Taconic State Parkway - Aesthetics

Aesthetics

Landscape architects like Gilmore Clarke worked closely with engineers and construction crews during the Taconic's construction, often on site. Some features of the road's design address practical considerations and increase safety. Curves that climbed or descended were banked to increase vehicle traction and permit better drainage. Likewise the curves in undulating terrain are located to reduce blind spots at crests and keep the sharpest turns out of valleys. These also make sure that views of distant landscapes open up on downgrades and on long curves, when they are less distracting.

Stone overpass in Westchester County

Closer to the road, on the northern sections in Columbia and Dutchess counties, the road was routed to showcase a nearby view of wooded hillside or a farm. Since trucks were not permitted on the road, in many sections tree branches overhang the roadways, creating a park-like feel. The curve of the northbound Amvets bridge over Croton Reservoir echoes the surrounding hills. On the medians and berms, plantings were carefully planned to maintain continuity with the surrounding woods. On the descent into Peekskill Hollow in Putnam Valley, the trees and shrubs above the retaining wall on the east side were transplanted from the path of the highway, which retained the appearance of the local forest and saved money. Overpasses, both carrying roads over the parkway and carrying it over roads, were faced in native stone. The grade intersections, usually a feature engineers tried to avoid, helped keep local east–west routes open and connect the parkway to the landscape it traversed.

As a result, the Taconic has been the subject of much praise over the years not only for its vistas but for the way it harmonizes with the surrounding landscape. Sociologist Lewis Mumford, who often criticized the effect of superhighway construction on contemporary cities, always advised friends traveling up from New York to visit him at his house in Amenia that they should take the Taconic to do so. He described it as "a consummate work of art, fit to stand on a par with our loftiest creations". The engineers, he said, had avoided "brutal assaults against the landscape". Albany-born novelist William Kennedy, whose family frequently drove the Taconic during his childhood to visit relatives further south, calls it "a 110-mile postcard. It's the most beautiful road I've ever known — in all seasons". "You can drive it with confidence", says automotive writer David E. Davis. "There are no bad surprises about the way the road is engineered." Landscape architect Garret Eckbo called the Taconic "as lovely an integration of highway engineering and landscape architecture as one could hope to find". Commenting on this years later, architecture critic Matthew Gandy wrote:

Clarke's design for the Taconic State Parkway, for example, provides a vivid example of a new kind of mediation among nature, technology and society, with what appears to be a delicate balance between the new infrastructural project and an imaginary natural order. Implicit within this aesthetic dialectic is the notion of engineering as an art form that can in some way embellish or even improve upon nature: there is no radical disjuncture here but a sense of aesthetic progression and purity of form.

In the late 20th and early 21st centuries, with sections of the road modified from its original design and the rest areas mostly gone, writers for The New York Times have variously described the Taconic as "a pleasure to use, evoking those bygone days when people went for a drive just for the fun of it" and "unquestionably among the most scenic roadways in the Northeast, winding along the Hudson Valley with a painter's eye for landscape and a gearhead's idea of fun." The Lonely Planet New York State guidebook calls it a "highway masterpiece".