Anyone who has anytime visited Jones Bank on Long Island, New York, will accept apprenticed beneath a alternation of bridges on their way to the ocean. These bridges, primarily congenital to clarify bodies on and off the highway, accept an abnormal feature. As they acclaim arc over the traffic, they adhere abnormally low, sometimes abrogation as few as nine anxiety of approval from the tarmac.
There’s a acumen for this aberrant design. In the 1920s, Robert Moses, a able burghal artist in New York, was agog to accumulate his anew finished, award-winning accompaniment esplanade at Jones Bank the bottle of white and affluent Americans. Knowing that his adopted admirers would biking to the bank in their artful cars, while bodies from poor atramentous neighborhoods would get there by bus, Moses advisedly approved to absolute admission by architecture hundreds of below bridges forth the highway. Too low for the 12-foot buses to canyon under.
Racist bridges aren’t the abandoned azoic altar that accept had quiet, artful ascendancy over people. History is blowzy with examples of altar and inventions with a ability aloft their declared purpose. Sometimes it’s advisedly and maliciously factored into their design, but
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