LaurieAnnie's photos with the keyword: World'sFair

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

ROCKET THROWER Flushing Meadows-Corona Park The Rocket Thrower is a massive bronze sculpture designed by Donald De Lue (1897–1988) for the New York World’s Fair of 1964-65. The work is in keeping with one of the central themes of that fair - space exploration - and complements several other significant features in the park, such as the Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere. In 1961, The New York World’s Fair Corporation, under the direction of former Parks Commissioner Robert Moses (1888–1981), established a Committee on Sculpture to select artists whose work ranged “from contemporary conservative to the more conservative avant-garde.” The committee arrived at a short list of ten recommended modernist sculptors, many of whom displeased Moses and the fair’s chief designer Gilmore Clarke, whose tastes were more traditional. Ultimately, five sculptors - including Paul Manship, Marshall Fredericks, Theodore Roszak, Jose de Rivera, and De Lue - were commissioned to create pieces which would outlast the fair in the park. De Lue, a late entry for consideration, had approached Moses independently of the committee’s review procedure. Born in Boston, Massachusetts, De Lue apprenticed under the English sculptor Brian Baker, and later studied art in England and France. A recipient of sculpture awards from the Architectural League, the National Sculpture Society and the National Institute of Arts and Letters, De Lue created numerous public monuments across the United States. He designed the Rocket Thrower as a heroic, 43-foot high bronze figure hurling a rocket heavenward with his right hand, and reaching for a constellation of gilded stars with his left; this version was based on designs for the theme of “man conquering space,” which De Lue prepared in the late 1950s for the Union Carbide Building (270 Park Avenue, now occupied by Chase Bank offices). In 1962, De Lue was issued a contract to make the Rocket Thrower, and given less than six months to execute the work at a cost of $105,000. By June 1963, the full plaster model was done and shipped to Italy, where casting at the Fonda Artista in Via Reggio took almost a year. The sculpture was installed just prior to the fair’s opening on April 22, 1964. Though one of the largest and most prominent sculpture commissions in America in 50 years, the critical reception was decidedly mixed. De Lue envisioned the Rocket Thrower as “the spiritual concept of man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension.” However, The New York Times art reviewer John Canaday found the piece “the most lamentable monster, making Walt Disney look like Leonardo Da Vinci.” Robert Moses, attempting to bolster the artist’s fragile ego, consoled De Lue by remarking, “this is the greatest compliment you could have…[Canaday] hates everything that is good . . .” Whatever the aesthetic response, the statue remains a fixture in the park nearly 40 years after the close of the fair. Over time, it has suffered from environmental corrosion and structural instability. An emergency repair was made to one arm in 1989, and additional funds for future care have been contributed by the Queens Heritage Association to the Municipal Art Society’s Adopt-A-Monument Program. As part of the renovations of the center of Flushing Meadows-Corona Park, funded by Queens Borough President Claire Shulman, a conservation analysis has recently been completed, and the statue now awaits additional support to finance its full restoration, and return it to its original glory. Monday, Aug 27, 2001 Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

Matt Mullican Etched Granite Pavement, 1995 Location: Core Area, Flushing Meadows Corona Park, Queens Architect: Miceli Kulik Design/Sponsor Agency: Department of Parks and Recreation At the heart of Flushing Meadows Corona Park, adjacent to the Unisphere, Matt Mullican's black granite pavement etching rekindles the spirit of the 1940 and the 1965 World's Fairs. A 3,000 square foot granite tableau celebrates the fairs and the bio-geographical history of the site. The 464 individual blocks which compose the piece are etched with selective images that highlight the events, buildings, inventions, and technical achievements advanced by the fairs. The entire work creates a hieroglyphic documentation of New York City's fairs and world expositions. About the Artist ... Matt Mullican is an internationally renowned artist whose work derives from universally coded pictographs seen daily in public places, airports, restaurants, and other areas. Using those pictographs as departure points, he incorporates his own meaning by altering the existing shapes. His work has been exhibited in museums throughout the U.S. and Europe, including the Museum of Modern Art, the Dallas Museum, and the Hirshhorn Museum and Sculpture Garden, and is in the permanent collections of the Museum of Modern Art, the Brooklyn Museum, the Los Angeles County Museum of Art, and the collections at Worldwide Plaza in New York City and in the city of Munster, West Germany. Text from: www.nyc.gov/html/dcla/html/panyc/mullican.shtml

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

UNISPHERE Flushing Meadows-Corona Park The Unisphere, located at the center of a radial path system behind the New York City Building (now Queens Museum), was designed for the 1964-65 World’s Fair by Parks Architect Gilmore D. Clarke (1892–1982). The 35-ton, 120-foot-high steel globe, said to be the world’s largest, is circled by three rings and set in a fountain. The piece was constructed in 1961 by U.S. Steel and celebrates the dawn of the Space Age, one of the themes of the 1964-65 World’s Fair. The three rings circling the globe represent the first NASA satellites to orbit the earth. “On windy days the tips of India and Vietnam lift off their mountings,” Parks officials noted in 1989 before the Unisphere was conserved in 1994, part of a 15-year, $80 million project to restore Flushing Meadows-Corona Park. The structure was cleaned and reinforced, the area around the structure was relandscaped and the number of spray jets in the fountain doubled, from 48 to 96. In 1995 the Unisphere was designated an official City landmark and today remains a familiar feature of the New York skyline. Text from: www.nycgovparks.org/sub_your_park/historical_signs/hs_his...

Flushing Meadows–Corona Park, occasionally referred to as Flushing Meadows Park, is located in northern Queens, New York City, USA, roughly at the intersection of the Long Island Expressway and the Grand Central Parkway. It is the second largest public park in the City of New York and was created as the site of the 1939/1940 New York World's Fair and also hosted the 1964/1965 New York World's Fair. It is run and operated by the New York City Department of Parks and Recreation. The park is part of Queens Community Board 4. The 1,255 acre (5 km²) park was created from the former dumping ground characterized as "a valley of ashes" in F. Scott Fitzgerald's The Great Gatsby. The site, known at the time as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses, in preparation for the World's Fair. Faced with the problem of disposing of the mountains of ashes, Moses strategically incorporated a significant portion of the refuse into the bases of the Van Wyck Expressway that runs along the eastern side of the park, and the nearby Jackie Robinson Parkway, and the Long Island Expressway that divides the park into north and south halves. Some of the buildings from the 1939 Fair were used for the first temporary headquarters of the United Nations from 1946 until it moved to its permanent headquarters in Manhattan in 1951. The former New York State building was used as the UN's General Assembly during this time. This building was later refurbished for the 1964 Fair as the New York City Pavilion, featuring the Panorama of the City of New York, an enormous scale model of the entire city. It is currently the only surviving building from the 1939 fair, and the home of the Queens Museum of Art, which still houses, and occasionally updates, the Panorama. The Unisphere, built as the theme symbol for the 1964/1965 World's Fair, is the main sculptural feature of the park. It stands on the same site occupied by the Perisphere during the 1939/1940 World's Fair. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center; its center court is Arthur Ashe Stadium and its secondary stadium court is Louis Armstrong Stadium. Shea Stadium, home of the New York Mets, sits at the north end of the park. Rental boats are available for rowing on the park's two lakes, Meadow and Willow, which feed into the Flushing River and thence into Flushing Bay. Bicycling paths extend around Meadow Lake and connect to the Brooklyn-Queens Greenway. The many recreational playing fields and playgrounds in the park are used for activities that reflect the vast ethnic mix of Queens; soccer and cricket are especially popular. The park is also the home of Queens Theater in the Park, the New York Hall of Science, the Queens Museum of Art, "Terrace on the Park" (a banquet and catering facility, the Fair's former helipad), and an indoor ice skating rink. The New York State Pavilion, constructed as the state's exhibit hall for the 1964/1965 New York World's Fair, is also a feature of the park. However, no new use for the building was found after the Fair and the structure sits derelict and decaying. The other buildings left for a while after the Fair's conclusion to see if a new usage for them could be found, such as the United States Pavilion, have subsequently been demolished. One such parcel became the site of the Playground for All Children, one of the first playgrounds designed to incorporate normal and handicap-accessible activities, a design competition won by architect Hisham N. Ashkouri and completed in 1981. It was refurbished and reopened in 1997. On June 24, 2005, the park hosted the Reverend Billy Graham on what he stated was his last tour in North America. A $55.2 million project to build an Olympic-sized indoor pool and an NHL regulation-sized skating rink will be completed by Fall 2007. The site, which will be utilized by schools, leagues, and community members of all ages, will be Parks & Recreation’s first in Queens. The complex includes a number of special

Flushing Meadows–Corona Park, occasionally referred to as Flushing Meadows Park, is located in northern Queens, New York City, USA, roughly at the intersection of the Long Island Expressway and the Grand Central Parkway. It is the second largest public park in the City of New York and was created as the site of the 1939/1940 New York World's Fair and also hosted the 1964/1965 New York World's Fair. It is run and operated by the New York City Department of Parks and Recreation. The park is part of Queens Community Board 4. The 1,255 acre (5 km²) park was created from the former dumping ground characterized as "a valley of ashes" in F. Scott Fitzgerald's The Great Gatsby. The site, known at the time as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses, in preparation for the World's Fair. Faced with the problem of disposing of the mountains of ashes, Moses strategically incorporated a significant portion of the refuse into the bases of the Van Wyck Expressway that runs along the eastern side of the park, and the nearby Jackie Robinson Parkway, and the Long Island Expressway that divides the park into north and south halves. Some of the buildings from the 1939 Fair were used for the first temporary headquarters of the United Nations from 1946 until it moved to its permanent headquarters in Manhattan in 1951. The former New York State building was used as the UN's General Assembly during this time. This building was later refurbished for the 1964 Fair as the New York City Pavilion, featuring the Panorama of the City of New York, an enormous scale model of the entire city. It is currently the only surviving building from the 1939 fair, and the home of the Queens Museum of Art, which still houses, and occasionally updates, the Panorama. The Unisphere, built as the theme symbol for the 1964/1965 World's Fair, is the main sculptural feature of the park. It stands on the same site occupied by the Perisphere during the 1939/1940 World's Fair. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center; its center court is Arthur Ashe Stadium and its secondary stadium court is Louis Armstrong Stadium. Shea Stadium, home of the New York Mets, sits at the north end of the park. Rental boats are available for rowing on the park's two lakes, Meadow and Willow, which feed into the Flushing River and thence into Flushing Bay. Bicycling paths extend around Meadow Lake and connect to the Brooklyn-Queens Greenway. The many recreational playing fields and playgrounds in the park are used for activities that reflect the vast ethnic mix of Queens; soccer and cricket are especially popular. The park is also the home of Queens Theater in the Park, the New York Hall of Science, the Queens Museum of Art, "Terrace on the Park" (a banquet and catering facility, the Fair's former helipad), and an indoor ice skating rink. The New York State Pavilion, constructed as the state's exhibit hall for the 1964/1965 New York World's Fair, is also a feature of the park. However, no new use for the building was found after the Fair and the structure sits derelict and decaying. The other buildings left for a while after the Fair's conclusion to see if a new usage for them could be found, such as the United States Pavilion, have subsequently been demolished. One such parcel became the site of the Playground for All Children, one of the first playgrounds designed to incorporate normal and handicap-accessible activities, a design competition won by architect Hisham N. Ashkouri and completed in 1981. It was refurbished and reopened in 1997. On June 24, 2005, the park hosted the Reverend Billy Graham on what he stated was his last tour in North America. A $55.2 million project to build an Olympic-sized indoor pool and an NHL regulation-sized skating rink will be completed by Fall 2007. The site, which will be utilized by schools, leagues, and community members of all ages, will be Parks & Recreation’s first in Queens. The complex includes a number of special

Flushing Meadows–Corona Park, occasionally referred to as Flushing Meadows Park, is located in northern Queens, New York City, USA, roughly at the intersection of the Long Island Expressway and the Grand Central Parkway. It is the second largest public park in the City of New York and was created as the site of the 1939/1940 New York World's Fair and also hosted the 1964/1965 New York World's Fair. It is run and operated by the New York City Department of Parks and Recreation. The park is part of Queens Community Board 4. The 1,255 acre (5 km²) park was created from the former dumping ground characterized as "a valley of ashes" in F. Scott Fitzgerald's The Great Gatsby. The site, known at the time as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses, in preparation for the World's Fair. Faced with the problem of disposing of the mountains of ashes, Moses strategically incorporated a significant portion of the refuse into the bases of the Van Wyck Expressway that runs along the eastern side of the park, and the nearby Jackie Robinson Parkway, and the Long Island Expressway that divides the park into north and south halves. Some of the buildings from the 1939 Fair were used for the first temporary headquarters of the United Nations from 1946 until it moved to its permanent headquarters in Manhattan in 1951. The former New York State building was used as the UN's General Assembly during this time. This building was later refurbished for the 1964 Fair as the New York City Pavilion, featuring the Panorama of the City of New York, an enormous scale model of the entire city. It is currently the only surviving building from the 1939 fair, and the home of the Queens Museum of Art, which still houses, and occasionally updates, the Panorama. The Unisphere, built as the theme symbol for the 1964/1965 World's Fair, is the main sculptural feature of the park. It stands on the same site occupied by the Perisphere during the 1939/1940 World's Fair. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center; its center court is Arthur Ashe Stadium and its secondary stadium court is Louis Armstrong Stadium. Shea Stadium, home of the New York Mets, sits at the north end of the park. Rental boats are available for rowing on the park's two lakes, Meadow and Willow, which feed into the Flushing River and thence into Flushing Bay. Bicycling paths extend around Meadow Lake and connect to the Brooklyn-Queens Greenway. The many recreational playing fields and playgrounds in the park are used for activities that reflect the vast ethnic mix of Queens; soccer and cricket are especially popular. The park is also the home of Queens Theater in the Park, the New York Hall of Science, the Queens Museum of Art, "Terrace on the Park" (a banquet and catering facility, the Fair's former helipad), and an indoor ice skating rink. The New York State Pavilion, constructed as the state's exhibit hall for the 1964/1965 New York World's Fair, is also a feature of the park. However, no new use for the building was found after the Fair and the structure sits derelict and decaying. The other buildings left for a while after the Fair's conclusion to see if a new usage for them could be found, such as the United States Pavilion, have subsequently been demolished. One such parcel became the site of the Playground for All Children, one of the first playgrounds designed to incorporate normal and handicap-accessible activities, a design competition won by architect Hisham N. Ashkouri and completed in 1981. It was refurbished and reopened in 1997. On June 24, 2005, the park hosted the Reverend Billy Graham on what he stated was his last tour in North America. A $55.2 million project to build an Olympic-sized indoor pool and an NHL regulation-sized skating rink will be completed by Fall 2007. The site, which will be utilized by schools, leagues, and community members of all ages, will be Parks & Recreation’s first in Queens. The complex includes a number of special

Flushing Meadows–Corona Park, occasionally referred to as Flushing Meadows Park, is located in northern Queens, New York City, USA, roughly at the intersection of the Long Island Expressway and the Grand Central Parkway. It is the second largest public park in the City of New York and was created as the site of the 1939/1940 New York World's Fair and also hosted the 1964/1965 New York World's Fair. It is run and operated by the New York City Department of Parks and Recreation. The park is part of Queens Community Board 4. The 1,255 acre (5 km²) park was created from the former dumping ground characterized as "a valley of ashes" in F. Scott Fitzgerald's The Great Gatsby. The site, known at the time as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses, in preparation for the World's Fair. Faced with the problem of disposing of the mountains of ashes, Moses strategically incorporated a significant portion of the refuse into the bases of the Van Wyck Expressway that runs along the eastern side of the park, and the nearby Jackie Robinson Parkway, and the Long Island Expressway that divides the park into north and south halves. Some of the buildings from the 1939 Fair were used for the first temporary headquarters of the United Nations from 1946 until it moved to its permanent headquarters in Manhattan in 1951. The former New York State building was used as the UN's General Assembly during this time. This building was later refurbished for the 1964 Fair as the New York City Pavilion, featuring the Panorama of the City of New York, an enormous scale model of the entire city. It is currently the only surviving building from the 1939 fair, and the home of the Queens Museum of Art, which still houses, and occasionally updates, the Panorama. The Unisphere, built as the theme symbol for the 1964/1965 World's Fair, is the main sculptural feature of the park. It stands on the same site occupied by the Perisphere during the 1939/1940 World's Fair. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center; its center court is Arthur Ashe Stadium and its secondary stadium court is Louis Armstrong Stadium. Shea Stadium, home of the New York Mets, sits at the north end of the park. Rental boats are available for rowing on the park's two lakes, Meadow and Willow, which feed into the Flushing River and thence into Flushing Bay. Bicycling paths extend around Meadow Lake and connect to the Brooklyn-Queens Greenway. The many recreational playing fields and playgrounds in the park are used for activities that reflect the vast ethnic mix of Queens; soccer and cricket are especially popular. The park is also the home of Queens Theater in the Park, the New York Hall of Science, the Queens Museum of Art, "Terrace on the Park" (a banquet and catering facility, the Fair's former helipad), and an indoor ice skating rink. The New York State Pavilion, constructed as the state's exhibit hall for the 1964/1965 New York World's Fair, is also a feature of the park. However, no new use for the building was found after the Fair and the structure sits derelict and decaying. The other buildings left for a while after the Fair's conclusion to see if a new usage for them could be found, such as the United States Pavilion, have subsequently been demolished. One such parcel became the site of the Playground for All Children, one of the first playgrounds designed to incorporate normal and handicap-accessible activities, a design competition won by architect Hisham N. Ashkouri and completed in 1981. It was refurbished and reopened in 1997. On June 24, 2005, the park hosted the Reverend Billy Graham on what he stated was his last tour in North America. A $55.2 million project to build an Olympic-sized indoor pool and an NHL regulation-sized skating rink will be completed by Fall 2007. The site, which will be utilized by schools, leagues, and community members of all ages, will be Parks & Recreation’s first in Queens. The complex includes a number of special