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Art Deco Scavenger Hunt
All over town — 75 teams searched the five boroughs for answers to 60 Art Deco clues on August 9, 2014. Pictured here is Lynne Funk AIA, with team mates from Rand Engineering outside the Beacon Theater in Manhattan.
Walking Tours With Lynne Funk
Gansevoort Market Street Scenes: Past, Present and Future
This walk was sponsored by the Municipal Art Society and was led by Lynne Funk and Thor Snilsberg, who is an urban designer with the Project for Public Spaces.
The tour explored the evolution of the far West Side from a vegetable, butter and egg center reached by ferry and horse-and-buggy to a meat market accessed by rail and truck. Of special interest is the cobblestone plaza at the crossroads of 5 streets, and the efforts for traffic calming and pedestrian accommodation there.This transportation hub began with the sailing of Robert Fulton’s Clermont nearby, and included the Hudson River Railroad on West Street, the now-gone elevated railroad along Ninth Avenue and the soon-to-be-restored Highline.
For information on walking tours for groups of 1 to 30, Lynne Funk at 212.463.9519 or email her at firstname.lastname@example.org
Changing Views of the West Village
Shifting demographics, new development, and battles for preservation are transforming the fabric of the West Village in Manhattan. Member of the successful campaign to achieve historic designation for the Gansevoort Market, architect Lynne Funk leads insider tours of the area, tracing its evolution from a marketing and transportation hub to a wholesale meat packing district, and examining the explosion of commercial and residential development currently underway.
To schedule a group tour, please contact Lynne Funk at 212.463.9519 or email her at email@example.com
THE GATES, Central Park, New York
In February of 2005 Lynne Funk joined 600 other temporary workers in assisting Christo and Jeanne-Claude in a weeklong effort to install the massive public art piece The Gates. The project, which drew hundreds of thousands of visitors, consisted of 7,500 gates, each measuring 16 feet high and between 51/2 feet to 18 feet wide. Saffron-hued fabric, attached to the top bar of each gate, flowed downward to about 7 feet off the ground, allowing pedestrian passage.
Christo and Jeanne-Claude said that The Gates offered a different experience depending on whether viewers walked through it or saw it in its entirety from atop one of the buildings surrounding the park. The artists have stated that the form of The Gates is meant to represent the juxtaposition of Central Park to the surrounding cityscape. The geometric, rigid posts contrasted with the colorful, free-flowing fabric show how the sprawling park interacts with the inflexible grid system of the adjoining streets. (www.christojeanneclaude.net)
On February 12th all 7,500 gates unfurled, and the installation brightened the park for 16 days. At the conclusion, all of the gates were deconstructed and the materials recycled. No gates or individual pieces of the exhibit were sold. Recalling her rewarding experience, Funk said, “Teamwork was essential in order to erect 130 gates in less than a week.”