One of our frequent urban pleasures is a walk through Myrtle Edwards Park along Seattle’s harbor. Named for former Seattle City Councilperson Myrtle Edwards, the five acre park includes what I think of as an ad hoc collection of Seattle icons. We usually start near the north end, by icon number one, the grain terminal.

This giant erector set connects the railroad with grain storage elevators and then with the loading pier and the ships hauling US grain across the Pacific. Many people have wanted it removed; but I think its activities interweave with the park’s activities in a relatively non-intrusive way; and it provides a sculptural experience to your movement along the paths. There are two major paths, one for pedestrians and another for bicycles, as well as a few casual bark paths for joggers. The bike trail runs more directly parallel to the railroad (to the left of the shrubbery) whereas the pedestrian trail meanders more along the water (to the right).
The grain terminal armature frames these paths, as well as views of downtown Seattle.
At the same time, the softer park features frame the grain terminal’s sculptural loading pier.
Partway through the park you come to an early public art icon for Seattle, Michael Heiser’s “Adjacent, Against, Upon”, an artist’s reflection on our relationship to both nature and the built environment.
The work consists of three concrete platforms with three very large granite rocks placed – obviously – on, against, and adjacent to the platforms. Interestingly, another icon, the Seattle Post Intelligencer’s globe and eagle stand on the former P.I. building in the background as if surveying the scene. The P.I. no longer exists as a printed paper, put out of business by the tidal wave of technological change of the last 20 years. There’s talk of moving the globe to the Museum of History and Industry.
Towards the southern end of the park, the Seattle Art Museum has built its Olympic Sculpture park. The park zig-zags its way from its urban administration building across the railroad tracks and down to the waterfront. It includes an iconographic Alexander Calder stabile, “Eagle”, and frames another Seattle icon, the 1962 World’s Fair Space Needle.
At the edge of the park, where it meets the water, the park design incorporated a new beach, allowing Seattleites to get their feet wet in Elliott Bay.
At the same time the design included a more urban connection to the street grid in the form of a nicely detailed boardwalk.
From this perspective you can also get a glimpse of the sculpture park’s most recent acquisition, “Echo” by Spanish artist Jaume Plensa, a large head sculpted in marble-chip-encrusted fiberglas. It’s stirred up the wagosphere; but we liked it.
From the park above – where it crosses the tracks – you can get a better sense of how it fits into the zig-zag of the park and its waterfront setting.
On the way back to the northern end of the park we ducked into the mini rose garden that somehow has been included in this waterfront setting. It seems incongruous; but of course lovely in late May when everything is in bloom.
And finally, we made our way back to icon number one, squinting into the late evening sunset.





































