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9 11 Memorial OOR

9 11 Memorial OOR

9 11 Memorial OOR

On March 13, 2006, construction workers arrived at the WTC site to begin work on the Reflecting Absence design. Some relatives of the victims and other concerned citizens gathered to protest the new memorial that day, saying that it should be built above ground. The president of the memorial foundation said that family members were consulted and formed a consensus in favor of the design, and work would continue as planned.

Victim

 

In 2006, at the request of Bloomberg and Governor George Pataki, builder Frank Sciame performed a month-long analysis which included input from victims' families, the lower Manhattan business and residential communities, architects and members of the memorial-competition jury. The analysis recommended design changes which kept the memorial and museum within a $500 million budget.

Although victims'-family groups agreed that names would be grouped by workplace or other affiliation, NYPD cadet Mohammad Salman Hamdani was not included with the other first responders or the other victims whose remains were found in the wreckage of the North Tower. His name appears on the memorial's panel 66 for World Trade Center victims (next to a blank space along the South Tower perimeter), with those who did not fit into the groups created by the memorial committee or who had a loose connection to the World Trade Center. Hamdani's mother, Talat, has campaigned for the Memorial to acknowledge her son as a police cadet and first responder. (Source: en.wikipedia.org)

Live

Steven Rosenbaum, a co-director of “The Outsider,” suggested that, if nothing else, the movie, which has been widely reviewed, has given people permission to be more critical about sentimental portrayals of September 11th. He believes that New Yorkers are “attracted to complexity,” and that the museum “is the opposite of that.” “It’s simplistic, it’s Islamophobic, it’s racist, it’s a whole series of things that anybody who goes there feels,” he said. ​​Greenwald, for her part, said that the filmmakers “do not seem to understand that everything we do here must honor the commemorative nature of the site. They seem to prefer a museum that is critical of U.S. foreign policy with less emphasis on what happened here.” Greenwald used to work at the United States Holocaust Memorial Museum, and she told me that one challenge with the 9/11 Museum was that it was built and designed before the event had passed from memory to history—a moment it is reaching only now, she said. She argued that the museum’s live programming has a much broader focus than the exhibitions themselves. She also wants the museum to convey how New York and the nation came together following the attack, she told me. “We were in it together, we were compassionate with one another, we hugged strangers on the street, people volunteered for public service,” she said, adding, “It was far too short-lived.” I asked whether it couldn’t also be said that 9/11 had brought out the worst in us, given that it was used to justify acts of violence, torture, and discrimination. “I don’t entirely disagree with you,” she said. “We’ve had C.I.A. directors here talking about ‘enhanced interrogation,’ programs that have focussed on the emergence of ISIS, and other topics. We’ve had those conversations. We look at that legacy, too.”

www.architecturaldigest.com)Approaching the Emanuel Nine commission as an outsider, Arad brought a nuanced understanding of what a fitting public structure needs to achieve and the politics involved along the way. A memorial, he explains, serves two main audiences: the living and the dead. “You try to find a way to honor people. Obviously the deceased are not going to experience any of this but it needs to carry your memories of them.” (Source:

 

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