Constructed for the New York, New Haven, and Hartford Railroad, the Norwalk River Bridge is a 562-foot long rim bearing swing bridge. Sitting about 16 feet above the water, the bridge’s 202 foot long center deck rotates along a center point to allow marine traffic to pass. When opening, rail locks are released, the rail ends are lifted, catenary wire is separated, wedge locks are withdrawn, and bridge locks are released. Only then can the machinery located at the center pier under the tracks can do its work to swing the bridge open. All of these delicate maneuvers need to happen in concert, which is difficult considering the age of the machinery involved. Also complicating matters for repairs is the fact that the old movable bridges on the Northeast Corridor are all unique – there was no standard for construction, and each bridge has unique mechanical components.
Today we feature the busiest bridge on the entire system, the Harlem River Lift Bridge. At sixty years old the bridge is not nearly as old as the issue-plagued WALK bridge, but it by far sees the most action, carrying nearly 700 trains per day for all three East of Hudson Metro-North lines. Over the past few months work has been moving along on the bridge – installing new cables that lift the tracks over the river for passing boats, and putting in new wiring, power supplies, and electrical control systems. Below the bridge a circuit breaker room that flooded during Hurricane Sandy and is experienced corrosion will be replaced. Gone will be an old crank control, updated to today’s standards with modern computers. In total, the overhaul has a $47.2 million price tag.
The 1867 bridge over the Harlem River, note the construction of a temporary bridge to allow a new 1891 span to be constructed on the main line. Image from the December 1892 Scientific American.
Historically, several previous movable bridges stood at this very spot, carrying the New York Central over the Harlem River. The first bridge over the river was completed in 1841, and stood a mere eight feet over the water at high tide. Made of wood, that bridge was later updated with iron spans in 1867. Later, a four track swing bridge was built in 1891. This bridge connected with the new Park Avenue viaduct, raising the tracks above Harlem and allowing a higher crossing over the river.
The concept of the plaque you’ll find today in Vanderbilt Hall dates back to the ’20s, and Vanderbilt heir and railroad executive Harold Stirling Vanderbilt (son of William Kissam, great-grandson of the Commodore, and the last Vanderbilt to work for the New York Central Railroad). Vanderbilt’s idea was to award a medal to employees of the railroad that had exhibited an act of extraordinary heroism. The idea led to the formation of a committee to review nominations of heroism, which would be forwarded to the railroad’s vice-presidents and president for final decision. Recipients would be awarded a bronze medal – The New York Central Medal of Valor – designed by sculptor Robert Aitken, presented in a leather case, along with a special pin that could be always worn on the lapel, and have their names recorded on the “Honor Roll” plaque. Awards would be presented yearly, with the first awarding in 1927, when fifteen men were honored by New York Central Railroad president Patrick E. Crowley. At least 114 people were presented with the medal, including one woman, and one man who received the award twice.
Though the award was only established in 1927 (for acts performed in the 1926 calendar year), men like Henry Nauman of Hammond, Indiana were likely the reason for its founding. Nauman was the 1924 recipient of the Carnegie Medal from the Carnegie Hero Fund after saving a woman that had walked under the crossing gates and in front of an approaching locomotive. Nauman, the crossing watchman, ran the 25 feet to the woman and pushed her across the track, preventing her from being hit – an act for which he received the Carnegie Medal. No stranger to courageous acts, Nauman again acted when a woman stepped under the lowered crossing gates and in front of an oncoming train. Nauman attempted to pull her to safety, but they were both hit by the locomotive. Sadly, the woman died from her injuries, while Nauman had to have his crushed leg amputated. However, for his courageous act, Nauman received the railroad’s new Medal of Valor, and the Carnegie Medal again – the first man to receive that award two times.
Strangely enough, the railroad also played a part in the establishment of various cemeteries. As the city itself grew larger, not only did some former rural cemeteries get displaced, people with money wished to be interred in an attractive rural setting. Woodlawn Cemetery was established in 1863, and took in the remains of cemeteries displaced in the city proper, and grew to become a venerable place of final rest for thousands. Such growth was undoubtedly assisted by the nearby railroad, easily allowing loved ones to visit the graves of their friends and family. Further north along the Harlem Division, the Kensico Cemetery was also established as a beautiful, rural final resting place. Truly appealing to the wealthy of the city, Kensico offered a private railcar for rent for funerals which would transport people directly from Grand Central to the cemetery’s very own train station.
Though Woodlawn and Kensico may be the two most commonly known cemeteries that owe their growth to the Harlem Railroad, there is another slightly more unique cemetery that also falls into that category – the Hartsdale Pet Cemetery. Just like its brethren, the Hartsdale cemetery has seen gun salutes, bagpipers, and is the final resting place for thousands of friends – however the majority of them just happen to not be human. Buried within its grounds you’ll find the graves of war dogs, police dogs (including at least one MTAPD K9), a search and rescue dog that lost its life on September 11th, thousands of other cats and dogs, humans that opted for their cremains to be interred together with their beloved pets, and even a lion. It is also home to the War Dog Memorial, celebrating the animals that fought alongside their human handlers in the Great War.
I got a chance to check out one of these new machines, and must admit they are quite cool. Slim and light compared to the previous TIMs, these new machines are essentially tricked-out iPhones running special software. Wrapped in a blue Metro-North case, the TIM contains an LED barcode scanner (used for scanning the barcode on IDs of delinquents that have neither tickets nor money) and a swipe for credit cards. The special software installed on the phone not only allows conductors to sell tickets, but it also “locks down” the iPhone, preventing it from downloading apps, reading email, and all the other things you wouldn’t want a conductor to do while on duty.
Similar to the previous TIM, the new TIM connects wirelessly to a printer that can be hung from the belt. This printer provides the customer with a receipt for the ticket they bought. It also provides the conductor at the end of the day a receipt that lists how much they’ve sold, and further breaks that down into cash tickets sold (which needs to be turned in to Metro-North), and how much was sold by credit.
While the majority of Metro-North riders are conditioned to purchase their tickets before boarding, there remains several stations on the Danbury and Waterbury Branches that do not have platform ticket vending machines or ticket sellers. It is there that the new TIM will likely be most welcome. But for those people that race to catch a train and aren’t able to purchase a ticket before boarding, being able to use a credit card is a great convenience.
Though much of the fanfare regarding the new TIM focuses on the ability to accept credit cards, it is worth mentioning that the new technology can help out quite a bit when it comes to customer service. One of the main complaints I hear are that customers on trains stuck in delays are not provided with enough information as to what is going on. What most don’t realize, however, is that conductors are often not given information about what is happening. In fact, Metro-North’s text alert system often provides customers with information that crews don’t even know. Because the new TIM is essentially a cell phone, the potential is there to use it to notify conductors about issues – information that can then be relayed to the customers over the train’s PA. Whether the technology will be used in this fashion remains to be seen, but it is certainly a step in the right direction.
Of course, one must remember that this is only a pilot program. However, I imagine that once the system’s inevitable bugs are worked out, credit card enabled TIMs will soon be popping up on more lines and trains.
Three screens of the new TIM – A message sent to the conductor, the screen selling tickets, and a screen showing the phone’s “lockdown” – preventing the iPhone from doing the things most people do with iPhones
As the somewhat clichéd song lyrics go, “they paved paradise and put up a parking lot.” In the case of the former rail station we’re visiting today, that almost happened – literally. The beautiful Santa Fe station in Fort Worth, Texas, was almost razed and turned into a parking lot. Thankfully, the property was purchased by real estate investor and developer Shirlee Gandy. After investing over two million into the building to properly restore it, it was reopened as the Ashton Depot, a lovely banquet hall that hosts weddings, corporate events, and other such festivities.
Opened in 1899, the depot was constructed in the beaux-arts style, though the design was undoubtedly influenced by the aesthetic of the southwest. The two-story rectangular building is constructed of bright red brick and detailed with white limestone. Fine details can be found on both the exterior and interior, including several lion heads that surround the building, and attractive plaster design work surrounding the inside archway.
Early view of the depot’s exterior, featuring some details that are a bit different today. Photo via Fort Worth Gazette.
Built for the Gulf, Colorado and Santa Fe Railway, the building was generally known as the Santa Fe depot. Several other railroads had used the building, but by 1960 the Santa Fe was the only railroad that remained. Once Amtrak was formed, it was the sole user for passenger service up until 1995.
Years ago an announcement was made that the Solari split-flap departure board would be disappearing from New Haven Union Station. Despite pleas to Connecticut’s Department of Transportation, the decision was made and would not be changed.
Although it survived longer than we thought it would, the board was unfortunately replaced last week. Here is a short timelapse to remember it by…
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It’s not every day that a railfan gets to visit the place where mighty railroad locomotives are born (forged of steel and bound together by lots and lots of welding)… Recently, however, I got an invite to tour GE’s new locomotive manufacturing facility in Fort Worth, Texas. Right now they’re producing the Evolution Series Tier 3 locomotive (ES44C4) for BNSF, and I got an up close and personal view of the process from start to finish. The entire locomotive creation process takes about 60 days, and the facility had various locomotives in all stages of that process. Every week six locomotives are completed… six gleaming, shiny powerhouses…
My invite to GE Manufacturing Solutions came with their #GEInstaWalk program – which opens some of GE’s state-of-the-art facilities to Instagram photographers and fans. This was the third InstaWalk to be held, the first being at GE Aviation’s jet engine testing facility in Peebles, OH, and the second was to see the two GE wind turbines at the Cape Cod Air Force Facility in Massachusetts. Each event was a unique opportunity for the attendees to get a VIP experience “behind-the-scenes” of some amazing technology.
When it comes to great American architects, one must certainly mention the name Henry Hobson Richardson. Richardson’s name may not be as widely mentioned as some others – likely because he unfortunately passed in his prime at the age of 47 – but his influence in American architecture is obvious. The architectural style he popularized bears his name – Richardsonian Romanesque – and is certainly one of my favorite architectural styles. The style features attractive arches and rusticated stonework – and is familiar to fans of the Boston and Albany Railroad, the style in which many of that railroad’s main line stations were designed.
Most of the Richardsonian Romanesque stations we’ve featured on the site – Chatham, Dobbs Ferry, Hartford, Irvington, and Tarrytown – were designed by the firm of Shepley, Rutan, and Coolidge, Richardson’s three assistants who continued the business after his death. The station we’re visiting today, however, was Richardson’s final station design. New London’s Union Station was conceived in 1885 – one year before Richardson’s death. Construction was not completed until one year after his death in 1887.
1885 elevation sketch showing the detailing for New London’s Union Station. Image courtesy Shepley Bulfinch.
Although New London Union Station strays a bit from the typical Richardsonian Romanesque style as it is constructed primarily of brick, the characteristic arches, detailing, and occasional swaths of rusticated stone can be found. Bricks radiate outwards from the arches, creating a sunburst effect, and alternating exposed bricks create detailed borders around the top. Completing the detailing of the station is a wide band above the entrance, labeling the building “Union Railroad Station.” The New York, New Haven and Hartford Railroad was the station’s primary occupant (having leased the Shore Line Railway in 1870), though the station was built in conjunction with the Central Vermont Railroad (which had leased the New London Northern Railroad) making it a Union Station.
Continuing my exploration in search of attractive glasswork on the New York City subway leads me to Brooklyn and the J Line. Though a few of the works installed on the line are currently undergoing conservation, there are plenty of stations still worth visiting with attractive art. While some of the stations we visited in the Bronx had only a few panels of art, several of the J line stations have art on a significant scale – Broadway Junction, for example, has a total of 75 faceted glass panels.
Today we’ll be visiting three stations on the line – Van Siclen Avenue, Broadway Junction, and Chauncey Street – to check out the Arts for Transit. We’ll start at Van Siclen Avenue – the furthest station from Manhattan that currently has glasswork on display…
Van Siclen Avenue
Artist: Barbara Ellmann
Title: The View From Here
Bold, bright colors await you on the platform of Van Siclen Avenue. Influenced by the geometric shapes visible from the platform – buildings, windows, doors, brickwork – the landscape has been rendered into an abstract geometric view that splashes the concrete of the platform with color. Twenty-one faceted glass panels serve as windscreens spread along the station’s entire elevated platform.