In the shot where Levitch discusses the phallic nature of the Empire State Building there are many frames interacting. One frame is the bus windows behind Levitch as he talks to the passengers, giving us a vague understanding of the street the passengers are witness to. This frame shifts in the next shot to looking up between the buildings, eradicating the ground plane from our understanding of the scene. The streets are not seen but implied by the canyons made by the buildings. These canyons extend upwards and flank the looming presence of the ESB, creating a narrow frame that accentuates the vertical dimensions of the city.  An imposing silhouette of the ESB itself creates yet another frame that shapes what little patches of sky remain visible into the negative space, a perfect compliment, to the solid structure of the architecture.
How is Levitch's description of the ESB compare to his view of the grid plan? Are they both regulating anti-cruises as he defines the grid plan to be, or does he empathize with the Empire State as much as he does with the Brooklyn Bridge?
How does such a physical connection to New York differ from our conventional experience?