It had to happen before midnight December 31. And it did, although quietly. Downtown Express reports that five founding board members for the World Trade Center Performing Arts Center (PAC) were announced by National September 11 Memorial President Joe Daniels in the nick of time, in order not to forfeit access to $100 million in LMDC funds set aside in fall 2010 for the lone surviving cultural venue--apart from the September 11 museum--at the site, where once many were envisioned as the most sure-fire way to lift ground zero out of the psychological depths of mourning for the lost. The first board members of PAC to be designed by Frank Gehry will be, in addition to Mayor Bloomberg, who is chair of the National September 11 Memorial board but will be represented ex-officio by First Deputy Mayor Patricia Harris: Vidicom founder Christy Ferer; CB1 Chairwoman Julie Menin; developer Larry Silverstein; Brookfield’s John Zuccotti; and Zenia Mucha, a vice president at Walt Disney Company. In addition to fundraising, the board will make the decision about the performing arts center’s location, currently thought to be directly east of One World Trade Center, although the site for Tower 5 is also in play and is the choice of board member Menin. The $100 million will support construction and administrative costs. An additional $60 million will finance Gehry’s design, “one-sixth of which has already been spent,” according to Downtown Express.
Posts tagged with "World Trade Center":
Neither blizzards, an earthquake, or Hurricane Irene slowed down work here at 21 Murray Street. Nor did any of these disrupt work down the street at the World Trade Center. The demonstrations at Zuccotti Park did not get in the way, nor the spontaneous turn out following the death of Osama bin Laden. Construction only paused for the tenth anniversary of the 9/11 attacks. Some of the year's biggest stories sat at our doorstep, and quite often, we only had to go downstairs to capture their images. Here are a few photos of the news and news-makers taken downtown, as well as a few from uptown, across town, and over the river...
In the days immediately following the show of solidarity on the tenth anniversary of 9/11, the Port Authority and Governor Cuomo retreated to one corner and Mayor Bloomberg and the Sept 11 Memorial and Museum Foundation to another over accusations of $300 million in cost overruns that neither party has agreed to pay. Construction of the museum has ground to a halt decreasing the likelihood that the Museum will open next year as promised. On December 15, the Governor told Albany radio host Fred Dicker that the Port Authority was “on the verge” of suing the Foundation. The PA charged that the Foundation has not provided $156 million for infrastructure costs and has subsequently not reimbursed the Authority for awarded contracts since immediately after the anniversary. On the radio show, Cuomo said $300 million was owed to the PA, an amount said to include newly revised project costs as well as money already spent on infrastructure. In a statement, Michael Frazier, the foundation’s spokesperson, said, “The 9/ll Memorial has met every funding commitment. There is no validity to the Port Authority’s claim; in fact, as recently as yesterday this claim was half of this amount. The Memorial has a counterclaim against the Port totaling more than $140 million. The Mayor clarified all of this today.” In a rebuttal made at a news conference on Friday at a Bronx elementary school, Mayor Bloomberg said, “We don’t owe anything.” While noting that the city is working with PA to resolve the issue, he added, “It’s hard to see us getting to a courtroom, but if it has to go there, it has to go there.” A source familiar with the situation said that there is a $300-500 million bill lurking and unaccounted for, but that it has to do with site-wide security costs. At issue as well is the dedicated task force assembled by former PA head Chris Ward to cut through previous disagreements, which may have been disbanded when the new director Patrick Foye took over. Whether the city or the Port Authority is responsible for escalating security costs seems unclear. With a virtual halt in construction, Frazier said in a phone call that the timely completion of the Museum is endangered. “The Museum was next in line to be completed before Towers Four and even One. What’s really at stake now are all the items and donations by family members and others that were entrusted to us to preserve but are now in storage and in jeopardy.”
Last Friday, AN went to the 9/11 Memorial, without a press pass, an official tour guide, or a hard hat. We went as a neighbor and experienced the place as any other visitor might. First, we attempted to get our ticket online. After checking the availability on Tuesday, we dithered, and by Wednesday online tickets were gone. But at the temporary exhibition space on Liberty Street, and a manager told us that a $20 ticket to the museum would get us into the memorial without reservations. After skipping the exhibition, we went through a series of checkpoints akin to international travel at JFK. The experience was a sobering reminder of one of the many aftereffects resulting from the attacks. Everything metal had to be removed and placed into an x-ray machine, but shoes did not have to be taken off. The staff at the metal detectors were stern and efficient. The line moved swiftly. At the following two or three additional checkpoints, administrators became friendlier. On entering the plaza, the public was set free. Watching the crowd interact with the space was almost as intriguing as memorial itself. Boy scout troops scampered, parents called out, as the crowd headed toward the South Pool where they clustered for a first glimpse. The recreational mood dissipated as the crowd dispersed and began to walk around the pool. The scale began to take root and voices lowered. By the time they reached Snøhetta's pavilion, more than a few visitors seemed disoriented. Several gazed through the glass at original World Trade columns and wondered aloud if this was in fact where the towers once stood. Others explained that the pools were the footprints. Again, the crowd regrouped and conversed, before separating and drifting off to the next pool. The light on the original column was in fact among the warmest light on the plaza. The the pool's lighting felt as cool as the water itself--stark but not sterile. The lamppost columns spread throughout the plaza in slim vertical gestures, so that the temporary incandescent washing the World Trade columns provided an oddly warm punctuation to the entire site.
It's been a while since we did the once around the super block that is the World Trade Center site. We held off on WTC Updates until the Tenth Anniversary news fest subsided. Now that all eyes are on the Zuccotti Park and Occupy Wall Street, we figured it'd be a good time to take another walkabout. From an urban planning standpoint, the Privately Owned Public Space (POPS) status of Zuccotti Park has stirred up quite a bit of interest. As the 9/11 Memorial opened only last month—and remains a highly controlled space—the only way to navigate around the site is to walk through a series of interior and exterior POPS. Right now Occupy Wall Street's takeover of the Brookfield-owned park is getting the lion's share of attention, but elsewhere there are little known gatherings in other POPS around Lower Manhattan that happen every day.
Just around the corner from AN's office sits the so-called Ground Zero Mosque. The image of a police officer guarding the mostly empty cast iron building has become such a part of the landscape, that we barely notice it anymore. But today, the doors were flung open onto a brightly lit gallery space adorned with color photographs of New York children representing almost every nation on earth. Just as Port Authority and Silverstein executives have discouraged the use of the term Ground Zero in favor of the World Trade Center, the proposed community center would no doubt like to shed Ground Zero from its name. The frosted logo on the window simply states Park 51. Literature available at the reception desk describes the vision of a community center "modeled after the Jewish Community Center on the Upper West Side." The ambitious project undertaken by photographer Danny Goldfield began after he met Rana Sodhi, a Sikh from Arizona whose brother was killed in a hate crime. Assisted by New Yorkers with backgrounds as diverse as the children in the photographs, the portraits' playful charm belie the deeper message.
As night descended on a memory-laden New York City on Sunday, September 11, 88 light cannons were powered up, shooting beams of light into the air representing the profiles of the original Twin Towers. We stopped by Saturday night, as crews were putting the finishing touches on the display and double checking that all the lights performed flawlessly, and the close-up result was nothing short of amazing. The Tribute in Light display is perched atop a parking garage adjacent the Brooklyn Battery Tunnel, standing close to One World Trade Center, which itself was wrapped in red, white, and blue lights for the commemoration. On the garage roof, two twin 48-foot square rings of light projected four miles into the partially cloudy Saturday night sky, creating an aura of tranquility that brought to mind sitting in a great cathedral or perhaps superman's lair. The only movement around the solid blue beacons were millions of circling insects drawn to the display's beams, occasionally flying too close to the hot lights and catching fire, leaving small trails of smoke wafting from the tops of the cannons. The twin beacons could be seen for miles around, up to 60 miles on a clear day, and we spotted them from several locations in Manhattan and Brooklyn. For the first time this year, Tribute in Light was powered entirely by biodiesel fuel, making the powerful light display not just a moving gesture but also a green one. Now the Municipal Arts Society who sponsors the annual light show is hoping to make it financially sustainable as well and has launched a fundraising campaign to establish an endowment. Donations can be made online or an instant $10 can be donated by texting TRIBUTE to 20222. Click on a thumbnail to launch the slideshow.
For those who need an even bigger WTC fix, PBS's long-running science program NOVA has a detailed, hour-long program on the engineering of the site, including an in-depth look at the materials used on site, as well as lengthy interviews with the architects, engineers, and contractors working on the colossal project. Thanks to unparalleled access granted by the Port Authority, NOVA gathered footage for the episode over a five year period, so expect lots of dramatic time lapse video.
It's blockbuster good. Silverstein Properties has produced a video of The New World Trade Center that shows where we've been and where we'll be in coming years (provided the markets cooperate). With music swelling, this time machine has production values on par with Inception, and like that thriller it might leave you wondering which dream level we're on.
Perched on the rooftop of a parking garage in Lower Manhattan a few blocks from the World Trade Center site, two groups of 44 light cannons pointing skyward will soon project high-intensity beams of light into the night sky for Tribute in Light, marking the tenth anniversary of the 911 World Trade Center attacks. Last week, as a crew of 30 workers was positioning the lights and laying cable to a large generator on the sidewalk, we stopped by to learn more what's involved with the massive display. Presented every year by the Municipal Arts Society, the display will shoot skyward at dusk on Sunday, September 11 and run through the night. Tribute in Light was initially conceived by three independent groups of architects and designers who each had a similar idea at the same time. Lighting designer Paul Marantz helped the groups merge their ideas into one viable lighting display, finding common ground between the three designs. "Light cannons," spotlights about 18-inches in diameter supported in metal frames, are arranged in square rings representing the footprints of the Twin Towers and staggered for optimum light density. Michael Ahern who is producing the display said the staggered pattern gives depth to the 48 foot by 48 foot squares. Once powered up, each of the 7,000-watt xenon searchlights will merge to form a beam of light that shoots four miles into the sky and is visible for 60 miles around. Ahern said such high-intensity lighting displays are rare, but noted that iconic beam shooting from the top of The Luxor casino in Las Vegas also projects light skyward in a similar fashion. Before the lights can be turned on, technicians must align each cannon so the entire array points in exactly the same direction to avoid the scattering of light. Spotters are dispatched to New Jersey, Staten Island, Brooklyn, and Uptown Manhattan to make sure the lights come together as a single beam. This labor-intensive process can take up to eight days. Once the switch is flipped, the display takes about five minutes to reach full intensity. Ahern said standing on the roof watching the lights is "beyond awesome...looking up , it really is genuinely amazing." He compared the experience to standing in a cathedral of light. The beams emit a slight blue hue, the same color as daylight, according to Ahern. With this many lights drawing so much electricity, Tribute in Light is not cheap. Combined with a grant from the Lower Manhattan Development Corporation, the Municipal Arts Society has funded the $500,000 show out of its operating budget, but now that the grant money has run out, funding for future years is in jeopardy. The MAS is now seeking to establish an endowment and to find a permanent location to keep the lights running for years to come. The group has launched a fundraising campaign with a goal of several million dollars. Donations can be made directly to MAS at their web site or by calling 212.935.2075 or an immediate $10 donation can be made by texting the word TRIBUTE to 20222.
PIIOTOS_WTC 1500 Gallery 511 W 25th St. #607 Through September 17 In honor of the tenth anniversary of September 11th, 1500 Gallery in West Chelsea will present PIIOTOS_WTC, an exhibition of photographs of the Twin Towers taken by 22 of Brazil’s most notable photographers. The images, which all have the World Trade Center site as their subject, span the last three decades of the 20th century. Selected photographers include Victor Andrade, Ali Karakas, and Roberto Linsker, among others. The selection is diverse, with works ranging from distant portrait landscapes of the towers from the Hudson River, to bold aerial views, black and white night shots, glowing, hazy sunsets, andclose-up structural shots, like the work of Tuca Reines, above. Gallery 1500—the only gallery in the world to focus specifically on Brazilian photography—brings together these poetic works, capturing the power, strength, and beauty of the city as it is no longer. Click on a thumbnail to launch the slideshow.
Far from the expected pablum that these events usually generate, Chris Ward, executive director of the Port Authority, gave a speech opening the New York Building Congress yesterday loaded to bear with fight, a lot of Good Fight, demanding continued federal funding for infrastructure. Along the way, he recalls his own version of the tortured path from Ground Zero grind to the Memorial Moment of meditation to come. It's quite a version and well worth a close read as he "recalls" Libeskind's master plan as "gardens in the sky" and how that was "replaced with another vision, as realities of the site, the market" set in. Then he talks about "Breaking Away from Monumentalism" and "The Assessment" thanks to the Port Authority, which may or may not be the stinking months of pissing match between PA and Silverstein as they wrangled about responsibility for building the first then the other towers. Sit back—but fasten your seat belt—You'll be amazed to read what you went through: Welcome I want to start by thanking Dick Anderson and the New York Building Congress for the invitation to speak here today. For over 90 years, the New York Building Congress has championed infrastructure investments and supported the Port Authority in its mission. Their most recent report “Building Infrastructure Pays Dividends” quantifies just how important this type of investment is. Introduction In twelve days, the world will gather Downtown to remember and commemorate the nearly 3,000 people who were lost on September 11th, 2001. It will be ten years. When the family members gather alongside President Obama, Governor Cuomo, Governor Christie and Mayor Bloomberg on that day, they will place their hands on the bronze parapets etched with the names of those we lost. They will see the fountains flowing into the voids of the original World Trade Center. They will walk among the hundreds of Swamp Oak trees planted on the plaza. This, frankly, is a remarkable achievement. It is a testament to the discipline and hard work of Port Authority engineers, our partners and the construction workers toiling on site. For many who lost their loved ones, this event may not bring closure. The attacks of September 11th were so devastating that closure may never be the appropriate word to describe how we come to terms with that terrible day. But I believe that the tenth anniversary does represent a significant inflection point. Dates are important. And on this anniversary, I believe the opening of the Memorial Plaza represents the end of the World Trade Center site’s past and the beginning of its future. For the first time, the public will be able to walk among the trees and fountains and in so doing, begin the important process of weaving this Memorial at the heart of the site into the fabric of New York City. Today, I want to talk about how the Port Authority stepped back from a difficult conversation about what the World Trade Center should be, stripped the site of what I call monumentalism, and focused on construction, of what it could be. I will then talk about how the challenges that we have faced at the site are unfortunately part of what I would call the deterioration of the social contract. And I will argue that in order to build the next generation of critical infrastructure projects, we need to restore a critical constituency – the pragmatic center. If we are again to become a nation, a City, of builders, current politics cannot endure; we will not only lose the public works that made us great, we will lose our democratic center that has bound us as a nation. A New Downtown On the 10th anniversary, the public will get its first real look at the New Downtown. They will see the Memorial Plaza, a place of profound tranquility for those who lost a loved one and wish to honor their memory. To read a name. But the Memorial Plaza, with 8 acres of unique green space, four times the size of Bryant Park, will also be the heart of a New Downtown. It will be a shaded park for office workers to grab a sandwich; a place for a couple to meet in the early evening before a date; or, a shortcut on a rainy day. It will be New York. The Port Authority’s investments will yield the magnificent Calatrava Transportation Hub, which will redefine the commuter experience, connecting 13 subway lines, 33 bus routes, the PATH system and our Ferry Terminal – the most mass transit connections anywhere in New York City. With our new partners from Westfield, this new site will house world-class retail and restaurants throughout nearly 500,000 square feet in total. With more retail space than the Time Warner Center, this – together with a collection of new public parks – will make Downtown the 24/7 community that Mayor Bloomberg, Shelly Silver and the community have long envisioned. And finally, with One World Trade Center, New York will have a new exclamation point in the sky. One World Trade Center will be Downtown’s counterpoint to the Empire State Building in Midtown, restoring that balance to the skyline. New Yorkers take pride in their skyscrapers, and as the building reaches its towering apex, it will become a vital part of daily life in this City. The site will be open, it will be democratic, it will be a clear demonstration of the City’s energy and vitality. It will be the New Downtown. Monumentalism at the World Trade Center But this reality was not always a foregone conclusion. For many years after the attacks, the World Trade Center site was bogged down by what I call “monumentalism.” The tension between the visions of monumentalism and the recurring reality of failure, of visions and plans unrealized, is not unique to the World Trade Center. It has been present throughout the City’s history. Think of the colossal vision for a huge East Side development for the United Nations – what was then dubbed “X-City” – a plan to build six skyscrapers, three housing complexes, one hotel, an opera hall, a yacht landing and a heliport. That monumental vision was ultimately reduced to the more practical size we see today. Even the original plan for the World Trade Center was not the 16-acre site on the west side, but a huge low-slung complex taking up most of the East Side highway. But think also of those visions that were realized. That today define New York. I think it is fair to say that Olmstead’s monumental vision for Central Park defines New York perhaps more than any other project. But what would New York City’s urbanism be without Rockefeller Center? Think about the transformation still underway at Battery Park City. So we have seen monumentalism succeed triumphantly and we have seen it fail spectacularly. Through the early years, the World Trade Center straddled this divide between success and failure. Think of the early days after the attack, the City itself launched into a collective exercise to fill the void. Seeking the visions of world-class architects, eight plans were put forth. Some so out of context, in terms of shape or form, they went well beyond reimagining the City. Think about how Downtown was described at the time, the very language that was used to describe the vision. There was the rhetoric of patriotism, of national pride, of sending a message – that New York must be number one again. Leaders and elected officials spoke time and again of the monumental need to build a new downtown. And so, in 2003, the Libeskind Master Plan was adopted. Soaring glass towers, glinting sunlight, gardens in the sky, sunken highways, and a vast memorial space. But soon that plan was replaced with another vision, as the realities of the site, the market, and what it might actually look like began to set in. I would argue that what filled out that Master Plan became even more monumental, as the City poured its whole civic heart into the site. And so came the tallest skyscraper in America, 10 million square feet of office space, a museum and memorial of such breadth and power, a new street grid, the third-largest transportation hub in the city, and a performing arts center. It was all to be there, on sixteen acres, linked together in one monumental project. And it was all to rise at once. Breaking Away From Monumentalism [PS! You know who you are!] By time I became Executive Director, the monumentalism of the World Trade Center Site Plan – the tension between its soaring vision and the realities of construction – had reached a breaking point. At that point, what we had was a beautiful set of renderings, but very few blueprints. So the Port Authority undertook a comprehensive assessment of the World Trade Center project. [PS! Some might say The Assessment was May 2006 when Guv Pataki and Mayor Bloomberg brought in Frank Sciame to figure out how to keep Memorial in line with promised $500 million budget.] As we undertook the Assessment, there was a desire in some corners to reverse the trajectory of the seven years since 9/11, to wipe the slate clean and start again. But, as we quickly realized, there was no rewind button to undo the billions of dollars already committed. What we could do, however, was level with the public about the circumstances on the ground and be forthright about cost, schedule and risks. We were candid about the difficult challenges facing the site. Then we went out began attacking each one. Before the Assessment, the 9/11 Memorial was not scheduled to open until 2013. This was simply unacceptable. But by setting a clear priority – to actually open on the ten year anniversary – the Port Authority engineers did what engineers do best. They solved the problem, seeing a whole new way to approach the job. Instead of building the Transportation Hub from the bottom up, we switched the design to build it from the top down. This way, the Hub’s roof, which doubles as the Memorial Plaza’s floor, would be finished in time for the ten-year anniversary. From there, we re-engineered the Transportation Hub itself, simplifying the beautiful, yet extraordinarily complex Calatrava design [P.S.! Still costs over $3.2 billion dollars]. And we completely restructured our procurement process – the way we buy and implement the billions of dollars of construction contracts – going from a huge single package of work with no real milestones and little accountability to multiple smaller packages that we competitively bid to a hungry market. It is amazing what a little competition can do. I often compare the site to an enormous game of pickup sticks, where you can’t change anything without affecting the entire site. Over the past years, the Port Authority and our partners – the 9/11 Memorial Foundation, Silverstein Properties and the hundreds of contractors on site – have gotten very good at playing pickup sticks. I want to personally thank Joe Daniels and Larry Silverstein for their partnership in getting us to this point. It has truly been a team effort. Aside from the creative engineering solutions we implemented, we also made other, more symbolic decisions to reposition the site. Perhaps no other action speaks to this more than our renaming the Freedom Tower to One World Trade Center. The name Freedom Tower loomed over the site, carrying all the symbolism and monumentalism of those early years after the attack. From a real estate perspective, it loaded the site with a difficult image that experts said would make it hard to lease. So we replaced the name “Freedom Tower” and the building’s address, “One World Trade Center.” We were free before 9/11, and we are free today. Just like we had to start treating the World Trade Center site like a construction project, we had to start treating this building like a commercial office building. Making Progress at the World Trade Center Site On the heels of these important decisions, the Port Authority began to make striking progress at the World Trade Center. In 2008, the site was still defined by the family ramp down to the pit. Today, progress at the World Trade Center is advancing on every inch of the site, and you can see and feel the difference. At the Memorial, workers are putting the final touches on the plaza. 225 trees are planted. Grass has gone in and we are getting ready to welcome the world on September 11th. When we published the Assessment in October 2008, our schedule anticipated the completion of the Memorial’s Visitors Center by the second quarter of 2013. As you can see, we are well ahead of schedule. The Visitors Center, which will serve as the entrance to the 9/11 Museum, is nearly complete. At One World Trade Center, we are now at the 80th floor. One World Trade Center is now the tallest building in Lower Manhattan at more than 960 feet above street level, surpassing 40 Wall Street. Floor slabs for One World Trade Center are at the 71st floor and the glass curtain wall is up to the 52nd floor. We are accelerating work on the World Trade Center Transportation Hub's concourse area in the East Bathtub and have made tremendous progress in the Main Hall. Larry Silverstein’s Tower 4 is rising rapidly in the southeast corner of the site, and the curtain wall provides a beautiful reflection of the Memorial’s South Fountain. And all this work is being performed by 3,500 construction workers. At a time when unemployment in this country is at unacceptable levels, the World Trade Center is truly a job creation engine in the region. So we are finally seeing tangible progress. This progress is happening in part because we learned the lessons from the difficulties of the early years – that it is better to focus less on the monumentalism of a project and more on hard and fast decisions like pragmatic design, construction milestones and budgets. The Evolution and Deterioration of the Social Contract But having spoken of this bright future for Downtown, I must share that I do not have the same optimism for both the City and the Country going forward. Like the World Trade Center, we can reverse course, but it will require a major correction in how we talk about infrastructure and how people come to understand their role in shaping this new agenda. Change we must. At times, I worry that America’s dewy eyed nostalgia can blur our real history, but think back to that incredible time of building in America – the Progressive Era. Emerging out of the good government movement – which swept out corruption and the power of political machines – we launched a revolution in infrastructure. It is no coincidence that the New York Subway System, Water Tunnel Number One and Grand Central, the hallmarks of a modern New York, were all opened at that time. It was the Progressive Era because we wanted change; the Nation and City understood its future lay ahead, not in some fixed idealized political past. And, out of this Era, a social contract was formed, establishing an American pragmatism – a center – that said we will endorse a government that, in fact, builds that better world. For the decades that followed, this country continued to build great works of public infrastructure. But that center is quickly vanishing. Across the country and in this region, we have seen both leaders and voters reject that vision. For all his vaunted optimism after the Carter years, Reagan also launched a darker strain in American politics, that somehow government itself is the problem, and that you can always do more with less. No doubt, that strain ran through Gingrich’s Contract With America, Grover Norquist’s No Tax Pledge, and to the Tea Party of today. But the left is not without its responsibility; too often, we have seen rigid opposition to social and private sector market innovation. Today, we are truly seeing the consequences of that slow deterioration of that social contract. The recent debt ceiling debate in Washington is the most depressing reminder. Without action, 90 years of infrastructure investment will be left without a future. But I believe, in a small way, The World Trade Center Project provides somewhat of a model for how we might restore that pragmatic center. In turning the site from a monument into a construction project, setting realistic budgets and deadlines, we were candid and transparent about how much it would cost and when it would be completed. For the public’s support and endorsement, that must be the foundation of all large-scale projects moving forward. Whether it was the early years of the Trade Center, or more dramatically, the Big Dig in Boston, the public has grown increasingly cynical of what we do. But shaped by a different narrative, not one simply characterized by boondoggles for what was obvious cost underestimating, the Big Dig was a huge success for Boston. Think of it: Two Major Tunnels, a brand new bridge, a beautiful park built over the highway, all of it linking Boston back to its historic waterfront. I would say they got their monies worth; what they did not get was realistic schedules and budgets. That is government’s responsibility. Restoring the Pragmatic Center But the public and each one of you have a responsibility as well. We all need to be a part of restoring that pragmatic center and changing the political conversation. The Port Authority recently sought to significantly raise its tolls and fares, and inserted itself into that conversation. In an instant, we became subsumed in the political environment I have been describing – one with little capacity to support the investment our region’s economic backbone so desperately needs. By the end of it, we emerged with a ten-year capital plan that in some ways is all too modest – one that keeps our transportation network in a state of good repair to be sure, but not one that expands it in any transformative way. That agenda was unthinkable in this environment. But what have we lost when the standard is not whether you can get to your job efficiently, fly around the world, ship billions of tons of cargo, or even build a brand new City downtown? No, it has become the price of a pair of blue jeans, the cost of a new TV. Surely, this cannot be the standard by which we judge or govern a great City. Unfortunately, you cannot always do more with less. Sometimes you must simply do more. And until that reality becomes part of our political conversation, we will be playing catch up with the rest of the world. Change we can. But change has to come from both government and its people. I have known many of you for years. I know what you stand for. What is important to you. You are the pragmatic center. I believe we can build the next generation of critical infrastructure projects, and I believe we can restore that social contract. But we need your help to get there. Conclusion At the World Trade Center today, we have proven that by restoring the public’s confidence, we can build big. By focusing on the decisions that really count, by putting aside monumentalism, we are ready to open the Memorial in 12 days, a goal that seemed unthinkable three years ago. But we are not just building a Memorial, we are delivering a vibrant city within a city – a sprawling Transportation Hub, the tallest skyscraper in North America, and the critical infrastructure to support it all. And while it is the Port Authority’s job to translate the site’s monumental vision into concrete, steel and glass, the World Trade Center will not be what a politician or a cultural leader tells you it should be. It will be what you make it. It will be your Downtown. Thank you.