The previous post showed a picture taken by stealth of the dilapidated Beekman Palace atrium. The past two years (at least) have brought nonstop renovation: demolition crews filling the air with stoney dust that stings the eyes and clogs the lungs; constantly rumbling cement trucks; rotary saws chewing metal; scaffoldings, and enormous shrouds protecting the building’s guts while men hang from cables with heavy machines to blast the exterior–I’m supposing–clean.
Last week–another treat! For three or four days and nights this crane sat at the intersection beneath our apartment. (We’re behind the window I’ve colored green.) The crane, its attendants, several trucks, massive lights, and numerous plastic barriers extended down the entire block. Unfortunately, I couldn’t get an aerial shot. Because this mammoth crane extended to the roof of the building where another (seemingly smaller) crane waited. One passed stuff to the other. First up, then down. Possibly, vice versa. Both cranes are now gone.
The work, of course, continues. As an additional kick, this year outside our windows is a platform where workers arrive Monday through Friday. I wake and although the blinds are down, I see them, making up batches of mortar to reinforce every brick in the 15-storey hive of residences. Once upon a time, our little apartment was part of the bottom floor to a printing operation bought by Samuel Morse’s sons. His patents came through after he died in poverty. A century later, the fable goes, a brick fell somewhere in Manhattan fell and killed a pedestrian. So every five years or so, brick structures are glued back together. If it saves a life, I’ll smile at wave at workers. They can watch me write or jump rope–an advantage to living on the first floor. Nobody complains if I jump for hours. Well, through “Sign of the Times” or a “Soundmix” of hip-hop, without which, I doubt I’d jump more than three minutes.