The Dutch architectural photographer Iwan Baan took this helicopter photo of Downtown blacked-out by Hurricane Sandy. A memorable New York Magazine cover, it resonates with a century-old genre; views of a transformed Lower Manhattan from above New York Harbor.
Lebbeus Woods died on October 30th, as Sandy left his downtown neighborhood in the darkness captured by Baan’s photo. His 1999 drawing, Lower Manhattan, shows the Hudson and East Rivers dammed, draining the harbor. “The underground – or lower Manhattan – is revealed,” Woods told BLDGBLOG’s Geoff Manaugh in an interview, continuing:
So I was speculating on the future of the city and I said, well, obviously, compared to present and future cities, New York is not going to be able to compete in terms of size anymore. It used to be a large city, but now it’s a small city compared with Sao Paulo, Mexico City, Kuala Lampur or almost any Asian city of any size. So I said maybe New York can establish a new kind of scale – and the scale I was interested in was the scale of the city to the Earth, to the planet. . . . I wanted to suggest that Lower Manhattan – not lower downtown, but lower in the sense of below the city – could form a new relationship with the planet.
So it was a romantic idea – and the drawing is very conceptual in that sense.
But the exposure of the rock base, or the underground condition of the city, completely changes the scale relationship between the city and its environment. It’s peeling back the surface to see what the planetary reality is. And the new scale relationship is not about huge blockbuster buildings; it’s not about towers and skyscrapers. It’s about the relationship of the relatively small human scratchings on the surface of the earth compared to the earth itself.
Woods’ follows long traditions in both his speculation on the future of Lower Manhattan and his use of it as a scale reference. His image is prescient in omitting the World Trade Center towers. They are probably left out, along with the Manhattan Bridge, in the interest of romantic effect. Woods says he worked from aerial photographs. Some of these may have predated the World Trade Center and other blocky buildings he also left out. He’d have had plenty to choose from, given the historic popularity of the subject and viewpoint.