National September 11 Memorial & Museum
— the absence the city built around.
Not only on a wall.
“Two acre-wide voids set into the footprints of the towers that fell, their walls running with water that falls into a smaller square at the centre and disappears. The names of 2,983 dead are cut into the bronze parapet around each pool. The plaza of oaks above the museum was planted to give the city back a place to stand. The Survivor Tree, a Callery pear pulled from the wreckage and replanted in 2010, still blooms each spring.
National September 11 Memorial & Museum, on ceramic.
Each tile is finished by hand in our Knoxville studio. Artwork is slowly infused into the ceramic surface under high heat and pressure, and rests beneath a thin glossy finish. The colour lives in the surface, not on top of it.
Pick any four 4-inch tiles — National Parks you've been to, a Smokies set, the four seasons of one place. $ for a set of , cork-backed, ready to live on the table.
The place, in three passes.
The National September 11 Memorial occupies the eight-acre plaza of the World Trade Center site in Lower Manhattan, between Liberty, West, Vesey, and Greenwich Streets. Designed by Michael Arad and Peter Walker under the title Reflecting Absence, it opened on the tenth anniversary of the attacks, September 11, 2011. The associated museum, designed by Snøhetta and Davis Brody Bond, opened to the public on May 21, 2014. The site is operated by the 9/11 Memorial & Museum, a non-profit foundation.
The bronze parapets around the two pools carry the names of 2,983 people: the 2,977 killed on September 11, 2001 in New York, at the Pentagon, and on Flight 93, and the six killed in the 1993 World Trade Center bombing. The names are arranged by meaningful adjacency rather than alphabet, grouping coworkers, friends, and first responders by company, passengers by flight. On a name's birthday, a single white rose is placed in the letter-cut by the memorial staff.
The pools are the largest manmade waterfalls in North America, each thirty feet deep and an acre wide. The sound of the falling water is loud enough at the parapet to mute the surrounding traffic, but soft enough to let visitors speak quietly to one another. More than four hundred swamp white oaks fill the plaza above the museum, planted on a structural slab and irrigated from below. The Survivor Tree, a Callery pear recovered from the wreckage, was replanted in 2010.