Son of Bride of El Vado: Going War Zone

Despite appearances, BB isn’t permanently becoming a blog dedicated to monitoring the many attempts at controlling drivers driving/parking through/at El Vado. Really. We absolutely plan to expand from this rather geographically limited “microblogging,” and get back to examining non-motorized traffic safety all over town and all that

It’s just that there have been so many recent attempts. And they just get funnier and funnier…

Submitted by a BB reader this past weekend. The reader points out that this “looks like Baghdad.”
Which used-car lot did they steal the flag/streamers from?

It’s worth noting that this installation art approach (just imagine the sandbags, jersey barriers, “road closed” sign, and flags/streamers in the middle of a large room at the Whitney) succeeds in undermining the whole reason this gap was created in the very first place: to let pedestrian/cyclists pass through. Yes, the driver of the white vehicle helps out by blocking the small gap, but you know drivers and car storage. All drivers are bastards (ADAB).

From a technical perspective, I’m not finding the above “treatment” included in any section of that traffic engineering bible, the Manual on Uniform Traffic Control Devices. If I didn’t know better, I’d say a heady IPA or sativa/indica blend may have been involved in the brainstorming for this “treatment.” I do know I’d really like to have been a fly on the wall for the conversation:

  • “You know what this needs? Used-car lot flags/streamers!”
  • “How many sandbags? Okay, that’s enough sandbags.”
  • “Okay, we’re done. That’s perfect! Don’t touch a thing.”

For those who have missed out on prior attempts, here’s some of a seemingly ever-growing portfolio of photos.

El Vado Gap in what we might call its “Birth of Venus” nude state
Something of a Cubist arrangement in “Two Small Planters with Cone”
Our shared existential loneliness is explored in “One Big Planter”
El Vado’s homage to Picasso’s “Guernica” as One Big Planter is shattered
Jeff Koons did not “create” and place these big, orange trash barrels filled with sand. If he did he’d claim credit and sell them for $15,000,000 each.
After the “Big Sandies” proved inadequate on their own, the art installation began to evolve to its current, more baroque condition. The “big sandies” are now missing, evidently due to Mr. Koons selling them all.

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