JAKE BARTON
Principal, Local Projects
What was your role? I was half of the team, with Thinc Design, that won the international competition to masterplan the museum and design its exhibits and media. Local Projects produced all of the 100 media pieces.
Jake Barton (left), of Local Projects, and Timescape, an algorithmic exhibit
How did you approach the project? We spent an enormous amount of time looking for authentic narratives about the event to use in a way that would make the museum a platform for visitor self-expres- sion. This would allow the museum to change and respond to every visitor’s story, meeting them where they were, which allows the museum to evolve over time.
How did you use media in the exhibition? We used media to execute the concept that the museum was a platform for collective memory. Visitors can record memories, hear others’ stories, share messages which are
everybody has a claim on this piece of history and, as Greenwald said, their own 9/11 story. So, isn’t it right to build a museum that can be something to everybody? The design teams see the museum as organic, evolving as years pass, as fresh audiences come, as the event moves out of memory – into a place more securely in the past than it is now. “To say a memorial museum is a contra-
diction in terms is missing a fundamental point about the potential of a memorial museum, which is that it’s there to help society wrap a story around a traumatic event so it can come to terms with it. It’s
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then projected onto the slurry wall. This is all in the midst of the massive artefacts that make the museum epic. The interactive media makes it an approachable experience, and each visitor can add to it.
What was the most challenging decision? The decision to stop trying to design experiences in the abstract and jump into prototyping, to make the designs real as fast as possible. It was critical to move the proj- ect forward as for a while it wasn’t making much progress. It was all too abstract. This
a way of turning it into history,” Hennes says. “It’s about maintaining an alive awareness of the meaning of 9/11. It isn’t over. The events of 9/11 are a symbol of a larger and much more significant unfolding story. A museum which purely historicises would be out of place here. “The museum should help visitors put
their experiences into a more fully real- ised context; help them be more engaged in the complex post-9/11 world. That’s a radically different mission for a museum.” Without its human voices, faces and
names, it would be a dissonant expe- rience. And, it’s hard to imagine that a
approach – we now call it “prototype first” – lets us and the client see what’s successful or not, enabling progress on even the most challenging project.
Which digital exhibit stands out for you? Timescape is an algorithmic exhibit that culls meaning from 3 million-plus articles from 11 September 2001 to today. We authored an experience that creates links and meanings between these different articles. It’s updated daily. The timelines that it creates link today’s events back to the date of 9/11.
cold, hard, faceless version would be well received by the visitors who arrive from all over the world, people who have been there, as Hennes points out, in some way, before. The repercussions of 9/11 reach beyond Manhattan, after all. For Greenwald, that humanity is cen-
tral. “These were people just like you and me, who got up in the morning and went to work or boarded an aeroplane, and got caught in the vortex of a global event,” she says. “Over 90 nationalities were killed. They were from 2 to 85 years old, from every sector of the economy, every faith, every ethnicity. They were us.”
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