The man who set the style of the NYC subway system--inspired by Ibsen
IF you’re looking for ways to wax poetic about the New York City subway and the vast planning that went into building it, Ibsen and Shakespeare may not be the first authors who leap to mind, especially as August settles its annual swelter on the tourist-packed platforms. Kafka maybe? Beckett? Dante? De Sade?
But in 1916, in unlikely literary territory — The Public Service Record, a dry periodical about municipal works — a man named Squire J. Vickers, the subway’s chief architect, enlisted Ibsen to defend the new simplicity he was introducing into the designs of the Victorian-era system. “In his ability to omit, he is a past master,” Vickers wrote admiringly of that playwright. Then, in quick succession in the brief article, he made reference to Michelangelo, Millet, the Pharisees, Falstaff, Othello and Horatio and quoted from “Richard II” (“this royal throne of kings, this sceptered isle”).
It was, in short, another era, when the city’s builders still saw themselves as Renaissance men and moral torchbearers. But even in the context of his time Vickers was a dynamo, a grandiloquent eccentric whose other life as a painter often bled over into the subway; his taste in colors and geometric design can be still be seen throughout the system.
Read entire article at NYT
But in 1916, in unlikely literary territory — The Public Service Record, a dry periodical about municipal works — a man named Squire J. Vickers, the subway’s chief architect, enlisted Ibsen to defend the new simplicity he was introducing into the designs of the Victorian-era system. “In his ability to omit, he is a past master,” Vickers wrote admiringly of that playwright. Then, in quick succession in the brief article, he made reference to Michelangelo, Millet, the Pharisees, Falstaff, Othello and Horatio and quoted from “Richard II” (“this royal throne of kings, this sceptered isle”).
It was, in short, another era, when the city’s builders still saw themselves as Renaissance men and moral torchbearers. But even in the context of his time Vickers was a dynamo, a grandiloquent eccentric whose other life as a painter often bled over into the subway; his taste in colors and geometric design can be still be seen throughout the system.