by Marie Glezos
e x p l o r i n g
D E C O N S T R U C T I O N
How can Michael Arad’s 9/11 Memorial be understood as deconstructivism based on the representation of presence through the absent?
The need for an influential memorial where everyone could pay their respects to the unfortunate victims became a necessity for the local New Yorkers and families affected by the terrorist attack on September 11 2001. To accomplish this in such a dense city meant the architect had to consider the structure to aesthetically please the surrounding streetscapes, respectfully stand on the site and evoke a communal vibe in a space where everyone can gather to remember those lost. Through the theme of absence, architect Michael Arad was able to achieve one of the world’s most beautiful and striking memorials by designing a building with negative space. A space drawing people into a site with a non-existent building. This essay explores the philosophical notion of deconstruction, formulated by Jacques Derrida and its application within the field of architecture. Its element of formulating a never ending perception and a never seen beginning, resonates emotions to those who experience a deconstructed design. The design process of Michael Arad’s 9/11 memorial is analysed against the binary pairing of presence through absence. It explores how the use of voids can be even more effective to evoke meaning than a physical structure, particularly for a memorial site. It explains the importance of symbolism and the cultivation of space to enable one to experience what once existed in the space of its absence.
Representation of presence through absence is notionally, conceptually, metaphorically, linguistically, philosophically and architecturally an antithesis, an antonym, an innate inverseness, a binary pairing[1], a primal difference[2] . It is also the essence and basis of deconstructivist architecture that challenges metaphysics of presence[3]. It is epitomised in Michael Arad’s September 11 memorial site design[4]. A design developed deliberately along deconstructionist theory[5]. A design that is innately incongruent yet powerfully provocative; evoking aura despite the absence of a building; all-encompassing yet projecting outwards; unifying, whilst isolating; contemplative and problematizing.
The fundamental premise of architecture is to design, develop and construct physical forms which essentially shape the world around us; helping humans to continuously adapt to their surroundings[6]. Every architect’s design is created in a deliberate attempt to communicate specific ideas, principles or emotions to those who experience their considered spaces and therefore impacts the inhabitant’s mind as much as their body[7]. This in itself means architecture speaks a language of its own in order to tell its own story. An architect’s powerful influence on the moulding of our cities has the ability to affect the aesthetics of our surroundings.
It also affects how we interact and occupy these spaces demonstrating the importance architecture holds in providing constant adjustments to suit our endlessly changing lifestyles[8]. One can therefore argue that physical architecture has just as much impact on how humans experience spaces as humans have on formalising supposed architectural styles. This leads to the controversial, mistakenly labelled “architectural style” known as deconstruction[9]. It’s a questionable term unable to be classified as a certain architectural style, basis or method but possibly referred to as a continuous change of structural examination and limitless critiques[10].
Deconstructivism was first coined by the philosopher Jacques Derrida in 1967 ‘De La Grammatologie’[11] and has since been applied to a great many other domains; particularly architecture.
Deconstructivism has no limits and is not dependent on time. It is fluid. Its strength lies in the ability to continuously adapt and evolve in response to the constant change in our environment and in our world. Jacques himself prefers to define deconstructivist architecture as ‘deconstructivist discourse on architecture’[12]. Viewed as a critical approach to various fields within the arts, it challenges the meaning of the designers’ works and forces the originator to view their creations from an expressively considered illogical perspective[13]. This evolution from philosophical critical theory to architecture theory is made possible by the generally accepted notion that architecture is a language where meaning can be communicated[14]. It is interesting to note that Derrida, a philosopher, has worked extensively with well renowned architects; such as the well-known deconstructivist Peter Eisenman to demonstrate deconstructivism within an architectural context[15]. This collaboration has resulted in embedding deconstructivism within the architectural realm, for example the Parc de la Villette project[16] which was a public garden space they worked on in Paris. This however has not always been the case, so it’s critical to understand the relationship which binds the architectural world to the meaning of what deconstruction as a philosophy truly is[17].
To correctly understand where deconstruction falls within architecture, one must first recognise that this philosophy is exclusively an architectural metaphor[18]. It’s a way for the unspeakable to be voiced[19]. A way in which an architectural piece can be viewed from a never before seen viewpoint[20]. It’s because it is a metaphor alone that it has the ability to undo architectural concepts whilst contradictorily providing as a conceptual tool itself to the physical designs[21]. It is often perceived to be the cause of reversing traditional design methods, hierarchies, building strategies and common architectural applications[22]. However, Derrida emphasizes that we must remember to not think of architecture solely as a technique because then it’s easy to fall into the trap of believing it is unable to also serve thoughts which produce a sense of creation or aspiration[23]. He states:
“Architectural thinking can only be deconstructive in the following sense: as an
attempt to visualise that which establishes the authority of the architectural
concatenation in philosophy”[24]
This implies a meaning must be formulated into the architectures design through the use of deconstructivist philosophy. Nevertheless, Derrida strongly advises the designer to never forget:
“For a deconstruction operation, possibility is rather the danger, the danger of
becoming an available set of rule-governed procedures, methods, accessible
approaches. The interest of deconstruction, of such force and desire as it may
have, is a certain experience of the impossible, in other words, as the only
possible invention.”[25]
One significant concept of Derrida’s meaning of deconstruction that has been explored extensively and applied within architecture is the idea of ‘meaning through absence’; considered the metaphorical concept of death[26]. He uses the signifier and signified to distinguish the relationship between the present and absent[27]. Derrida explains that “the material or linguistic half of the sign” is the physical and “the conceptual half” is identified as the absent[28]. Interpretation
Figure 1: Representation of Signifier and Signified in Relation to September 11 Memorial Deconstructive Design.
Absence is the notion that means one can profoundly experience humanist conceptual absences within the architecture rather than expecting a determined end to the absence of humanist concepts[29]. It’s almost as though the design has no beginning or end; you’re always in the ‘in-between’[30]. Although it’s common for deconstruction to be negatively associated with architecture, many believe it’s the cryptic element of absence which brings a certain desire to the design of these deconstructivist projects[31]. While this is interesting to consider, it’s crucial for the architect to remember that a space purely relying on abstraction alone to demonstrate the idea of memory will not be successful in relating to the people unless it is also able to somehow communicate with them[32]. Perhaps that is why Michael Arad’s design of the September 11 Memorial can effectively be viewed as a successful representation of the deconstructivist theory.
The tragedy in New York on September 11 2001 left both the city and the entire world in a state of utter disbelief, distress, shock, horror and grief. The repeating graphic images of the Twin Towers being struck by aeroplanes left indelible images on everyone’s mind and profoundly affected the psyche of all witnesses, both at the scene and across the globe. This single act of terror irrevocably shifted the assumed sense of collective security in the Western world. It is an unforgettable event in modern history[33].
It’s at these times of collective fear and terror that people feel compelled to unite and support all those affected by disastrous and tragic events. It is also necessary to commemorate the bravery displayed and pay tribute to the unfortunate victims of events consisting of nothing but devastation. As the image of large smoky clouds and helpless sufferers remained frozen in the minds of those watching, everyone around the globe had their own way to interpret the sorrow known as 911. From paintings to movies, no representation was considered tasteful or decent to the eyes of the Americans affected[34]. As stated by Thomas Eller, the famous German artist:
“Many artists shy away from 9/11 because with 9/11 it is immediately clear that the emotional power does not come from the artist.”[35]
Unfortunately for those architects assigned to attempt at memorial designs to replace the buildings, they had to rise above this difficult emotional time regardless of the public’s reactions. With such responsibility left on their shoulders to replace the infamous Twin Towers, a competition was held in 2002 for a new architectural piece to stand at Ground Zero[36]. The brief clearly required the designs to form sacred spaces respectfully using the idea of tragedy whilst also creating universal symbolism through a powerful innovative concept[37]. The original winner was Daniel Libeskind, but he was quickly removed from leading the project once it was evident his intentions were not about honouring the national tragedy but rather to continue building his architectural status[38].
Michael Arad, the architect of Israeli descent but working locally in New York at the time, is now remembered for his exceptionally renowned design of the memorial on the 9/11 site[39]. To understand the significant and outstanding achievement of his final design, it’s imperative to consider the multi-faceted and evolutionary design phases Arad underwent to achieve this famous architectural masterpiece[40]. Originally he envisaged two enormous hollow spaces carved into the Hudson River; leaving them to never fill up whilst witnessing endless water passing through when standing on the shore line[41]. There would be a gallery memorial space underground where people could see the victim’s inscribed names and witness the cascading water vanish above them.
Figure 2: Original concept render by Michael Arad
This initial idea was inspired by the themes of memory and a genuine desire for people to connect powerfully with the site and enable them to commemorate deeply for the people tragically lost during 9/11. Whilst Libeskind’s design proposal was ‘stunning’[42] and followed deconstructivism through ‘trace and erasure’[43] the public was not sold on his sincerity to capture the intent and original brief[44].
On the other hand, and as Arad himself explains of his first concept: “The idea was to create a constant sense of absence, an inexplicable sense”[45]. Reflecting on his own experience through the time of the 9/11, Arad remembered the surreal experience he felt of being able to mourn together with numerous strangers in public, yet somehow still felt a sense of isolation and seclusion[46]. It is Arad’s intimate and personal journey, as a New Yorker, of the 9/11 tragic event that enabled him to critically view Libeskind’s design. His thoughts were that Libeskind’s design did not successfully capture nor convey the ability for people to simultaneously feel united whilst feeling alone[47].
A particular challenge and strength of Arad’s design was to be able to design a ‘profound site for contemplation and memory, but it should also be something that’s part of the city’[48]
The objective of architecture is to compose spaces that evoke feelings. Designing for memorial spaces requires extensive deliberation and skill to ensure that the intent of the memorial space is respected and observed.
It is interesting to observe that some have classified Arad’s design of the memorial to be more aligned with phenomenology[49] which is characterised by feelings and experiences of a building.
However, Arad’s design is deconstructivist in its storytelling. It’s through its absence in a deconstructive form which suggests powerful feelings that result in meaning and the telling of such an unforgettable story. This absence is what brings presence to the site. The presence of those deceased and of what once stood as the Twin Towers. The absence of a physical building on the memorial site makes one hear the story that is being told and intimately feel emotions of contemplation, eeriness, calm, peace, reverence and the enormity of the tragedy.
Figure 3: Diagram Displaying Benefits of Deconstructive Architecture Used for September 11 Memorial Rather Than Something “Expected” for the Site.
What is particularly resplendent of the memorial site is not only the design, the absence of a building to convey and communicate, but through its deconstructivist design, that is, through its absence of a building is able to evoke strong emotions and feelings to all visitors.
Even Panero[50], despite initial misgivings and low expectations, found the 9/11 Memorial site to be ‘profoundly moving, a complex distilled of its own complexity, with the calming grace of renewal emerging form the center of destruction’.
Sometimes, people may be reluctant to enter spaces that are designed to provoke feelings of deep sadness. Spaces like memorials, are universally acknowledged to be spaces that act as a catalyst for powerful emotional responses.
Architecture is about telling a story and ‘architecture which deals in memory solely through the use of abstraction won't work’[51]. ‘Unless the building or memorial communicates something then people won't identify with it. Memory is so important and so vulnerable in our culture. Architects should delve into the depths of a place and try to express the memory’ [52]
That is the beauty of architecture considered deconstructivist; whilst naturally suggesting to provide as an engaging memorial strategy’[53], it provides an individual with consistently changing sentiment when visiting the memorial. Deconstructivism is if anything, perfect for allowing Arad’s design to portray an impossible experience[54].
The final design kept Arad’s original deconstructivist concepts but did not entirely turn out the way he envisioned it[55]. The memorial is situated above the original boundaries and footings of the Twin Towers; a way to respectfully connect to what once stood there. A way to bring a meaningful presence to the site without physically replacing them with a new set of towers. The memorial consists of two dominant square void spaces, sizing up to over an acre each in size. They are framed with brass parapets; inscribed with all the names of the 9/11 victims[56], a way for everyone to recognise those lost. When looking down into the voids all you witness is the water disappear into another set of punctured void spaces, fading into the darkness, the unknown[57]. Deliberately scaled to human eye level so the memorial can seamlessly blend into the site, it appears to have a gentle aesthetic which is approachable for everyone at any time. Cleverly using the gushes of water for not just visual expression but as a sound barrier to the busy surroundings, Arad’s design allows the mourners to feel part of the city while simultaneously being separated in their own bubble of woe and contemplation
In order to support that Arad’s World Trade Centre memorial site is truly based on deconstructivist architecture, one must first accept that deconstructivist is an architectural concept and can be applied to architectural designs. Secondly, one must accept that Arad’s design of meaning through absences is in keeping with the deconstructivist style. It is this deconstruction of empty spaces that produces a place that in fact isn’t a place or building, yet somehow is able to bring a large number of strangers together. The eminent power in the absence of Arad’s memorial is what contradictorily brings a presence to the site, to remind the people of what in fact is absent to the site and to their community[58].
In fact, Arad in his personal narrative ‘reflecting absence’[59] and with Walker[60] confirms that his design of the site was based on the concept of ‘large voids, open and visible reminders of the absence’.
His intention was to create ‘voids that give shape to memory’[61] which was achieved by the two voids in his design.
Michael Arad mentions at the end of his design journey of the memorial:
“Throughout this process the primary principle I have tried to hold
on to has been marking with absence, creating a significant and
clear void, finding a place for people to gather and contemplate[62].”
It is evident the 9/11 memorial site aligns with deconstructivist architecture, although others may argue it more of a minimalist or phenomenological design.
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Indeed, some argue that deconstructivism in architecture is not a theory, nor a style. Rather that deconstructivism is a metaphor that can be applied in architecture. Others argue that finding meaning and meaningless against the backdrop of architecture as is characterized by the deconstruction movement of the late 1980s, was closed in 1997 with Greg Lynn's seminal Architecture After Geometry edition of AD[63].
Notwithstanding, Panero eloquently describes the memorial site:
‘Through the sound of the water and the mist of the falls, the fountains
distinguish a separate, unenterable space set apart from the noise of
the city. They are also technical and aesthetic marvels… The pattern
of ripples in the basin is mesmerizing, acting less like a reflecting mirror
and more like an ethereal portal. And the water laps into a second square
void at the center of each fountain with a bottom that is below our line of
sight, creating an infinite recession.’[64]
The power of deconstructivist architecture is the ability to create meaning through absence. By exploring Arad’s 9/11 memorial site design through the lens of Derrida’s deconstructivist theory[65] one is able to apply this critical theory within an architectural realm that despite sometimes referred to as ‘disorientating and alienating’[66] is the perfect application for a memorial site of such significance.
Analysing both the memorial design process and the final space created against deconstructivism we have established that Arad’s design unequivocally supports the binary pairing of presence through absence. His creation of voids symbolizes emptiness and profound sorrow. It creates meaning by allowing inhabitants of this space to feel isolated for private and personal reflection. And yet it also brings people together to collectively share the experience. It makes people feel united in their contemplation and remembrance of the tragic September 11 event. Arguably, its greatest measure of success is the ability of bringing back the presence of the many lost through the forms of absence. Furthermore, Arad’s unique design also allows for the memorial site to be a discrete, private and secluded memorial space whilst simultaneously integrating seamlessly within the busy and ever evolving streetscapes of New York. This is truly an incredible achievement that is realised through the spectrum of deconstructionist architecture.
