>>harlie: welcome to our program. tonight the rebuding of groundñr zero with% ááv silverstein,president of sin properties, chris ward, thexd execut >> rose: welcome to our programt ground zero, with larry silverstein, president and c.e.o. of silverstein properties. chris ward, executive director of the port authority of new york and new t jersey. architect david child, and david lieberstein designer of the site's original plan and paul goldberger from the new yorker magazine.

we conclude this evening with michael larod, the designer of the 9/11 memorial. the rebuilding of ground zero when we continue. >> founding for -- funding for charlie rose funding for charlie rose was provided by the following: addional funding provided by these funders:

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> charlie: the attacks on the >> rose: the attacks on theworln september 11, 2001, forever changed the manhattan skyline. almost immediately after theer iconic twin towers fell thatth tuesday morning, the debate ove+ how to rebuild began. for 5 time, creative, economic and political conflict stalled significant progress at theil site. the rebuilding effort continues but many feel that a corner has been turned. the national september 11 memorial opened to the public on sunday, and the site's central building at 1 world trade center continues to rise to its dominant place in the cityjo

skyline. joining us to talklk about the state of redevelopment hat the world trade center site are larry silverstein, president of silverstein properties. chris ward, executive director of the port authority of new york and new jersey. architect david childs, lead designer of 1 world trade center, architect daniel lieberstein of thee original pn and paul goldberger paul, author of "why architecture matters" and i'm pleased to have all of them at this table.au i want just to start with sortar of -- and go with -- start with you. are you satisfied at where we are now? >> i'm sad it took us as long as it took to get here? >> rose: that would be my nextq. >> but i'm thrilled we are where we are and the process that is i taking place today so enormous lid gratifying? >> rose: you will be pleasedwit. >> very much so. >> i couldn't be happier. w i think, if you look at where we had been and where we are today,

the forward momentum, the sense of the project going forward, it's in a very good place. >> i have always been optimistic about the site.ea it's fantastic. i think we're seeing theui results, not just rebuilding but the cultural sense of what the space means and a return toll life, not just the old life but+ resurgence of america really from this space. so i think it's really inspiring and something that is, of course, a work in progress because it's not finished. there are many elements. tower one is open. tower four is under construction. the pavilion is open. soon the museum. but there's a sense of a momentum which is changing this hole in the ground into something so positive and energizing that i'm thrilled? >> rose: david?absolutely right. i must say though that i also

think that with this question, it always comes up why is it taking so long, it's amazing it's taking such a short time? >> rose: you're the first perso. >> if you think of major building, like what is going on in beijing today, they all take 10 years. this one had the most complicated site with a heavy train running through it, a huge river going through half of the site underground, all of the emotional things happening. it's going and fist wonderful. >> i think that the time won't matter in the end in we do the right thing. if we have done the right thing, nobody will care 10 years from now whether it took 10 years, six years, 20 years or what have you. i think we have basically done the right thing. i think that the combination of commemoration and renewal that the site represents, that daniel's plan inexcludes absolutely right. we couldn't do only

commemoration. the idea of making the entire site a memorial was understandable for a little while afterwards but long-term it would have been a terrible thing to do to the city because the terroristists were attackinh contemporary urban life, the idea of the modern city, as much as they were w attacking individuals. and so renewing that urban life is absolutely critical? >> rose: some said it was anatt. >> all of those things. and renewing that is essential.i i differ sometimes about some of the architectural solutions but that's separate matter. the underlying principal isng absolutely right? >> rose: i remember a storyabou. you said to him, he is going toi design all of the buildings at one time. >>ed i discussed that with him s a possibility. and he said no, as a friend i would not recommend that. >> bring in the brilliance of -- >> he said the results will be spectacular and you will have diversity? >> rose: where are we today?char

1 up at the 80th story, up to the 104th story. and tower 4 -- >> 102? >> and the skippure. >> not just the sculpture. i often hear people say is its, 102 stories or 102 or 104 -- you know in the master plan i had an idea that we should build a tower that is never going to be surpassed because of its symbolism. now 76 feet, i think looking from the bedrock, coming up from the memorial site, looking at the skyline and knowing what is at the apex is the unsuppressed date of the declaration ofn independence which is about life, liberty and that's

something that the building deserves to shine with but wehe should not underestimate the symbolic aspects. it's not just the number of floors in the building but what the building represents to people and of course it's something that people will know about because people will just know that there's an apex to it. >> and it was once calleddo freedom tower. >> yes.re >> we went through three and a half years haig we went through a very difficult dialogue with that issue and i made thehe decision that, while born out of the original vision of the project in the sense of building and symbolism that freedom tower was no longer really the right word for it. b we were building buildings and building downtown. if you had a 2 world trade center, you should have 1 world trade center. and let's recognize it. new yorkers were free before 9/11. they're free today. and i think new york needed a downtown. it didn't need symbolism, it didn't need that kind of message

hat this point. it might have been appropriate early on but it was no longer right for the site, not without a controversy. >> by the way that was the name the governor gave it? >> rose: continue with where wee are today. you're up to 84, is that right? student: 80. >> rose: 80, on number 1.larry,. >> actually we're on the 50th floor of tower 4? rose: of 4 tower 4.>> yes. >> and you have four differentl architects. >> yes. and it will be topped out next year at the major portion of thr occupiable building and of course the top of the building, the mast and the spire willd continue on and soon thereafter will be filled up with people and we have been very lucky about the fact it's commandingpe best prints and it will be down there and full of life?. >> rose: some of america's beste

down. >> that is in fact, a commitment. >> it's a wonderful -- >> it's good for you, good for all of us. f >> good for new york? >> rose: because it signalswhatn >> well, i think it signals that final transition that everybody has been waiting for that downtown will no longer beens. imburglarized by financial constitutions. we very a 24-7 community. there are twice as manye people that live there as lived there on 9/11 and you have a media company that is dynamic, that is 24/7, that is multimurp, and the people that work for them want to live in the city, they want to take mass transit and they want to be in a kind of environment, the kind of buildings that larry is building that 1 world trade center would be. i think it's a signature transition for downtown. >> just as the times square evolution began into a differenn kind of place? >> rose: is that because they'rr

or because, if you're willing te make that kind of commitment,yo the prices you can get are traffic k terrific. >> how about both? how about both? >> those are not mutually exclusive. >> pieces of the city this big>> take a while to do. part of the piece of the original world trade center, it was singular building. it was one of those great soupes blocks. this is evolving, as cities do. so i find that very natural andn reassuring. it will have variety and over time it willak take on particulr details that will make it a vospecial place of its own nature. >> when in fact, you you have to remember that the original twin towers contained 10 million square feet of density. in the master plan there are now 5 towers that distribute the density making the buildingsld lower. it's also because of the street and because of safety. but to have streets that are not with heavy shadows, to shift the sites and do the light, there's, pleasure, there's cultural activities in the center of the

site, not just a memorial. >> putting back the streets i think it was a key decision. in the end the city is defined asby streets in as buildings,yt certainly new york is. >> maybe more so. >>is maybe more so. >> that's what makes manhattan unique is its grid.at you look at it and it's sort of a restrictive grid and allows an enormous freedom. and before we talk too muchd about buildings, which we all c tend to do because we can look at them, the most powerful place down there, the one that does the biggest job and the mostpe important job, is that open space. and the one thing that i was surprised by, you know, weeñi stoned know what is going to happen when it goes and follows a drawing, that was different for me, many more powerful is that it unified a portion ofow downtown. the old buildings blocked the city, f the downtown from the water, from the hudson river. it certainly blocked the buildings of battery park cityd

and now they are reengaged back downtown through this wonderful open space.th that's the genius of the plan, i think. >> well, we should not forget that the old world trade center was block. >> a super sphwhrok so really as paul says, to open the streets connect tribeca, battery park, wall street, really into kind of -- it's so close between the hudson river and the east river, so close between up town and downtown, you're at the epee center of american history in that dense try ageel and i think to create a vibrant space, that's really -- that was -- didn't do any of the buildings and often people will say do you regret? no. because i think building a neighborhood is as potent as building the highest tower not world. >> your master plan is exactly what is evolving. we're building your master plan. >> and we're working together. i have to say, many people havel

said they envision this and that. but we alls came together and i think that's a story that the d people should know, that it didn't happen by accident that we work together. >> it didn't at the end of yourl life, they say he was the mastep planner for the world trade f center, you're happy with that. >> for me it was not just another project. i let's take it away. yeah, i'm lucky to have many projects. i didn't think ofhi the project. i didn't think of the towers. when i first participated and i went down to the bedrock, iea thought of, well it's not just a piece of real estate. it's a place where people felt, where something happened that had to be used as a foundation for a positive. so it was not just building nice places. it's how do you deal with it?çó a lot of the vision, some people wanted low buildings some people wanted two megatowers -- and i a often thought this is how do you connect that memory of that dayl and what happened and also make it something positive.t

it's not just -- it'spe perseverance and hopeful of behalf that means nor new york and the future of america by the way and the world. >> one of the things i have to say, when you asked why did itne take so long, i have to to say one. reasons its took so long wasta that sense of monumentallism that we built into the projectt so early that it had to answer so many questions and be so many things, particularly for the port authority, how did you even build it, and i think that's, for us, the biggest challenge. how do you take all of those hopes and dreams and all of those visions and finally turn it into a construction project and get it built? >> rose: how serious were thepo new york and new jersey, between the city and the state. >> i don't think there were really political conflicts. i think that there were -- >> aesthetic? >> no, i think there were economic conflicts in terms of where is the port authority -- you know.

>> it's always about the money. >> no that's right what everybody says it's always about the money. >> it w all comes together. >> we're going to see thehe buildings and talk about where we are todaye. and how we have become. but this has beente a difficult0 years. >> it's been a very difficult 10 years. even though as i said before, it the future, the fact that it m took that long may not matter all that much. never has there been as many stakeholders. i remember saying at one point, the good news is that everybody cares, everybody is interested. the bad news is everybody cares and everybody is interested. >> democracy is in fact a very m difficult way to make architecture. and in the end in fact you can't put it to a vote. >> somebody has to make a decision who was fighting with whom? >> i think some people at this they believe, larry was fighting with chris's predecessor. >> you two were at odds? >>[l no.

>> >> >> rose: what were you at oddsw? >> let me speak to that. the fundamental question -- >> he can laugh about it now. >> now i can laugh about it. the fundamental question that had to be resolved, in 2000 ahead what was the port authority's relationship withhe larry silverstein. there was a economic deal that ensured the towers 4, 3, and 2 got built, the site would have been completely assumeyed.mi we would not have been able to finish the memorial plaza. we would not have this 10 year aftersry. we needed to come to grips with the economics of three large towers in an economic market that wasn't as strong as we would have all liked, that was fund minutely going to require public dollars, port authority dollars to be invested in those towers. and we struggled. larry's passion for those towers drove the vision forward. build it now. we saw the vision but we had to

be careful in terms of how much the port authority was actually going to invest and i think both of 0 those would say, through that crucible of negotiations we came without with a very good deal for the whole project. >> and as a result, you see what is transpiring today. >> right. >> the fact it's 58-going in order and going forward simultaneously. >> when bass the moment where things shifted from conflict to -- >> '08. we have had several agreementsel. three, another agreement, a renegotiation of 6, another renegotiation in '08. we have had a series of renegotiations. but at the end of the day, the important thing, if you look at it at all, the crucial renegotiation that took place that made all of this possible, the purpose that you're seeing today, was the agreement that took place in 2008 because as a result of that, there was clear delineation as to who would do what again, under whatun circumstances, who would becu

responsible -- >>ñi what is the time frame. >> and so it took -- it was a protracted issue. it took a huge amount of effort. >> but we solved it.t >> at the end of the day wene solved it. >> because there was a new director at the port authority. >> his presence made all of the difference in the world. >> really? why? >> well, that's another story. but in reality chris has done a superb job. >> think about it this way. condi fast would not have moved downtown there there was not uncertainty . >> i want to do one thing. you got the 99 yearlies for this power and went to twin towers when? >> back in '01. >> what month? >> i think we signed the deal that gave us title to the world trade center, i think it was july 26th of 2001, about six weeks prior to 9/11. >> and on the end of the day, on

september 11, 2001, what were you thinking? >> the fact that i was still here what was amazing to me.w3 the fact that my children were still here was amazings to me, because all of us could have been taken that day. and it's fate. and serendipitous nature of life and the unpredictability of it. but the truth of the matter, at the end of the day, i looked ouh and i said what have we got here, this is horrible, the loss of life, the number of peer-to-peer that we lost, the fact that imcame out unscathed personally with only the loss of -- >> how many people? >> four. but those four men had six children. that was s brutal. >> and this story has beenen repeated and repeated and repeated and repeated, at leaste with firemen and people working in the building, people visiting the build. >> almost 3,000 people lost their lives that day. >> did you believe that day that

we would ever see this day? >> you know, honestly i was not thinking that that day. >> you were thinking of the next day, the next hour. >> it was impossible to tell what was going to happen next. there were people in the streets. people actually left to walk down to their offices and stairted walking and many walked home which is what i finally did. >> i remember you saying to me, which impressed me, you said, i have got 10 years. i feel an obligation and a responsibility to make this whole. you personally. i remember you saying that. >> but not the first day. i think on the first day everyone was still shell-shocked. >> we thought it would take a year, two years to clean this.e the estimators with $2 billion, $3 billion just tos clear the site and restore it. >> i think we're also -- youth know this site is owned and leased but it's a site of new york. it wasn't just about ownership ask. it wasn't just about the -- i

think every new yorker and good person around the world felt they were attacked that day. >> the world. >> and not just north america. >> it was an attack on the world because we're all american. >> and the idea of the 21st century of modernity. >> and we also forget this, almost 3,000 people parished, from 90as different countries. this was people from the world. this is why the engagement with the public and what took place, with everyone, they were so emotional about what will the site become, what will it be in the future, will it be just a commercial site? how big will the memorial be? are there be a social and cultural aspect of the site. that's drove my notion think

hays to be more than just building a memorial and a museum butt something that has a composition and of course that is difficult to achieve because we live in a different world practically. i think what chris said is true, when you look at the site, you you have to build it from the bottom up. >> did you argue and have you been careful to suggest not too much symbolism in the building and in the site? >> yeah? >> rose: because?i think that dt symbolism, the constant back and forth, the wandering -- think of the thraj that we used charlie. were we sending a message to terrorists? were we standing tall? what was the nature of new york. everybody is eloquent around the table for those reasons but it was burpeddening the site and making it difficult to pick a priority to drive the construction of the site with a of prioritization. once we took the project and looked at the schedules and the budgets and looked at it apart

and realized you couldn't go by the 10 years offersry and you simply had to have a place for closure on the tenth anniversary, once we knew we had to do that, decisions got made. so we have thought and thought is probably the bad word but we have tried to get out of that paradigm of debate and more just keep our heads down and -- >> wait for fruments. exactly. >> >> rose: at one point in all ofs about it, as you remember, the idea this could be a renaissanc for architecture in new york. has it turned out to be that? >> i think not entirely. on the other hand, i think some of us may have or some people may have expected too much of architecture. in the end architecture can't solve every political problem. it can't heal the emotions fully. it can be a wonderful and inspiring housing for those things but it can't makeer everything happen by itself. i had hoped that we would do the

most technologically advanced skyscraper in the world here. i mean right now asian countries are doing the most advanced skyd can scrapers and this would you be the perfect moment to says this is an american building on this piece of land where americe was attacked. why don't we respond with theap most advanced skyscraper in the world. we haven't quite doneth that.n everything there is so much better than the handling building in new york. r and given the reality of life that this has to be economicall viable and there have been so many players and so many forces that work here, i think it's actually pretty remarkable that it has come off as it appears to be. >> i would add to this and i agree with much of what you say, all of what you say actually, and what is architecture? is it a building?ur is it a room? is it a facade of an object?

or is it a piece of the think is? c they're just different scales of the same design problem. i think that we ought to feel really good that we advanced the nature and the scale of architecture at its biggest level which is city building and that was remarkable and it's been done in a way that we should feel extremely proud. >> if i may -- >> paul, i agree with you fullyn in terms of the fact that we have an obligation to do the best we possibly can down here. and, in furtherance of that thought, what we did at 7 and as a result follow-through on all of the buildings that are under construction here, is to build a building that is environmentally sensitive, sustainably designed and insurgent, lead certificate

filed, gold standard, built to a life safety standard that is unprecedented in america, totally beyond building code so cost therefore, we move cost out of the equation and did something that i think we could be enormously proud of? >> i think 7 is a breathtakingly beautiful building. >> but david is responsible for 7. when i saw the job david did for 7 i asked david to come in and design the freedom tower. >> the first slide obviously is a view of manhattan with the world trade center skyline. do you see that? you can see it here and here. ok. the second one is the world trade center by day anybody want to add to any of these? i want the audience at home 0 sense what we're talking about. >> you can certainly see the step up, the spiral step upward that daniel was referring to that does come out.it

right, down -- it does come from the master plan. >> then the third one is a shi'ite plan. the world trade center site plan. >> sure. from it is.ia >> by the way, you also see that travel station, 846 on the northern side, 1028 on the song side, that is torqued toward that light of the day. i don't care.er commuters will be busy and going to work but just the notion that this light is not just any light falling on you. that is a light related to the m site as a hole. i think that will be very moving. they can be known by those who want to know about it and ice think that public space between the station and tower number 2 will be a beautiful entrancepl from broadway. so many people are coming from broadway and the eastern part of the manhattan. >> the truth of the matter is that design is spectacular and it's going to have a major impact on people in new york. >> a modern transportation

building in new york. >>ui maybe since twa, the term that at j.f.k. yes. that's correct. you had a great plan that didn't happen. >> we have never really done it. >> this is a good drawing forrs your audience to understand one thing that's easy to see mere. do you see the scwairp footprints of the towers, the fact that that occupies half of this site and that the tower 1, which is the one piece of thd building around is not just to form the -- going down into the sense of loss that he talks about, it moves up into the skies, the positive piece. that's how that generated that form and you can see it right there.ig >> when i was designing the

master plan, charlie, i thought of my parents. they were workers. my father is a printer and my mother worked in theke garment industry. in thethey will never be thudershowers. they never will be in theth powers. they will be in the path terminal. they will be on the street. what do people get who are not in the powers. and it's the footprint, it's the space that is created for people to enjoy and we should not forget them. not everybody is lucky enough to be in those buildings. >> ifca you look carefully at te master plan you can see the salutory effect of bringing everything down to grade had onl the development of the site. >> and it made all of the difference in the world. >> and you can see it connecting to the rest of the city now.. you see the streets going, evene into the old streets, exactly the opposite. >> let's take awo look at this o illustrate more.wi next slide.e

here in terms of architecture, i think this pavilion is a work of genius. depending on where you stand,wa the building looks complete apply different. if you stand west to east, it looks narrow and small. if you look from the north to the south, it looks quite large. and i like the whrai it sort of disappears because of how muches it changes. >> i was initially struck by feeling it was larger than i suspected and as i spent more time with it i came to like it better i think it forms an interesting transition between going down, the voids of the memorial itself and then goinger way up to the other building for the towers. it's an intermediate thing andit connects them. >> i think it brings something positive because people are looking down to the footprints and the waterfalls, looking upal and then being able to interprev

the pavilion decent. i think we're balancing experience so the experience will beex an interesting one, nt just one-sided in terms of grief and loss. it will be something, as david something, you know, positive rising upwards. >> you have to notice. >> tower 1. >> there needs to be a skyline that we lost. we we were interested in doing that, the feeling that people were missing, and you wrote about thate early on afterwards. and when people goo goldbergerhe and look for the site as they drive in from new jersey turnpike they don't know where it is so this is that marker. you can look down and see not only the response to that other great center of the city, midtown, downtown being the other, the connect between these

expires but you can see that's unique, that's where the memorial is, the fact this goes up, that goes up into the air and says this is the location and it's really towards the hudson and it's much mosh toward where the density was. so i think it creates a sense ot a new neighborhood here and so many people have moved to the i neighborhood. >> what do you think, david? >> there's symbolism, charlie but the s idea of that square tt now is coming up again they

didn't work well at the topíz because the same square goes up cut off from the original building.r the elevators kept gettingwa smaller like a tree trunk. you wanted to taper it what is but if you tapered the sides like on osama bin ladennalistic like the washington monument you lose the profile of the original towers so by keeping the sides straight but changing theyo corners you have the interpretation of an osama bin ladennalistic so to speak and clear no you get on obelisk. >> and some people who said why don't you just rebuild the two towers?

>> imagine spending billions of dollars to replicate one of the great fact textural mistakes of the 20th sent tree. >> but before it has to be said that those two twin towers had become a symbol more than any os us realized until the tragedy pointed it out but we can no longer build where people parished. we have to build in a differentv position and we have to give that space to people and i think that's, i think, why the skyscraper and all of the otherv ones will be successful because they don't dominate the space. they are symbolic. you see them because of their positioning. but they are t stepping back awp from the center of space and they are really on the circumference of the space. that's the lobby. next slide tower 2.

norman foster is doing that.q next slide is church street if a side of tower two and there we have been talking about it and you can see it there. >> those wings were to have opened and it will be fixed. >> u and [overlapping] >> sometimes there are changes made partly for budget reasons that are in fact an improvementh anyway. that's one. >> i agree. >>in with the memorial when the galleries were taken away fromm the periphery, it changed the original concept and made it much better.

>> the structure, it's like grand central but. >> it's going to be incredible. >> and richards rogers, say more about that. >> sir richard is not here.and n tower 4. it's minimal it. if you look at the details of this building. >> i like it a lot. >> why do you like it? >> i like it minimalist. the lines --

>> 7 was done privately and conceived, designed, built opened, while everybody else was still being fought over on some way. >> it was part of the original plan because it had on it the places and it had to be rebuild quickly because it had to be put back number 12 shows you the memorial and number 7. >> you can see them. there it is where do you put this in terms of that building and in terms of what you built and 1 world trade center? >> i think all of these are different different. they respond to different programses and different

locations but they're all new york buildings as far as i feel, this one, because it was the first in getting something up, it had a pride about rebuilding the city and people felt extremely good about that and as they do today, they go down there, two years ago before they came up out of the ground, people would go down there, a frown on their face ask look down. now they walk down to the site, they smile, they look up, they see progress. at the end of the day, for all that we talk about what has been done on the site, what has trul+ saved new york is a resumption of all of the forces that were there on september 10. all of>> the energy, all of thes stuff that was happening then came back with a vengeance? >> rose: you could feel, youcoue and people began to think aboutw what downtown was going tock like, what the possibilities worry.

and people -- the site itself was going up, ground zero wasq still horrible and people looked out of the window and said who is going to come? but we felt ultimately it would make a difference when people saw this would make a dungeons again with the 13 mass transit lines and everything that was there was back.id >> it didn't happen that naturally. i think providing new buildingst 21st century buildings for offices made it possible for grade b and c office buildings to become housing. i think that's what changed the nature of manhattan. suddenly families and young p people could move into those older buildings because they were necessarily office buildings. i think the revival of manhattan might be one of the greatest g month consequences of rebuildeling ground zero becausr it joust graduate urban notions, to a city that was desserted to places that were just office

buildings and it's 5 kind of neighborhood now and i think that's in no short part -- >> there's a demand for schools. >> schools and playgrounds. that's the thing. >> exactly. and the bmw showroom, and thanka you all. >> michael arad is here, the architect much the 9/11 memorial. he was sleected to design the memorial in 2004 beating outri five thousand other candidates. arad was then a young andev unknown architect. seven years have massed and the as you view this program it will have opened on sunday september 11 to mark the tenth anniversary of the attack. the memorial embodies the tragedy, heroism and resilience of thatce day.rk paul goldberger of new yorkerop magazine has written people will not come back but the life of

the city has to. s when you stand in arad a public ander's pork and read the footprints behind them you field a profound connection between these two truths i'm pleased to have michael arad here as we talk about this memorial. wrel come. >> thank you. >> so tell me how you feel nowfe that this long struggle to do this is completed and bid the time this airs, it will haveha opened in a ceremony involving the president and the mayor and the former mayor and secretary of state and others? >> and most importantly, those family whose suffered loss on that day? >> i feel proud and relieved in many ways but also i have this curiosity and expectation to see how families will react once the memorial opens up. have seen one or two people come to the memorial as my guest throughout the construction process.

but the memorial in many ways won't be complete until peoplegh visit the site. that is sort of the final ingredient that will bring the site to life. everything that we have put into the site, the trees, the paverss the water and it's all -- at its heart this memorial is about bringing people to the edge of the void to the line that separates the living from the dead and letting them have a moment of deep and hopefully profound contemplation and that will only happen once we have the public there? >> rose: as you try to designsot place and that separation between what had happened on that hallowed and sacred ground, the loss of life, and the fact that people would be coming andm looking for something, what was driving you was what ideal? >> there are actually two very clear ideas. that drove the design for me. and one of them actually came almost in a dream a few months

after the attack, and i started to sketch an idea -- i imagine a surface in the river sort ofwo torn open forming two voids and water flowing into these voids and it was very inexplicable image and there was an enigmatic quality to it that i felt compelled to sketch and study and say could something like this be realized? over the course of the next year in my spare time, i worked at this and eventually built all small fountain, a smallp sculpture, 12 inches by 12-inches and there's a smallnd pump that murnd the water up along the perimeter of the scale and it formed an area where the water descendd to. and it was that sense of rupture and i photographed this model on the roof top of my apartment building against the skyline of manhattan and i could see the absence of the towers somehow being mirrored in these two voids in the river. and it's been -- i spent close

to a year on this private cathartic exercise of going through this and when i completed it i packed this model up and put it on a high shelf and forgot about it for a while and i came back to it a year later when the dishien competition was held for the design of the memorial. and what i tried to do is to bring this idea of these voids in the hudson to the title and also to change that idea in important ways because had before you could only stand at the edge of the shoreline and look at it in the dance was to be placed where the thudershowers ones stood. i think that the history of the site so so powerful and communicates it so clearly, you have to, as designer reign yourself in. and the site as it was described in the master plan at that time was 30 feet below street level. and i thought about my own experiences here in new york shortly after the attack, of places like union square and

washington square, and how important they were to bringing people together that day. they aree not just places that brought us together physically but they connected us and gave us an opportunity to comfort others and be comforted by others and i know that there was near and trepidation surrounding everything and i thought that we should have a public site like union square, like washingtonet square and if we were toro suppress it, it would cut it off from the life of the think is. m we should bring it up and make it level with the surrounding street and sidewalks and knit iá back in the fabric of the is it i and believe we can is haveit many people that come to this plaza, whether this to mourn or whether it is to tie a five-minute break from theiracet office pulling thank is thedi across the street ask have those different uses side by side, actually enriching the

experience of being on this memorial site for whatever purpose that you are there? >> rose: did you get everything? >> at the end of the eightnt years? i got everything that was important, i think, and it changed, as it had to change. >> from you and from outside. >> from me and from outside. and i think these changes were necessary, a project like this is so meaningful to so many people. a that everybody had to have the opportunity to voice concerns ask make suggestions and protest what they were upset about. and to try and influence the process. >> do you say now with the pivotal role that you played and the cone flect with the transit hub or the master plan, that in the end it came out all right. >> i feel so fortunate because i know it could have become something very different, self. pitying or bellicose or an all

together different memorial but it has remained true to itsto character, to its driving force, and i think -- and for that i'm very grateful. and i think the changes that came out of this process of unexpected constraints, unexpected obstacles, actually in some ways disstilled the design town to its most special elements. one is changes that at the time that it occurred in 2006 upset me was the elimination of the memorial galleries. i had always seen taking in the scale of the voice and seeing the multitude around each pool. it would be a searing moment of understanding. and i wanted to shelter that moment to provide some comfortt that very moment of vulnerability of seeing that. and that's what the memorial galleries were about. they created a space and ewerere

asked for a variety of reasons to bring the names up to plaza level, to bring them straight up 30 feet, still at the edge of the void but in the city, without this -- these walls andd ceilings and it had to do with budget and security and family members that were offensivefi about going below the memorial plaza and it took us three years to find occupant what was the best way to recapture what was hatching at that poament. and we did it but that was not a foregone conclusion. we had to undergo dozens of designs. that process allowed that to happen. the mayor he leadership on this and people like amanda burdennen and kate lefnl who were the eyes and ears on this project guaranteed that it was not always the first and most expedient solution to a given problem that were embraced but rather we were given time, whict was a luxury considering the

drum beat of it must be done, we're behind schedule, to find.response that was consistent with the character of the memorial. >> let's take af look at some of these things because you want to see them and feel them has we talk about them.th the first slide is an aerial v view of the memorial under construction. take a look.orng there you see. t anything to aabout this other than you could see where it stands. >> it's hard to see it quite -- to see the boundary of the memorial plaza hey. i think the boundary is something important. you you have to think of thisa site, this idea for memorial plaza that didn't exist at the beginning. there's an eight acre expanse iu the middle of lower manhattan. if you can pan that view to thet left a little bit, you would see that dense and crooked narrow streets of lower manhattan that have been there for centuries. over time the towers have risen up and you whawk through the t narrow urban canyons on to thiss

big open plane and to encounter this unexpected forest of close to 400 trees is going to be a remarkable moment. we you have to think of the memorial on the scale of not just the voids and the names that surround them buthe thisth entire memorial plaza?o >> rose: talk about the poolsan. >> i hesitate to narrow the definition of anything herepl because this is the kind of place that should be the equivalent of a moment of say lance, open to you to bring what you want to bring into it but it is very much about creating a place that allows that to happen, that brings you into a space that is conductive or conducive to contemplation, to sort of setting aside all of these concerns, setting aside the sites and sounds of the city, not completely removing yourself from them but the sounm of the car and the canopy streets overhead and the space in front of you.nd

should put a filter between you and that every day to thigh about what has happened on that day and what has happened over the past 10 years and to bring a the past into the present? >> rose: another look at thissl. >> you can see that in a rendering here, no the a photograph, are made of this half inch plate that forms this five invited element that floats before this table that is the starting point for the waterfalls and during the day the names appear at shadowsbe there, with the material that has been removed, but this bronze wing shape is actually illuminated from within and at night you see the names appearing as light and the thickness of the plate cuts off the light so that you can onlyw3 see the names that are in front of you and as you walk around

the memorial, a name will disappear and another one will appear and i thought that interaction between the people and the names was so important that we really thought of thisch as something that you see and 234u67 and feel and sense? >> rose: this is a survivortree. >> it is. this is another example of things that came to this process. they weren't there on day one but had merit and made their way through the sort of process and became part of the design.$e and this tree was on the world trade center plaza and it was almost entirely destroyed and it was nursed back to health by the marks department in van cortlandt park where it got struck by lightning and it was brought to the site and flourishing there and it's doing beautifully and it flowersit 5 month before the other trees so it's a dwhiet it white cloud that just appears there at the beginning of spring and this is not anything that can i concern

any -- there were changes that came tout design result of this process? >> rose: so you continued towor. two quick slides.a. one is 27 times scwairp in china. tie a look att this. >> thishe is a very different project from the one i am working on now but i think there's this engagement with cities it's something my partners and i have doing every day. i think cities are social'r constructs not just steel andgl glass and concrete; they are an opportunity to shape the kind of social structures that we will have, the kind of future that we want to create, and this building sort of at one end of the spectrum, it has got eight story retail base, it has another 20 or so office floors and then 40 floors of hotelul space. b it's a full city block connected to a future subway system thatuc 1 under construction and last t time that i was there, they were raising the site buildings that

were on the site, and moving forward. >> the next one is the street farm project in new york city. >> m very different. this is where my son went to school a couple of years haig and i got involved in this idea of putting a farmable roof on this existing building that is some 50 years old and it's been a structural challenge to find a way to bring a foot of foil to the roof. >> is that what you need to t plant things on the foot?ng >> we wanted to make this something that could actually be farmed. you you could use two or three inches to do an extensive roof with succulents which would help with, you know, runoff and heat islands effect but we wanted to make this an educational tool, something that we could tie a into the health and wellness programs of the school and to the study of and science math and many other things.th thank you for coming michael. >> thank you.l, ♪ ♪

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