is an old, elevated rail line

that runs for a mile and a half right through Manhattan.

And it was originally a freight line

that ran down 10th Ave.

And it became known as "Death Avenue"

because so many people were run over by the trains

that the railroad hired a guy on horseback to run in front,

and he became known as the "West Side Cowboy."

But even with a cowboy,

about one person a month

was killed and run over.

So they elevated it.

They built it 30 ft. in the air, right through the middle of the city.

But with the rise of interstate trucking,

it was used less and less.

And by 1980, the last train rode.

It was a train loaded with frozen turkeys -- they say, at Thanksgiving --

from the meatpacking district.

And then it was abandoned.

And I live in the neighborhood,

and I first read about it in the New York Times,

in an article that said it was going to be demolished.

And I assumed someone was working

to preserve it or save it

and I could volunteer,

but I realized no one was doing anything.

I went to my first community board meeting --

which I'd never been to one before --

and sat next to another guy named Joshua David,

who's a travel writer.

And at the end of the meeting, we realized

we were the only two people that were sort of interested in the project;

most people wanted to tear it down.

So we exchanged business cards,

and we kept calling each other

and decided to start this organization,

Friends of the High Line.

And the goal at first

was just saving it from demolition,

but then we also wanted to figure out what we could do with it.

And what first attracted me, or interested me,

was this view from the street --

which is this steel structure,

sort of rusty,

this industrial relic.

But when I went up on top,

it was a mile and a half of wildflowers

running right through the middle of Manhattan

with views of the Empire State Building

and the Statue of Liberty and the Hudson River.

And that's really where we started,

the idea coalesced around, let's make this a park,

and let's have it be sort of inspired

by this wildscape.

At the time, there was a lot of opposition.

Mayor Giuliani wanted to tear it down.

I'm going to fast-forward through a lot of lawsuits

and a lot of community engagement.

Mayor Bloomberg came in office, he was very supportive,

but we still had to make the economic case.

This was after 9/11;

the city was in tough times.

So we commissioned an economic feasibility study

to try to make the case.

And it turns out, we got those numbers wrong.

We thought it would cost 100 million dollars to build.

So far it's cost about 150 million.

And the main case was,

this is going to make good economic sense for the city.

So we said over a 20-year time period,

the value to the city in increased property values

and increased taxes

would be about 250 million.

That was enough. It really got the city behind it.

It turns out we were wrong on that.

Now people estimate it's created about a half a billion dollars,

or will create about a half a billion dollars,

in tax revenues for the city.

We did a design competition,

selected a design team.

We worked with them to really create a design

that was inspired by that wildscape.

There's three sections.

We opened the fist section in 2009.

It's been successful beyond our dreams.

Last year we had about two million people,

which is about 10 times what we ever estimated.

This is one of my favorite features in section one.

It's this amphitheater right over 10th Ave.

And the first section ends at 20th St. right now.

The other thing, it's generated, obviously, a lot of economic value;

it's also inspired, I think, a lot of great architecture.

There's a point, you can stand here

and see buildings by Frank Gehry,

Jean Nouvel, Shigeru Ban,

Neil Denari.

And the Whitney is moving downtown

and is building their new museum right at the base of the High Line.

And this has been designed by Renzo Piano.

And they're going to break ground in May.

And we've already started construction on section two.

This is one of my favorite features,

this flyover where you're eight feet

off the surface of the High Line,

running through a canopy of trees.

The High Line used to be covered in billboards,

and so we've taken a playful take

where, instead of framing advertisements,

it's going to frame people in views of the city.

This was just installed last month.

And then the last section was going to go around the rail yards,

which is the largest undeveloped site

in Manhattan.

And the city has planned -- for better or for worse --

12 million square-feet of development

that the High Line is going to ring around.

But what really, I think, makes the High Line special

is the people.

And honestly, even though I love the designs that we were building,

I was always frightened that I wouldn't really love it,

because I fell in love with that wildscape --

and how could you recreate that magic?

But what I found

is it's in the people and how they use it

that, to me, makes it so special.

Just one quick example

is I realized right after we opened

that there were all these people holding hands on the High Line.

And I realized New Yorkers don't hold hands;

we just don't do that outside.

But you see that happening on the High Line,

and I think that's the power

that public space can have

to transform how people experience their city

and interact with each other.

Thanks.

(Applause)