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The stones were set at the intersection of every street and avenue to chart the bold nineteenth-century plan that gave Manhattan its great grid.
The discovery of Randel markers in Central Park offers a glimpse at the bold nineteenth-century plan that gave Manhattan its great grid.
Industrial agriculture may have replaced rural workers with big machines but a great grid of hedges survives, like capillaries, giving life to the land.
They are testament to the reversal in the great grid's fortune, a reminder that park's eight hundred and forty-three acres could have been a hundred and fifty-three rectangular city blocks, arrayed with tall buildings.
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"A Giant Crossword," to me, means a great, big grid.
"The Greatest Grid" is being published in conjunction with an exhibition at the Museum of the City of New York that runs through April 15.
"The Greatest Grid: The Master Plan of Manhattan, 1811-2011," now at the Museum of the City of New York, unearths that 1879 picture of the Brennan Farm among other historic gems.
Museum of the City of New York Manhattann Street Grid and Police Photographs (Saturday and Tuesday) The street grid of Manhattan is the subject of the exhibition "The Greatest Grid: The Master Plan of Manhattan, 1811-2011," on view through July 15.
The museum's new show, "The Greatest Grid: The Master Plan of Manhattan, 1811-2011," contains a dozen Davies documents, including 19th-century maps of new streets and advertisements for rectangular plots with and without existing buildings.
The whole milestone enterprise was rendered questionable in 1811, when the grid plan was adopted, with one corner of each block marked by a four-inch square marble post carved with the names of intersecting streets; the exhibition "The Greatest Grid," now at the Museum of the City of New York, has one of these, marked 4 and 26, for Fourth Avenue and 26th Street.
YOU don't have to be a geometry major to love "The Greatest Grid: The Master Plan of Manhattan 1811-2011," jointly published by the Museum of the City of New York and Columbia University Press and edited by Hilary Ballon, a trustee of the museum and a professor of urban studies and architecture at New York University.
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