Architect 2014-07.pdf

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48 CENTER ARCHITECT THE AIA MAGAZINE JULY <strong>2014</strong> WWW.ARCHITECTMAGAZINE.COM surprise given that the sun rises in the east and the World Trade Center (WTC) is located at what used to be the western edge of Manhattan. Then Libeskind’s 1,776-foot-tall Freedom Tower, which was supposed to be an abstract homage to the Statue of Liberty—robes swirling and torch held aloft—got whittled into a far more normative tower, with corners neatly chamfered by David Childs, FAIA, of Skidmore, Owings & Merrill (SOM). The tower was further reined in by the New York Police Department’s demands for maximum blast protection at street level. And, finally, developer Douglas Durst (who bought a stake in the building in 2010) dechamfered the corners at the base and rid the antenna at the top of the tower of its distinctive sculptural sheathing. And now the former Freedom Tower looks a lot like something you might find in any second-tier Asian city. But more damning, perhaps, than Libeskind’s poetry being pummeled into prose, was the fact that a new, rather spectacular New York began sprouting up elsewhere, most notably in West Chelsea, where the innovation spurred by the High Line has begun to merge with the 26-acre Hudson Yards, a project that promises to mix high-end office space, residential towers, and cultural venues to create a lively new part of Midtown. The WTC that finally emerged from behind its security fence this spring is certainly not the old place—where 1960s ideas about radically reshaping cities reached some sort of apotheosis—but it also isn’t the best example of 21st-century urban design in New York. It is a development shaped—and restrained—by too many forces and driven by very powerful conflicting desires: to commemorate the horrific thing that happened and to render the evidence of that cataclysm invisible. ON THE OTHER HAND, I’m sometimes surprised by the quality of the architecture on—and near—the site: The best building is still 7 WTC. SOM, working closely with glass specialist James Carpenter, designed the 52-story tower, clad in a low-iron water white glass, for the north side of Vesey Street. A replacement for a clunky 1980s granite-covered building that fell on Sept. 11, it was built quickly, completed in late 2005, with no scrutiny from the site’s “stakeholders” because Consolidated Edison badly needed the power substations that were at the base of the old 7 WTC. The result is a sensually pleasing tower that channels Lever House without imitating it. And the Jenny Holzer installation behind the reception desk remains one of the smartest, most eye-catching artworks I’ve ever seen in an office-building lobby. While 7 WTC snuck up on me, I watched 4 WTC, designed by Fumihiko Maki, Hon. FAIA, Aerial view of the World Trade Center site
49 The perimeter of one of the memorial fountains 4 WTC as seen from across one of the two memorial fountains Jenny Holzer installation in the lobby of SOM’s 7 WTC Museum lobby with structure from the old WTC The original slurry wall (at right) within the underground museum ARCHITECT JULY <strong>2014</strong> WWW.ARCHITECTMAGAZINE.COM
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