New World Trade Center: Design Proposals from Leading Architects Worldwide


"As they watched on television as airliners controlled by terrorists flew into the World Trade Center and the Pentagon, the American and international public at large became suddenly aware of the symbolic, political, economic and social importance of architecture."

— Max Protetch

Architecture gained a new significance in the eyes of the world when New York's World Trade Center was brutally attacked on September 11, 2001, as a symbol of the freedom and commercial strength of the United States of America. ...

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Hardcover New As they watched on television as airliners controlled by terrorists flew into the World Trade Center and the Pentagon, the American and international public at ... large became suddenly aware of the symbolic, political, economic and social importance of architecture. --Max Protetch. Read more Show Less

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"As they watched on television as airliners controlled by terrorists flew into the World Trade Center and the Pentagon, the American and international public at large became suddenly aware of the symbolic, political, economic and social importance of architecture."

— Max Protetch

Architecture gained a new significance in the eyes of the world when New York's World Trade Center was brutally attacked on September 11, 2001, as a symbol of the freedom and commercial strength of the United States of America. Recognizing the public's new appreciation of the correlation between architecture and the culture that creates it, Max Protetch, a New York art gallery owner who is the world's preeminent dealer of architectural drawings and has represented some of architecture's finest minds, launched an artistic response to the attacks that would help New Yorkers regain their footing and envision a new future for the city.

By the end of September, as the debate began to stir over what would become of the devastated lower portion of Manhattan, Protetch had begun asking many of the world's top architects to contribute to one of the most important and provocative architecture and design shows in recent history. The result was a unique combination of proposals from a diverse group of architects that included sketches from the late Samuel Mockbee, a proposal for a multiuse, multicultural cathedral from Paolo Soleri, Daniel Libeskind's ideas for a memorial structure, and Zaha Hadid's vision for the future of high-rise architecture. A New World Trade Center is an extraordinary display of creativity in thought and design that considers the future of lower Manhattan from myriad perspectives — serving at once as a powerful remembrance of lives lost and a catalyst to the debate on downtown Manhattan.

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Editorial Reviews

Publishers Weekly
Many of these four dozen or so designs solicited by New York gallery owner Protetch may be fanciful rather than practicalDfrom Acconci Studio's "building full of holes" ("preshot, pre-blown-out, preexploded") to Jakob + MacFarlane's "light and sensual" design of long, thin towers resembling fingers and symbolizing "peaceful aspiration"Dbut they bring a freedom of imagination whose need was surely demonstrated by the paucity of creativity shown in the half dozen designs for rebuilding the World Trade Center site that were unveiled recently. (On sale Sept. 3) Copyright 2002 Cahners Business Information.
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Product Details

  • ISBN-13: 9780060520168
  • Publisher: HarperCollins Publishers
  • Publication date: 9/28/2002
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 147
  • Product dimensions: 8.24 (w) x 9.44 (h) x 0.70 (d)

Meet the Author

Max Protetch opened his first gallery in 1969 at the age of twenty-three. Since 1978 he has established himself as the world's premier dealer in architectural drawings and objects. He has shown the work of some of the most important architects of the twentieth century, including Frank Lloyd Wright, Mies van der Rohe, Louis Kahn, Aldo Rossi, and Eliel and Ero Saarinen, and premiered the work of some of the most influential figures in contemporary architecture, including Frank Gehry, Michael Graves, Zaha Hadid, John Hejduk, Rem Koolhaas, and Samuel Mockbee.

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Read an Excerpt

Balthazar Korab began working as Minoru Yamasaki's photographer in 1958, and was in close design consultation with him. He documented the World Trade Center project's development from its inception in 1962 through the completion of the building. Korab studied architecture in Hungary and France, and worked with Frank Lloyd Wright, Eero Saarinen, and Le Corbusier as an architect in the 1950s. He was awarded the AIA Medal for Architectural Photography in 1964.

Balthazar Korab

Celebration of a Forward-Looking Spirit

In 1962, after considering several other architects to design the World Trade Center, the New York Port Authority chose Minoru Yamasaki and a great celebration took place in Troy, Michigan. I was there, and followed the development for the next fifteen years. I was witness and part of the tireless effort of the study, beyond my role as Yamasaki's photographer. The hundred or so schemes were slowly narrowed down to the two-tower, five-acre plaza that would be built. The heroic dimensions were adopted after long soul searching, projecting a symbolic monument for a new millennium that was to lead to world peace through global trade. This leap of faith met with a mixed reception from the critics. But with the passing years the Twin Towers became an essential feature of New York's skyline, reminding us of the gradual acceptance of the Eiffel Tower by the Parisians. The World Trade Center generated new energies, new life for Manhattan's downtown. Those energies grew to universal strength as a response to the September 11 tragedy. Undefeated, New Yorkers and the whole world rallied, showing solidarity in fighting the criminal calamity of terrorism.

Iam proud to be a part of Max Protetch's initiative to celebrate a forwardlooking spirit by inviting architects to present their visions for Ground Zero.


1100 Architect is the New York-based firm of David Piscuskas and Juergen Riehm. Since the practice was founded in 1983, their work has demonstrated a contemporary sensibility that is at once elegant, sophisticated, and inviting. The skillful use and manipulation of light and unexpected use of materials for which 1100 is recognized are continually at play in the varied projects undertaken by the firm. Within this fluent language, the architects forgo preset conclusions in order to serve each project, "whether free-standing construction, renovation, or the development of raw environment," through its own process of discovery. Key projects include the AIA-awarded Little Red School House/Elizabeth Irwin High School, the Robert Mapplethorpe Foundation, the MoMA Design Store, and the Irish Hunger Memorial in Battery Park City, slated for completion in July 2002.

1100 Architect

Between Permanence and Fragility

Our proposal acknowledges the tragedy that occurred on this site, the enduring presence of the victims who perished on September 11, and the phantom presence of the World Trade towers. Our thoughts were dictated by the phantoms of the towers; the scheme does not attempt to replace the towers literally. Their footprints are deep vessels filled with water to their original seven-story depth and become pools for reflection. The space -- an absence -- between the two pools is still redolent with the vibration of what used to be two mammoth buildings. We worked with this ten-foot-wide separation between the east face of the North Tower and the west face of the South Tower to conceive of a simple, vertical structure that rises to the height of the original buildings without attempting to mimic them. Two architectural planes radiate from that structure, each plane touching one of the reflecting pools. They comprise a series of passages that ascend as multiple paths open to, but protected from, the sky, the city, and the elements. A skeletal architecture is created -- a wall of paths that oscillates between permanence and temporality, clad in large panels of glass. The number of panels of glass totals the number of victims. Glass, a provocative material made through fire, is both fragile and resilient, but is neither liquid nor solid, neither alive nor dead. Human life is fragile, the impression of human life enduring. The panels of glass accord the opportunity for each of the victims to be remembered -- distinctly, individually -- and for the visitor to think, to see, to look through the remembrances of each of the victims to the living world beyond this place and this event.

On the ground, what we have conceived allows for the creation of a humane plaza. A portion of West Street would be recessed below surface grade, allowing people to traverse the site to the river, to move from water to water. The plaza also makes a site receptive to commercial development, hence the presence of two fifty- to sixty-story buildings to the north and east sides of the site. They help define an open urban place, an intersection between people and architecture, between the permanence and the fragility of life.


Raimund Abraham was born in Lienz, Austria, in 1933. He emigrated to the United States in 1964. In 1971 he moved to New York, where he has taught at Cooper Union ever since. Abraham has received various awards for his architectural designs, among them first prizes for the Rainbow Plaza in Niagara Falls, New York, for the International Building Exhibition in West Berlin, and for the Times Square Tower. In 1992, Abraham made international news when he won the competition to design the new Austrian Cultural Forum in midtown Manhattan.

Raimund Abraham

Zero Zones

Three inhabitable concrete slabs of 880 feet long, 110 feet wide, and 550 feet tall run north-south, between Vesey and Liberty Streets, 110 feet apart.

At the time of each plane hitting the towers and the collapse of each tower on September 11, 2001 -- at 8:46 A.M., 9:02 A.M., 9:59 A.M., and 10:28 A.M.the exact position of the sun is located and fixed at the lateral angle from true east of 28.5 degrees, 32.7 degrees, 47.2 degrees, and 56.5 degrees.

Thirty-three-foot-wide and 550-foot-high passages are cut east-west through the three slabs at the centerlines of the lateral angles of the sun, marking and signifying the memory of the events from September 11 forever.

A New World Trade Center. Copyright © by Max Protetch. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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Table of Contents

Introduction vii
Balthazar Korab 1
1100 Architect 3
Raimund Abraham 5
Acconci Studio 7
Morris Adjmi 9
Marwan Al-Sayed 11
Allied Works Architecture 15
Will Alsop 17
Archi-Tectonics 19
Asymptote 23
Shigeru Ban 25
Carlos Brillembourg 27
Mel Chin 28
Preston Scott Cohen with K+D Lab 31
Coop Himmelb(l)au 35
Della Valle + Bernheimer Design 37
Field Operations 39
Foreign Office Architects 41
Fox & Fowle 45
Joseph Giovanni & Rodrigo Monsalve 47
Gluckman Mayner Architects 49
Alexander Gorlin Architects 51
Michael Graves & Associates 53
Zaha Hadid 55
Hugh Hardy 59
Hariri & Hariri 61
Hodgetts + Fung Design Associates 63
Steven Holl 67
Hans Hollein 69
Jakob + MacFarlane 71
Eytan Kaufman Design and Development 73
Kennedy & Violich 77
Tom Kovac 81
Krueck & Sexton 83
Daniel Libeskind 85
Greg Lynn Form 91
Inigo Manglano-Ovalle 93
Nathan McRae 95
Samuel Mockbee 97
Morphosis 99
Eric Owen Moss 101
Ben Nicholson 103
NOX 107
OCEAN north 110
Office dA 112 114
Frei Otto 117
Marjetica Potrc 119
RoTo Architects 121
SITE 125
Paolo Soleri 129
Michael Sorkin Studio 131
Barbara Stauffacher Solomon & Nellie King Solomon 135
A Tribute in Light 137
Weiss/Manfredi Architects 141
Tod Williams Billie Tsien 143
Mehrdad Yazdani 145
Architect Information and Project Credits 146
Acknowledgments 148
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted July 31, 2003

    Creative, yet confused

    True, it is not a book of serious proposals, but a 'creative exposition,' as one reviewer put it. This is not an architecture book. This is an art book. I've always found it humorous that architects fashion themselves to be artists, using their buildings to produce some sort of sculpture. This book backs up that hyposthesis. And for whatever reason, students choose not to be artists, but instead become architects. Why they don't become artists...I'm sure there are many reasons. If you want an art book that uses buildings instead of clay, this one is interesting, though not special. If you want a book that offers interesting, yet 'serious,' World Trade Center proposals, this is definitely not for you. If you are not an architect, it's simply a fad--a coffee table book at best, soon to be replaced by something with a little more meaning.

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  • Anonymous

    Posted November 18, 2002

    Don't miss the point

    This is a book about a gallery's exhibition of architectural ideas. It is not a book of serious design proposals. It is about a meeting of the minds, some of the greatest architectural minds of the world. It is conceptual, and as a conceptual exposition is one of the best.

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  • Anonymous

    Posted September 19, 2002

    Leading Architects Fall Flat

    I was disappointed with this book. Many of the designs shown looked like free-form art instead of a serious attempt at designing a new World Trade Center. As a lover of architecture, especially skyscrapers, I expected more from "leading architects" of the world. There was a few proposals, in my opinion, that were practical and appealing, but the majority was just folly. I have seen designs by everyday people whose ideas far surpass what I saw in this book. Maybe the public knows best!!

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