of these industrial structures were demolished and replaced with empty lots and low-quality prefab homes. Now, Murphy Varnish stands alone in a residential neighborhood; it is a unique reminder of history that becomes all the more worth saving.
As I begin my second year of college, I return to campus with renewed appreciation for historic preservation. I return with deeper admiration for the tireless efforts of Newark activists and architects to preserve the city’s rich architectural heritage for future generations.
This project was made possible by a summer grant from Columbia’s Center for Career Education.

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Murphy Varnish before work began

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A work in progress

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The finished conversion

 

Watercolor rendering of completed project

Pictures of Newark

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As a lifelong citizen of Newark, I spent much of the past few years painting and photographing my changing city. Pictures features a selection of my work, complemented by classical music. Five of Modest Mussorgsky’s pieces from his composition Pictures at an Exhibition are selected, each of which represents the feel of a certain part of Newark. The following five locations are featured:
1. THE PASSAIC RIVER – music: Mussorgsky’s Promenade
2. OLD ESSEX COUNTY JAIL – music: With the Dead in the Language of Death
3. MOUNT PLEASANT CEMETERY – music: Promenade
4. DOWNTOWN NEWARK – music: Mozart’s Death March (k 453a)
5. PORT NEWARK – music: Promenade
Growing up in Newark, I am inspired and saddened by the inner city. I am inspired by Newark’s hope of renewal after decades of white flight, under-investment, and urban neglect. I am saddened by the loss of my city’s historic architecture and urban fabric to the wrecking ball of what is called progress.
Curious about the history of the old Essex County Jail? Explore this interactive exhibit.

 

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 Featured work from this film