我逐渐向纽约搬到了纽约，首先通过我的初夏的​​夏天实习，我在哪个朋友上从一个朋友上面的一个地方，然后通过回到大学，然后乘火车去大中院crashing at a friend’s place in what was then far-out Prospect Heights the summer after graduating, then really “moving here” by subletting a friend’s wife’s brother’s apartment in Murray Hill for six months, then moving with three guys—one of them my college boyfriend—into an Upper East Side railroad three-bedroom, then by living in the East Village, then taking the subway and eternal walks to a house in Red Hook, then living in a place in Park Slope with another boyfriend, then a place in Park Slope without that boyfriend, then leaving for the West Coast for nine spinningly short years, then coming back two years ago by car and staying in Crown Heights, then Kensington, then another place in Crown Heights, then thinking for a year about going back to Oakland, then sliding into staying, then—over the past year—splitting my time between a friend’s apartment in Prospect Heights and my boyfriend’s place a few blocks up. But this week, almost two decades since my first attempt, I really moved here: I just bought a place in Bed-Stuy.

这是 - 是的，所有这一切 - 关于Moynihan火车大厅。这是因为直到去Moynihan火车大厅- 与我的朋友和同事们的建筑作家Ian Voller，然后由自己，两次旅行被绕道而堵到哈德森院子里的三明治 - 我并没有真正觉得我会到达的在纽约。不是到达的到了，我在电影中看到女孩的方式到达，从俄亥俄州或内布拉斯加州或任何地方，新鲜面孔和充满可能性的地方。这是一个陈词滥调，因为它是真实的，这就是陈词滥调的始终是如何开始的;无论如何，这一点是我有一个点做过抵达纽约但没有有那一刻。这是一个宏伟的觉醒，其中一个电影会让我提出自动扶梯，看到拱形玻璃屋顶，旋转着我的手臂。因为我第一次看到Moynihan我想做的事实。

也许没有纽约目前比Moynihan更有讨论的公民项目，该项目将其邻居哈德逊码作为当天的大城市主题。那么为何不！It’s got it all: a $1.6 billion price tag, original steel trusses, a massive skylight, tons of escalators, a lot of redone columns, and soon a Magnolia Bakery—all of it part of an adaptive reuse of the 1912 Beaux-Arts–style McKim, Mead & White–designed James A. Farley Post Office in a design led by滑雪道，Outings＆Merrill（Som）有票务等候室内设计罗克韦尔集团。这是令人兴奋的，因为这是30多年的日志，在北入口处迎接你的墙上的一系列墙上的东西，在一个Zanily循环字体中，“直到它完成之前似乎是不可能的。”这是令人兴奋的，因为宾夕法尼亚州的宾夕法尼亚州站是更近的邻居，Moynihan正在加入/替换，他妈的很糟糕。And it’s exciting because the Daniel Patrick Moynihan Train Hall really feels like a new typology for the city—a sort of private but mostly public space, for anyone and everyone, with a specific purpose (transportation) but producing unspecific results (grandeur, awe, collective social experiences, office lunches).

It’s not Grand Central, which feels like it’s explicitly about trains—what with the tracks directly off the central hall, the ancient ticket counters lining a wall, the soaring ceiling looked at only once in a blue moon—and where I’ve spent a lot of time getting ready to take the Hudson to go visit my parents in Rhinebeck. And it’s definitely not Penn, which I spent a lot of time in that internship summer when I was going back and forth from New York to Pennsylvania to see that college boyfriend, taking the New Jersey Corridor to Trenton, switching to the SEPTA to Philadelphia, and then taking another SEPTA to Radnor. I was a true commuter, on my way to and from someone else’s bedroom community, sometimes, on rare occasions, letting myself take the Amtrak straight to Philly. Penn Station was biscuits from Roy Rogers and an ice cream cone from Carvel. I drafted my first-ever magazine piece in the Amtrak waiting room in the year 2003, which is the year I showed up in—though still never arrived at—New York.

如果你不能告诉，我认为有很多关于火车和交通和入口进入和离开城市，那就是莫伊希汉的那种。在我的第二次旅行之前，我要求建筑师Roger Duffy和Colin Koop，SOM，我应该如何访问该站，因为第一次与Ian，我们进入了北侧，在8th和第9届途中之间，并发现了自己在静止的二楼;instead of that breathtaking arrival we got a preview of what’s billed as “The Penn District, a Vornado campus,” and looks like it’ll be a half-Portland, half-Austin–type food hall, which, don’t get me wrong, I’m very pumped about. Because I would be coming from Brooklyn, Duffy and Koop said I should come in through 8th Avenue, or how a New Yorker would leave as opposed to how an out-of-towner would arrive. I took the G to the E and got out at 34th Street, walked over to 8th Avenue, and went in through the doors marked Trains. I saw people standing in line for the Starbucks. I felt the proximity of the skylight. I was excited. I felt like something cool was happening, or about to happen, or had just happened.

我注意到了一些事情。我注意到一个录像屏幕，展示了正在建设的项目，也许是一切都占用了多长时间。在火车大厅周围有一些人，他们似乎与架构本身的清晰度呈现出迷人的对比，似乎在它的脸上简单。（即如何，当然，你知道这很难。）我还没有看到一个计划，但似乎有一个大的中央空间，由柱子和桁架铰接，巨大的玻璃屋顶，然后是大量宽阔的走廊。达菲告诉我，该专栏部分部分来自原来的McKim，Mead＆White Building，并有一个第一和二楼，最终会有那里的食物大厅。我注意到一些墙壁的光滑金属物质和一些其他墙壁的哑光石。我注意到了地板的闪耀。我一直走进中心大厅，在那里我注意到了艺术装饰赛时钟，后来发现了由建筑师设计的Peter Pennoyer.和竞争的结果，这很有趣。

我注意到玻璃天花板如何波动，并且由大量的小矩形板制成，通过您可以看到周围和非常良好的砖结构。我注意到大蓝色标志说“亲爱的纽约”这样的东西。这是给您的“我注意到那里有几个人，它让我想到有一天有多少人。我注意到唯一的食物选择似乎是星巴克，直到我注意到一个蓝色的瓶子亭，我是一个前奥克兰人，几乎跑向了。在订购新奥尔良时，我问咖啡师他对空间的看法。他说这很好，但它有点像他在他面前有这大专栏。我们都一起抬头看着天空。我注意到了Amtrak售票等候室，被允许仔细看看。我注意到，有一大堆电器出口，波动呈现的木凳，由罗克韦尔组提供。我注意到卷和山矩形光环吊坠的大规模保罗·洛伊巴赫（完整披露：他是我买的人），我注意到，大多数人都有多么美好的一切感觉。

“纽约市的那些”内在的“思域空间没有那么多”内在的“思域空间，”达菲在手机上说，走过我走过哪里走进去。他列出了十个这样的空间，包括大中国和丘陵街市。我观察到最近似乎非常酷，即我在Twitter上追随的所有下一代建筑批评者，理论家和从业者都有这种能够了解公民在建筑环境中的角色比我迟到更好-’90s/early-aughts–trained sensibilities ever will. Koop agreed that it’s a trend. “If you’re concerned with climate change and a more equitable experience for all citizens”—that is, two of the most pressing issues of our time—“those are the places where the impact is being made.”

我问他们关于创建一个内部公民空间的空间，它自己的右边目的地，并且在根本上同时对进入和退出，离开，来，移动，以及仍然站立。他们都指出了我抵达的那一刻，火车大厅里的大量空间，天花板的文字高度加强的空间以及它是玻璃的事实。“你也只是一个人在光明中，”达菲说。“你抵达城市，看到天空和自然光线;你知道你在那里，纽约以这种方式欢迎你。“