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30/03/2016 16:50Two giant rusted supports of the Twin Towers: first look inside New York's 9/11 museum | World | News | London Evening Standard

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Sorrowful sight: two of the "tridents" that formed the base of the towers

News › World

ROBERT BEVAN | Wednesday 14 May 2014 | 0comments

Two giant rusted supports of the Twin Towers: first look insideNew York's 9/11 museum

A crushed fire truck, house keys, a credit card receipt and the two giant rusted original supports of the Twin Towers - Robert Bevantook the first tour around Ground Zero's finally completed museum ahead of Obama's dedication tomorrow

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Down a dark, twisting ramp that leads deep under the streets

of New York is Marisa Dinardo Schorpp’s battered and

charred leather handbag. The display case holding her bag

also contains a yellow credit card receipt from the night

before. It paid for a birthday meal treat for her mother at the

News Football Going Out Lifestyle Showbiz Homes & Property41shares

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Twin Towers’ Windows on the World restaurant. Despite the

late night she was back at the towers early next morning for

work — September 11, 2001 — and died at her office on the

105th floor.

On that awful day almost 3,000 people perished. The difficult fact

that it happened on some very valuable New York real estate and

the inevitable politicking that followed has meant that it is only

now that the museum element of the National September 11Memorial and Museum has been finished.

President Obama will officially dedicate the cavernous

underground space at Ground Zero tomorrow. It opens to the

public on May 21.

Memorial: the entrance pavilion viewed across one of the vast memorial pools

Controversy has dogged its every step, from a change to its originalpurpose and designers (the original idea of a human rights and arts

centre looked a bit iff y in the Guantánamo era) to what one of its

architects calls a “Wild West land grab” over who could rebuild

where and the museum’s steep $24 admission charge. Families of

victims are also divided over the decision to incorporate into the

complex the several thousand body parts from the almost 40 per

cent of victims’ bodies that are unidentified.

The museum is reached via an angular metal and glass entrance

pavilion between the two waterfall-filled pools contained within

the acre-sized square footprints of the Twin Towers that comprise

the memorial itself. Designed by the Norwegian architecturepractice Snøhetta, the pavilion is an unmemorable thing that could

easily be the reception for an office or the smarter type of hospital

but is dignified by two of the giant rusted steel “tridents” — the

supporting fork-shaped structures that once formed the base of the

old towers. These weigh up to 70 tons each and the pavilion had to

be built around them.

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Missing persons: a rack still holding the bicycles of people who were killed in theattack

These tridents have been placed next to the staircase leading down

to the subterranean museum proper, carved out of the

underground spaces of the World Trade Center by US architectsDavid Brody Bond. The tridents are massive artefacts and among

the hundreds of items rescued from the rubble that are on display.

A special team was sent in on September 12 to rescue potential

memorabilia, from a crushed red fire truck to house keys and

dented gilt lipstick tubes.

From the foot of the pavilion staircase you are led slowly down into

the earth through a spare concrete reception level via a long ramp

sheathed in dark timber past projected texts and voices recalling

their experiences of 9/11. You emerge first on a balcony halfway up

a vast 70ft high chamber to face the concrete “slurry” wall that was

built to hold back the Hudson River and which had to be anchoredin place when the towers fell.

The space, created by uniting the six basement levels of the area

below the World Trade Center’s plaza, is designed to inspire awe. It

is almost the size of the concourse of Grand Central Station and

empty save for “The Last Column” another giant steel relic, the last

to be rescued from the site, graffitied by fire and police crews, stuck

with photographs and messages and removed with reverence. It is

a dramatic architectural moment.

Here you also begin to see more clearly what was only glimpsed

before — the length of the square forms of the two towers from below the memorial pools down to their very foundations on the

bedrock below. Their volumes have been recreated and clad in

panels made from a gleaming aluminum foam. Within the base of

one tower is the “In Memoriam” commemorative area, in the other,

the September 11, 2001 exhibition that tells the story of tragedy.

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Haunting: an ambulance that survived

The ramp leads you down again between them past projected

images of the homemade “missing” posters taped up in the

aftermath of the attack by those desperate to find their loved ones.

Their presence, after all the impressive scale, is an indication of thehuman, intimate tales to be told ahead.

To reach the exhibition spaces on the lowest level, you pass the

“Survivors’ Staircase”, down which many people escaped from the

Twin Towers’ plaza and which was, by federal decree, craned from

the debris instead of being demolished with the rest of Ground

Zero.

Opposite is the huge concrete wall hiding a repository holding the

remaining body parts, interred this week at the end of a solemn

five-mile procession from their previous storage in refrigerated

trucks at the Medical Examiner’s office. It is intended that genetictesting to put names to these pulverised human traces will

continue.

Large letters fixed to the repository’s outside wall forged from

Twin-Towers steel form a quote from Virgil: “No day shall erase you

from the memory of time.” It’s at this point that things start to feel

uncomfortable. What is this place, this 11,500 sq m museum that’s

larger than the Whitney or the Guggenheim? A tomb to the

unknown — a cenotaph? A commemoration of the known? An

educational attraction?

The official line is that the repository ia a store for an ongoinginvestigation, not an underground grave as some victim families

have complained. Even the Virgil quotation from his Aeneid has

angered some given that, in its original context, it celebrated two

warriors dying gloriously together rather than an attack on a mass

of civilians going about their daily lives.

Inside 9/11 Museum

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There is fuzzy thinking here, a result in part from trying to satisfy

many hard to reconcile interests and purposes. More than this,

however, there are times when an understandable sentimentality

tips over into the mawkish — the christening of the “Survivors’

Staircase” for instance, as if it were a sacred object. At the

staircase’s foot is a glass case housing an old Honda motorbike that

a fireman who died on September 11 never got around to fixing up.

His colleagues have restored it to gleaming splendour. This is

touching but describing it as the “bike of healing” is simply

saccharine.

Early critics of proposals to retain what remained standing of the

felled towers as an in situ ruin argued that this amounted to the“aestheticisation of murder”. But the ruin as memorial is a well

understood tradition while turning everyday objects into relics is

more complicated.

Undoubtedly, this approach has its role. Within the “In Memoriam”

space, lined with photographs of every victim, is a moving inner

sanctum, a holy of holies, where the names, potted biographies

and photographs of the thousands of victims are, one by one,

projected. Sometimes the images — old ladies to toddlers — are

joined by the recorded voices of families bearing witness to lost

loves. Equally poignant are those personal items such as the wallet

of Englishman Richard Dawson, who died while at a conference. Itcontains his UK driving licence and Sainsbury’s reward card and

makes world-wrenching events personal.

In the historic exhibition, meanwhile, there are no vast screens

showing looped images of planes hitting towers, which suggests

both subtlety in the presentation but also an unwillingness to

revisit too strongly a moment of trauma — the visceral and violent

act itself. Equally missing from the long story of 9/11’s aftermath,

otherwise followed in great detail, is much information about, for

example, the untold deaths in the Iraq War. The reasons behind the

attacks are dealt with just as sketchily.

Above all, this is a place dedicated to triumph over tragedy, to

heroism, and heroic stories need to be told simply. There are no

19show all

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images of dead bodies — death itself, rather than people’s reactions

to it, is missing.

For all its complexities and operatic scale the 9/11 museum is too

tidy in the tale it tells. This is reflected in its architecture. Anyone

who saw these soaring damp concrete spaces before they were

fitted-out as galleries would have seen their raw power contrasted

with the smoothly finished recreated voids that have eventually

resulted. But New York, for all its desire to remember, clearly hasdifficulties living with the potency of real ruins.

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