{"id":374,"date":"2003-09-26T12:55:30","date_gmt":"2003-09-26T19:55:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2003\/09\/enshrining_the_towers\/"},"modified":"2003-09-26T12:55:30","modified_gmt":"2003-09-26T19:55:30","slug":"enshrining_the_towers","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2003\/09\/enshrining_the_towers.html","title":{"rendered":"ENSHRINING THE TOWERS"},"content":{"rendered":"<p><P>The only existing <A\nhref=\"http:\/\/www.washingtonpost.com\/wp-dyn\/articles\/A2520-2003Sep25.html\"><B><FONT\ncolor=#003399>scale model<\/FONT><\/A><\/B> of the original World Trade Center twin towers<br \/>\nhas been &#8220;painstakingly restored&#8221; and is &#8220;on view in a darkened chamber at the American<br \/>\nArchitectural Foundation&#8217;s Octagon Museum&#8221; in Washington, Benjamin Forgey reports. <\/P><br \/>\n<P>&#8220;The visitor turns a corner at the second-floor landing of the Octagon&#8217;s elegant 18th-century<br \/>\nstairwell, enters the room on the right and comes face to face with the spotlighted twin towers &#8212;<br \/>\nstark white forms on a pedestal in a plexiglass box,&#8221; he writes today in The Washington Post. The<br \/>\nsight of the model in its &#8220;shrinelike setting,&#8221; strikes Forgey as &#8220;at once odd and oddly appropriate.<br \/>\nIt is strange to see an architectural model treated almost like a religious icon. Yet it feels right in<br \/>\nthe aftermath of the trade center&#8217;s awful destruction two years ago.&#8221;<\/P><br \/>\n<P>When you look at the model &#8212; it was created by Minoru Yamasaki, the architect who won<br \/>\nthe commission to design the original towers &#8212; what does it remind you of? (<A\nhref=\"http:\/\/www.washingtonpost.com\/wp-dyn\/articles\/A2520-2003Sep25.html\"><B><FONT\ncolor=#003399>Enlarge the photo<\/FONT><\/A><\/B>.) To me, it evokes nothing so much as the<br \/>\n&#8220;Tribute in Light,&#8221; which was installed at Ground Zero six months after 9\/11 as a temporary<br \/>\nmemorial to those who died. (Here&#8217;s a <A\nhref=\"http:\/\/web.lemoyne.edu\/~hevern\/gz\/bb2.jpg\"><B><FONT color=#003399>night shot of<br \/>\nthe tribute<\/FONT><\/B><\/A> and <A\nhref=\"http:\/\/web.lemoyne.edu\/~hevern\/gz\/bb1.jpg\"><B><FONT color=#003399>here&#8217;s<br \/>\nanother<\/FONT><\/B><\/A>.) More even than those photos, a schematic 3D animation of the<br \/>\ntribute shows a stunning similarity to Yamasaki&#8217;s architectural model. <I>(Scroll down and click<br \/>\non <A href=\"http:\/\/www-cgi.cnn.com\/2002\/US\/03\/11\/nation.remembers\"><B><FONT\ncolor=#003399>3D animation<\/FONT><\/B><\/A>.)<\/I><\/P><br \/>\n<P>Next month, if it holds to its schedule, a jury of artists, architects, urban planners and others<br \/>\nwill choose a winner in the <A\nhref=\"http:\/\/www.wtcsitememorial.org\/overview\/index.html\"><B><FONT\ncolor=#003399>World Trade Center Site Memorial Competition<\/FONT><\/B><\/A> from more<br \/>\nthan 5,000 entries. Let&#8217;s hope the creators of the Tribute in Light entered it. Although it was<br \/>\nmeant as a temporary memorial, many people were so moved by it they wanted it to be<br \/>\npermanent. Now, after comparing it to Yamasaki&#8217;s model, that makes more emotional sense than<br \/>\nthan ever.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The only existing scale model of the original World Trade Center twin towers has been &#8220;painstakingly restored&#8221; and is &#8220;on view in a darkened chamber at the American Architectural Foundation&#8217;s Octagon Museum&#8221; in Washington, Benjamin Forgey reports. &#8220;The visitor turns a corner at the second-floor landing of the Octagon&#8217;s elegant 18th-century stairwell, enters the room [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-374","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-62","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/374","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=374"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/374\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}