Rays of Gold
Entry #122758, World Trade Center Site Memorial Competition

 
SITE PLAN
LEGEND
 
  1  Recognition for Individual Victims
  2  Area for Quiet Visitation
  3  Area for Families of Victims
  4  Unidentified Remains
  5  Footprints of Towers
  6  Surviving Original Elements
  7  Stages for Public Ceremonies
  8  Sphere Sculpture
  9  Eternal Flame
10  Searchlights
11  Benches
12  Planters
13  Garden
14  Rescue, Recovery, and Healing Statue/Memorial
15  Restrooms
16  Utility/Maintenance
   
VIEW FROM MAIN CONCOURSE
 
MEMORIAL PLAQUES   PUBLIC CEREMONY, REMEMBRANCE PARK
     This is my entry (#122758) into the World Trade Center Site Memorial Competition. Apart from a few minor corrections, the only change from my presentation board is the elimination of a separate ramp to the upper level, not needed with the connection to the Liberty Street ramp. The design works with my own master plan for the World Trade Center site as well as the Libeskind plan, and works at street level as well as the lower level specified. While horizontal in profile it’s designed to be visually appealing viewed from on high in accordance with the rebuilding of adjacent tall towers with observation decks— at the right time on a clear day the sun reflects off the sphere and rays, dazzling the eye in crystalline gold, while at night the rows of plaques glisten in the ambience of the memorial’s mighty searchlights.
AFTER descending into the memorial site visitors rise to a broad elevated ellipse, to celebrate the lives of 3,016 individuals, their memorial plaques forming rays of a sunburst, the sun represented by Fritz Koenig’s surviving Sphere sculpture.

There’s a gentle ramp to climb, or they can ascend one of two sets of stairs approximately twelve feet to the ellipse’s Main Concourse, where their eyes are drawn to Koenig’s imposing, nobly-scarred centerpiece, further uplifted on its own circular pedestal from a central raised planter— the eternal flame immediately in front, the slurry wall a distant backdrop.

On either side are rows of raised planters, exuberant in floral color and faced in polished granite, extending all the way around the ellipse. Along both sides of each planter, at about three feet above the walkway and slightly higher than planter grade, facing up yet angled slightly toward the viewer, are rows of brightly-gilded plaques, each about eight inches wide by ten inches high, individually honoring each of the victims.

Centered near the top of each plaque is an embossed portrait of the victim, beneath which is his or her name in raised capitals. The line underneath the name contains the victim’s age and occupation at time of death. Below that is a short text— an epitaph, verse, favorite quote, anything from a word or two up to four lines— that attempts to capture the essence of that person, selected by the victim’s family. Finally, in smaller type at the bottom is the place of death and the year, for example “North Tower, 2001”.

Arranged alphabetically, with the first plaque beginning immediately to the left and alternating directions up and down each side of each planter, visitors are invited to take time to follow the path around the ellipse, back to the last plaque on the opposite side of the Main Concourse from which they started, taking in all of the three thousand or so vignettes. Benches situated around the rim of the ellipse further invite a contemplative pace.

On ground level the ellipse, under its wide perimeter, is shelter from sun or rain. Continuous with the surrounding walkways, it effectively increases space on the site and aids traffic flow. Included in the central area of the ground level are spaces for quiet visitation— a larger one for the public, a smaller one for victims’ families and loved ones. Between these two areas, with thruways on either side, is a repository for unidentified remains. This is located directly below the Sphere sculpture and eternal flame.

Outside of the ellipse area, yet joined to it by a slight shelter overhang of each, the footprints of the towers are shallow pools with bottoms of hued pavers or aggregate. Three colors of stone— sky blue, medium gray, and dark gray— suggest, in illusionary 3D, the towers they mark, but with only four corners and roof, looking up-inside instead of down-upon, open on the sides. Ripples unsteady these sure lines, further obscured by reflections— except during cold months when the pools are empty and children romp the narrowing paths to the central squares.

Integrated with the waterfall of the master plan, the large surface areas of the pools induce an evaporative cooling which, combined with the relative quiet of the lower levels, make the memorial one of the most inviting places in Lower Manhattan, especially in warm weather.

The sense of meditative quiet strived for in the master plan is further enhanced by strategic plantings, including large trees continuing down into the site from those lining the streets above. This is particularly evident in Rescue Park, the area situated between the ellipse and the Liberty wall to the south.

The southernmost half of the park is elevated four feet, which provides planting depth for a grove of trees. The wall itself is entirely veneered in dark stone, in either rock face or natural cleft, which is covered with ivy, wisteria, or other ornamental climbers. Besides helping to absorb sound and reduce echo, these rich growths offer a restful transition from the severity of the great slurry wall, better proportioning the site as a whole.

This elevated area is bordered by shallow, sweeping steps leading up to it, on its most prominent point forming a suitable base for a Rescue, Recovery and Healing Statue/Memorial, which may be a separate competition or commission.

Remembrance Park, the area east of the ellipse extending to the boundary at the museum, is more formal— a lawn framed by surrounding walkways. Near the museum are planters for two trees, and between these, on the lawn (or a widening of the walk) may be placed one or more surviving remnants suitable for outdoors, such as an original tower structural element, and in that capacity becomes an outgrowth of the museum.

Other than these features the main area of the park is left open and unobstructed for the placing of temporary seating during public ceremonies or other activities, which may be conducted from upper and/or lower-level stages, situated between the two main stairways.

At night, in the spirit of the original Tribute of Light Memorial, two searchlights, the most powerful in the world and specially designed for this project, are illuminated. Situated on either side of the Sphere sculpture, each is angled 5º off vertical in opposite directions, forming a narrow V for Victory. They rotate clockwise one rotation every two minutes, thus seeming at first to be still. Yet exactly once every minute, no matter from what direction viewed, the beams seem to converge into a single brilliant vertical light, visible tens of miles away, depending on weather conditions.

The lights bathe the memorial site itself in a reflective glow, bright enough that between the powerful beams, around the base of the Sphere sculpture, near the top of the base, engraved in a single line of Roman capitals for all posterity, can be read these words from the Memorial Mission Statement—

 
Specifications and Notes

EASEMENTS— The words “master plan” in these descriptions refer to the Studio Daniel Libeskind Site Plan, off limits to the competition. The only easements requested of the master plan are (1) The angle of the ramp from the corner of Liberty and West Streets was not numerated in degrees or distance— the angle expressed visually is adjusted slightly, and (2) a landing and short connector to ellipse at memorial level on aforesaid ramp.

ELEVATIONS— The uniform grade level (including Remembrance Park, lower level of Rescue Park, and ground floor of the ellipse) is two feet above ground plane (concrete deck) to allow for reflecting pools, lawn planting, extra tree planting depth, etc. The upper level of Rescue Park is four feet above that, or six feet above ground plane. The upper (Memorial) level of ellipse is fourteen feet above ground plane, providing up to two feet of structural thickness and a minimum of ten feet of canopy or ceiling clearance on ground level, eight feet of minimum clearance on the ground level stage. The elevation of upper-level planters, including the central planter, is seventeen feet above ground plane. The top of circular Sphere pedestal is twenty-one feet above ground plane. The top of Sphere sculpture itself is forty-six feet above ground plane— While this design is relatively low-profile, in keeping with the reduced grade-level of the master plan, it is hoped that towers are built elsewhere on the World Trade Center site that vastly surpass the original twins, or at least against which any memorial tower would look diminutive.

ELLIPSE— The two-foot-high edge of the upper-level structural thickness is blended into the four-foot-high surround wall above with vertical facings of polished granite. No supports are at the perimeter, nor rise from either of the tower footprints. The ceilings and walls of the lower level exterior spaces are off-white or a similar hue, to better conduct natural light.

PLANTERS— On the upper level, height of all planters (and memorial plaques) is three feet, with plantings themselves low enough— no higher than about a foot— that the overall layout of the ellipse can be seen by an average-height adult from anywhere on it. Higher plantings such as shrubs are allowed in the central planter around the Sphere pedestal. Off the ellipse, tree planters are eighteen inches in height and thick-walled enough to double as benches (actual planting depth of these is over three feet, extending down below grade to concrete deck but not out under pavement). The ground-level garden between the two main staircases is level with the surrounding ground, or elevated no more than a few inches.

PLAQUES— The best preliminary estimate as to the amount of space available for memorial plaques allows for a width for each of seven-and-a-half to eight inches, with one-half to one inch of space between. The narrow space between is desirable, both to allow more width for each and to unify them from a distance into continuous rows ("rays" of gold). Above each plaque, the angled facing onto which the plaque is mounted levels into a six-inch-wide shelf for the placement, if desired, of small tokens or mementos— Besides the short text on each plaque, victims’ families choose the photograph to be used in making the embossed portrait and have final approval over the embossed version. A second copy of each plaque, identical in every way to the memorial copy and mounted on a thin slab of similar polished granite, is presented to each victim’s next-of-kin. Like the portrait, all lettering on each plaque is raised, so that it may be felt as well as seen.

PRESERVATION— The memorial is intended to be permanent, thus all of the plaques, as well as the Koenig Sphere and pedestal, are recorded and preserved digitally in 3D at a level of resolution beyond working tolerances, along with the final working site plans. These are all preserved in duplicate at multiple locations such that if the memorial were to be partially or completely des