ENSHRINING THE TOWERS

The only existing scale model of the original World Trade Center twin towers has been "painstakingly restored" and is "on view in a darkened chamber at the American Architectural Foundation's Octagon Museum" in Washington, Benjamin Forgey reports.

"The visitor turns a corner at the second-floor landing of the Octagon's elegant 18th-century stairwell, enters the room on the right and comes face to face with the spotlighted twin towers -- stark white forms on a pedestal in a plexiglass box," he writes today in The Washington Post. The sight of the model in its "shrinelike setting," strikes Forgey as "at once odd and oddly appropriate. It is strange to see an architectural model treated almost like a religious icon. Yet it feels right in the aftermath of the trade center's awful destruction two years ago."

When you look at the model -- it was created by Minoru Yamasaki, the architect who won the commission to design the original towers -- what does it remind you of? (Enlarge the photo.) To me, it evokes nothing so much as the "Tribute in Light," which was installed at Ground Zero six months after 9/11 as a temporary memorial to those who died. (Here's a night shot of the tribute and here's another.) More even than those photos, a schematic 3D animation of the tribute shows a stunning similarity to Yamasaki's architectural model. (Scroll down and click on 3D animation.)

Next month, if it holds to its schedule, a jury of artists, architects, urban planners and others will choose a winner in the World Trade Center Site Memorial Competition from more than 5,000 entries. Let's hope the creators of the Tribute in Light entered it. Although it was meant as a temporary memorial, many people were so moved by it they wanted it to be permanent. Now, after comparing it to Yamasaki's model, that makes more emotional sense than than ever.

September 26, 2003 12:55 PM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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