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the shape of the wetlands, sculpted the terrain of the old mine, reforested parts of the site and bestowed it with local wildflowers, including great swaths of delicate Queen Anne's lace.

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The design is arranged around a large circular "field of honor," bordered by a ring road, pathway and groves of trees. The crash site, marked by a large boulder, is just outside the circle, with a low, dark, cast concrete wall separating visitors from the site itself.

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SHANKSVILLE, Pa. Route 30 west to Shanksville is a road to write songs about.

But the monument isn't finished. The next stage will include a visitors center and 40 to 50 foot high walls framing an entrance to the circular space, the height recalling the elevation of the plane as it streaked overhead just before crashing.

There is a lazy habit of conflating victims and heroes, as if every victim is also a hero, and as if all heroes are equal in heroism. While there were heroes and victims at the World Trade Center and at the Pentagon innocent office workers and courageous first responders the people who confronted the hijackers on Flight 93 weren't acting in the line of duty. Aware of the destruction at the twin towers and at the Pentagon, certain that their plane would bring yet more carnage, they acted selflessly, above and beyond.

The dark concrete walls are incised with an appealing geometric pattern that echoes the characteristic angle of the branches in the nearby hemlock trees. It's a subtle and appealing reference.

Small niches in the wall invite people to leave mementos. A modest but elegantly designed visitors pavilion offers respite from inclement weather.

A marble wall listing names is placed along the axis of the plane's final path, which makes symbolic sense. But that puts it at an odd angle to the low wall that separates visitors from the field where the plane went down.

The design, by Paul Murdoch Architects (with landscape by Nelson Byrd Woltz Landscape Architects), is the most minimal, most peaceful and most contemplative of the three. It makes use of the rural landscape, coaxing it into a form that inspires thoughtfulness and repose, without adding undue pomposity or sentiment.

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Today, a new memorial near Shanksville reminds visitors that this spot is only 20 minutes from Washington, if you're flying at 560 mph in a Boeing 757.

than it was 10 years ago, when it received the wound that will forever mark it on the map.

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But that's enough. The magic of the memorial is its close relationship to the dark forest that encroaches on the grassy impact site of the plane. A small, historic farm, with an old red barn, is visible on a nearby hillside, and giant, three bladed windmills turn slowly along a distant ridge line.

The contrast between the white marble wall of names and the rough surfaced black concrete also is jarring.

more rigorously programmed, interpreted and designed.

The site was used as a surface coal mine until 1995, and much of it is still an open field. After the mine was abandoned, well before Sept. 11, 2001, initial remediation of the site included containment ponds and wetlands to contain the acidic water leaching out of the ground.

One might expect, then, that the memorial to Flight 93 would be the most focused on heroism, perhaps the most bombastic and traditional of the Belt Lv Original three major Sept. 11 memorials. It isn't.

They never signed up to save Washington, but they did.

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At this point, only the memorial plaza, pavilion, ring road and field are completed.

It is neither a park, carefully crafted, nor an untouched landscape. It is a mix of scars and healing, domesticated space and space reclaimed by natural forces.

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But the rough surface of the concrete is meant to look like coal, a gesture that falls flat. There's a good reason why people don't normally build memorials out of coal. It is oppressive.

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There are also plans, years from now, to build a bell tower, with 40 chimes, one each for the passengers and crew members who died.

By helping to repair a landscape devastated by mining, the memorial hints at the need for a larger kind of healing after the events of Sept. 11. Just as the best of us hope to leave the world a better place when we die, the memorial leaves the land near Shanksville better Louis Vuitton Belt Mens Replica

The memorial's design has altered Louis Vuitton Belt Images

a peaceful tribute to 9

Until Sept. 11, 2001, when United Airlines Flight 93 went down in an open field near Route 30, this was the kind of place that millions of people condescend to as a flyover, the anonymous midlands of America.

history, The Telegraph is publishing a seven day series under the label "9/11: A decade later." The print and online series will conclude with a special commemorative section on Sunday, Sept. 11.

Perhaps, then, the $60 million memorial should be considered finished. The chime tower, scheduled for 2017, could easily be discarded with no loss to the design. Even the visitors center feels unnecessary. A few discreet signs could give all the vital information and explain the symbolism of the memorial plaza.

That makes the memorial in Shanksville different from the ones at the Pentagon and the World Trade Center site.

But design and development of the next phase already are underway, fundraising continues apace (officials are within $9 million of raising the amount necessary for the visitors center and entry walls), and the memorial will progress from its pleasingly minimal form to something Gucci Belt Navy Blue

When the passengers aboard Flight 93 stormed the Sept. 11 hijackers, they brought Shanksville and Washington even closer, into an intimacy that transcends geography. Who knows how many more dead and what icon of the republic might have been added to the toll that day if the passengers hadn't revolted against their captors?

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Although Murdoch and his landscape designers have put together a compelling space, the weakest parts are precisely those that make the most literal reference to the plane, the dead and the crash site.

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