在1973年紐約世貿(mào)中心雙子塔剛剛竣工的時(shí)候,曾經(jīng)獲得普利策獎(jiǎng)的建筑評(píng)論家霍愛(ài)妲(Ada Louise Huxtable)在《紐約時(shí)報(bào)》撰文稱,雙子塔雖然是當(dāng)時(shí)全球最高的建筑,但“并非偉大的建筑,紐約港務(wù)局(也就是雙子塔的政府開(kāi)發(fā)方)的這個(gè)項(xiàng)目,就像一部迪士尼的童話大片,是一個(gè)通用汽車(chē)風(fēng)與哥特風(fēng)雜糅的建筑?!边@算不上是正面的評(píng)價(jià),而日后聞名世界的雙子塔也從來(lái)不是紐約人的最?lèi)?ài)。1987年的一期《紐約》雜志以《紐約人最討厭的建筑》作為封面故事,而雙子塔在10個(gè)上榜建筑中排名第5位,理由是:“雖然雙子塔周?chē)址比A,而且每天都有13萬(wàn)人從它身下經(jīng)過(guò),但它看起來(lái)就像是據(jù)守曼哈頓下城的兩只大海怪?!?/p>
盡管反響平平,但雙子塔還是很快成為了紐約的象征。特別是攝影師們發(fā)現(xiàn),不過(guò)論從地上、海上還是空中觀察,雙子塔都堪稱是曼哈頓的地標(biāo)建筑。從空中看,紐約市的行政區(qū)域仿佛一個(gè)巨大的五角星,而雙子塔正好位于這個(gè)五角星的正中。這是一座你無(wú)論無(wú)何都無(wú)法忽視的建筑,所以紐約人最終還是接受了它成為繼帝國(guó)大廈和克萊斯勒大廈之后的紐約第三大地標(biāo)。
如今,在“后9·11時(shí)代”的紐約市,雙子塔已經(jīng)成了一個(gè)標(biāo)志、一種象征。如果你仔細(xì)觀察的話,你會(huì)發(fā)現(xiàn)雙子塔無(wú)處不在。它們經(jīng)常出現(xiàn)在餐廳和商店的標(biāo)識(shí)上,像一個(gè)幻肢一樣矗立在它們?cè)瓉?lái)的位置。在“9·11”事件20周年之際,《財(cái)富》雜志與攝影師馬克·彼得森一道,探索了在倒掉20年后,雙子塔如何繼續(xù)影響和塑造著這座它們?cè)?jīng)矗立過(guò)的城市。
譯者:樸成奎
在1973年紐約世貿(mào)中心雙子塔剛剛竣工的時(shí)候,曾經(jīng)獲得普利策獎(jiǎng)的建筑評(píng)論家霍愛(ài)妲(Ada Louise Huxtable)在《紐約時(shí)報(bào)》撰文稱,雙子塔雖然是當(dāng)時(shí)全球最高的建筑,但“并非偉大的建筑,紐約港務(wù)局(也就是雙子塔的政府開(kāi)發(fā)方)的這個(gè)項(xiàng)目,就像一部迪士尼的童話大片,是一個(gè)通用汽車(chē)風(fēng)與哥特風(fēng)雜糅的建筑。”這算不上是正面的評(píng)價(jià),而日后聞名世界的雙子塔也從來(lái)不是紐約人的最?lèi)?ài)。1987年的一期《紐約》雜志以《紐約人最討厭的建筑》作為封面故事,而雙子塔在10個(gè)上榜建筑中排名第5位,理由是:“雖然雙子塔周?chē)址比A,而且每天都有13萬(wàn)人從它身下經(jīng)過(guò),但它看起來(lái)就像是據(jù)守曼哈頓下城的兩只大海怪?!?/p>
盡管反響平平,但雙子塔還是很快成為了紐約的象征。特別是攝影師們發(fā)現(xiàn),不過(guò)論從地上、海上還是空中觀察,雙子塔都堪稱是曼哈頓的地標(biāo)建筑。從空中看,紐約市的行政區(qū)域仿佛一個(gè)巨大的五角星,而雙子塔正好位于這個(gè)五角星的正中。這是一座你無(wú)論無(wú)何都無(wú)法忽視的建筑,所以紐約人最終還是接受了它成為繼帝國(guó)大廈和克萊斯勒大廈之后的紐約第三大地標(biāo)。
如今,在“后9·11時(shí)代”的紐約市,雙子塔已經(jīng)成了一個(gè)標(biāo)志、一種象征。如果你仔細(xì)觀察的話,你會(huì)發(fā)現(xiàn)雙子塔無(wú)處不在。它們經(jīng)常出現(xiàn)在餐廳和商店的標(biāo)識(shí)上,像一個(gè)幻肢一樣矗立在它們?cè)瓉?lái)的位置。在“9·11”事件20周年之際,《財(cái)富》雜志與攝影師馬克·彼得森一道,探索了在倒掉20年后,雙子塔如何繼續(xù)影響和塑造著這座它們?cè)?jīng)矗立過(guò)的城市。
譯者:樸成奎
When construction of the World Trade Center’s North and South towers was completed in 1973, the Pulitzer Prize–winning architecture critic Ada Louise Huxtable wrote in the New York Times that the world’s tallest towers ”are big buildings, but they are not great architecture…The Port Authority [the WTC government developer] has built the ultimate Disneyland fairy-tale blockbuster. It is General Motors Gothic.” It was not a glowing review, and the “Twin Towers,” as they would come to be known in New York City and beyond, were hardly hometown darlings. A 1987 New York magazine cover story, “The Buildings New Yorkers Love to Hate,” in which the towers came in fifth in a list of 10, summed it up: “For all the hoopla surrounding them and the 130,000 people who pass through daily, they seem the Scylla and Charybdis of lower Manhattan.”
Despite the tepid reception, the towers quickly became the symbol for New York. Soon photographers, inspired by their simple design and powerful rise from the southern tip of Manhattan island, found that dramatic images of the city could be made from the ground, the air, and the water. From above, the towers were the center of a five-point star that make up the boroughs of New York City. They were impossible to ignore, and residents eventually embraced them as integral to the city, a close third behind the beloved Empire State and Chrysler buildings.
Now in the post-9/11 city, the Twin Towers are both symbol and icon. They are seen everywhere here if you look. They are drawn in the logos of local shops and restaurants, still a subtle part of the skyline, like a phantom limb. Ahead of the 20th anniversary of the fall of the towers, Fortune has teamed with photographer Mark Peterson to explore how, two decades later, the towers still shape the city where they once stood.