Arrogant Twins
Lauren Clatworthy
Prior to the September 11 2001 attacks (9/11), the World Trade Center (WTC) was a complex of seven buildings in the financial district of Lower Manhattan, New York City, USA. The main buildings on the site were skyscrapers 1WTC and 2WTC. Together they formed the Twin Towers. At the time of their completion in 1973, they were the tallest buildings in the world. The edifices were symbols of burgeoning globalisation and the economic prosperity of the USA. Following 9/11, a controversial master plan for a new WTC was deliberated. The development of the site is still happening. At present, four skyscrapers have been built on the site, as well as a memorial and museum for those who lost their lives. The primary building for the new complex is One WTC, which stands as the tallest building in the Western Hemisphere.
Comparable to the Great Pyramids of ancient Egypt, the skyscraper is the ultimate contemporary symbol of wealth and power. Humans build monumental structures as symbols of transcendence, dominance, and achievement. Many predicted the attacks on 9/11 to signal the demise of huge towers and their symbolism. Instead, there has been a surge in their construction since 2001. These buildings, by their very nature, provoke strong reactions and diverse opinions. Some people regard their domination of the skylines as an arrogant imposition on society, with social critic, James Howard Kunstler, writing, “it was probably necessary for mankind's collective ego to prove that such buildings could be built.”
By the 1960s, New York City had been long established as a global financial centre. Still, the city sought to reinforce its position as a leader in international commerce. The WTC was an idea conceived to symbolise America’s growing economic power and global trade dominance. Built during the Cold War era, the Twin Towers epitomised capitalist ideals and the superiority of Western capitalism over communism. Despite the New York Port Authority’s enthusiasm, the people of Lower Manhattan were not in favour of the development, as it would require the demolition of Radio Row, a well-liked small business district. This controversy highlighted the tension between the development goals of the corporate world and community interests. Nonetheless, the development went ahead, which critics deemed ‘urbicide’. Some claimed the build represented a total disregard for the human scale of the city and the importance of preserving its diverse and dynamic neighbourhoods. The merchants and repairmen of Radio Row paraded a coffin through the streets declaring the death of the small businessman.
The current WTC emerged from the literal and political rubble that occurred on 9/11 which resulted in the loss of nearly 3000 lives. The immediate aftermath of the 9/11 attacks was marked by profound grief, trauma, and a collective need for healing. These events were a turning point in global history that reshaped international relations, security policies, and perceptions of safety. Only 10 days after 9/11, a poll of New Yorkers found that 46% favoured rebuilding the WTC exactly as it was over building a memorial park.
Many Americans viewed the rebuilding as a symbol of resilience and unity, while others wished for the entire site to be dedicated to a memorial. Twin Towers II, a project backed by Donald Trump, proposed that the original towers be rebuilt almost exactly as they were but taller, an idea even more arrogant than the building of the towers in the first place. Unlike the original WTC, the new WTC was designed in collaboration with the community, and particularly the families of victims. The master plan needed to balance the desires of powerful, economically driven stakeholders with those who mourned the victims of the attacks. After 9/11, the socio-political climate shifted from one of stability to one characterised by concerns for safety and security, almost to the point of paranoia.
The Twin Towers were designed by architect, Minoru Yamasaki, alongside associates Troy, Michigan, and Emery Roth & Sons. Each tower was defined by a 63m2 plan that reached 110 stories. The heights of the North Tower and South Tower were 417m and 415m, respectively, conveniently making them at the time the tallest buildings in the world, surpassing the Empire State Building at 380m. The original WTC was a physical manifestation of American economic might and global trade dominance—arrogant twins—a big-headed display of wealth that saw them build not just one but two towers. The WTC's role as a hub for global commerce reinforced the notion that architecture could serve as a powerful symbol of economic aspirations and achievements.[UU1] Its design, uncompromising in scale and scope, embodied the desire for progress and innovation, reflecting the USA's (over)confidence in the boundless potential of its economic expansion. The towers’ prominence in the Manhattan skyline served as a persistent reminder of the nation’s aspiration for ultimate power and greatness. In this way, the WTC not only facilitated commerce, but also acted as a cultural artefact of its time, solidifying the connection between the built environment and the ideals of prosperity and ambition.
In line with modernist principles, the towers implemented the technologically advanced framed-tube structural system pioneered in the1960s. This method allowed for open, uninterrupted floor plans, as opposed to traditional architecture which distributed structural columns throughout interiors. Façades were clad in aluminium alloy and despite the modernist tendency towards expansive windows, office windows were narrow at only 46cm which reflected Yamasaki’s fear of heights. Nonetheless, the clean lines, reflective aluminium, and glass façades along with exposed structure ooze Corbusian principles such as open-plan spaces.
The master plan for the current WTC dubbed Memory Foundations was proposed by architect, Daniel Libeskind, and solidified the idea that the original footprints of the Twin Towers should remain as a memorial rather than be used for commercial purposes. The proposal featured a memorial and museum where the original Twin Towers stood, surrounded by six new skyscrapers, the largest of which was called Freedom Tower, now called One WTC. Designed by architect, Michael Arad, the focal points of the memorial are the two reflection pools that sit in the footprints of the former North and South Towers. This signified a departure from the insular and commercially driven focus of the original WTC, embracing a more inclusive and holistic vision of urban development.
Architect, David Childs, designed the footprint of One WTC to be almost identical to that of the Twin Towers, with a 61m2 plan. Officially opening in 2014, its style is contemporary in line with twenty-first century architecture, while still emerging out of modernist principles which favoured technological advancement. Its crystalline form is highly sculptural in comparison to its predecessors, with chamfered edges that shape the building into eight identical, isosceles triangles. This use of symmetry evokes the timeless power of traditional architectural ideals, projecting balance and order, while its façades of concrete, glass, and steel are unmistakably modern.[UU2] This fusion of tradition creates a striking symbol of resilience and progress.
What was not destroyed in the attacks on 9/11 was America’s obsession with tall buildings and what they symbolise. The new 541m-tall One WTC, despite not being the tallest in the world, still towers over all other buildings in the US and Western Hemisphere. Its height at 1776ft is said to be representational of the year of America’s Independence. Or is it merely a justification for another tall building? Despite its scale, heightened security concerns appear in the design of One WTC with its windowless, reinforced concrete base. The fortified level has received much criticism and is described as a grotesque attempt to disguise its underlying paranoia and has been compared to a medieval castle. While the design was intended as a symbol of strength and resilience, others view it more as a symbol of fear, with the building being called The Fear Tower.
Although the Twin Towers received much criticism, there was no argument over their domination of the New York skyline from their completion right through to their destruction. Their sheer height and distinctive appearance made them one of the most recognisable landmarks in the world. Featuring in nearly 500 films, countless photographs, and television shows, the towers quickly became icons in popular culture and an integral part of New York's identity, embedding modernist aesthetics into the collective consciousness. Millions of tourists visited the towers each year and eventually public perception of the architecture shifted to a more positive view. By the late 1990s, the towers became beloved landmarks, representing the city's perceived greatness and its role as a centre of commerce and culture. However, it wasn’t until their ultimate devastation that the towers’ legacy shifted to symbolise tragedy, loss, and heroism. Retrospectively, the American Institute of Architects ranked the WTC complex as 19 of 150 buildings in its List of America’s Favourite Architecture in 2007. The complex journey from initial scepticism to eventual reverence reflects the evolving relationship between architecture and public sentiment.
Despite designing such a landmark as the Twin Towers, Yamasaki never became a widely recognised name as compared to other modernists. Critics have attributed this to his untraditional approach to modernism. However, Yamasaki himself identified his Japanese background as having a large role to play due to the ‘diversity problem’ in the architecture industry. Nonetheless, his design of the Twin Towers has contributed a profound legacy to modernism. His use of pioneering structural systems and prefabricated components inspired the construction of countless skyscrapers that employed these modernist principles in their designs.
The original WTC, with its bold modernist design and technological innovations, represented the aspirations and arrogance of Americans in the mid-twentieth century, favouring scale and efficiency over subtlety and sensitivity. These priorities reflect the desire to assert dominance on the global stage in an era where progress was equated with size and power. The new WTC, with its focus on symbolism and community, reflects contemporary values and a more nuanced understanding of architecture's role in society The WTC, spanning both its original and current incarnations, marks pivotal shifts in architectural principles and societal values. Its design embraces introspection, focussing on commemoration and inclusion rather than domination. The Twin Towers embodied the pinnacle of modernist ambition and economic supremacy, standing as symbols of American power through their unprecedented height and sleek design. Despite initial critiques of arrogance, they ultimately became internationally recognised icons of globalisation and modern architectural achievement.
In contrast, today's WTC, anchored by One WTC, emphasises resilience, remembrance, and community. One WTC's design integrates advanced security features and symbolic elements, reflecting a societal pivot toward unity following 9/11. Together, the original and new WTC complexes illustrate a journey from modernist ideals of technological prowess and economic dominance to a more introspective, socially conscious architectural ethos. The Twin Towers' legacy lies in their daring innovation, while One WTC's legacy is defined by its resilience and profound symbolism. Both iterations of these iconic skyscrapers will continue to serve as enduring inspirations for architects, shaping future designs with their monumental impact on architectural discourse and societal narratives.