Stockhausen claimed that the 9/11 attacks were, in themselves, a work of art:
Wikipedia
So, when you asked "what projects in the world exceed the Mirvish/Gehry proposal in scale, originality, and beauty?" adma was essentially answering that the plane smashing into the World Trade Centre represented a project that exceeded M+G in scale, originality and beauty.
It was just a pretentious non-sequitur. Typical fare.
Actually, while my bored/offhanded Stockhausen ref gave it a flippantly blase context, I'm actually more prone to backing away from the more purely Stockhausenesque "scale, originality, and beauty" matter to the more abstract, less rawly work-of-arttish (and hence less inherently pretentious) notion of 9/11 being the most important
aesthetic experience of our time. And it isn't just about a plane smashing (hey, a picture can only convey so much): it's 9/11
in its entirety--its effect on everything from the Lower Manhattan geography to our psyches. Evil or not, it transfixed us in a way that, well, effectively surpasses "art" while nullifying it. That's why I don't--can't--refer to it as "art". Merely as an "aesthetic experience".
But on top of that, and very apropos to this thread and to this forum, it was a very intensely
urban experience, the way it drew the urban-lovers among us into that very node of urban geography, constantly curious and wondering what it affected and how--for a while there, in a circumstance totally without precedent, we were all Lower Manhattanites, wondering whither Verizon or One Liberty Plaza or that Cass Gilbert confection on West Street, or even the minor stuff in between that we'd taken for granted previously. And, this was nothing to do with newfangled starchitecture.
This was pre-existing stuff--however presently traumatized, this was all "heritage" of a sort, even if one of September 10th. And it's like through all the chaos, the inherent, centuries-old
richness of it all was highlighted in some bizarre otherworldly way. I went there, trusty White/Willensky in hand, for Xmas that year, attended Xmas eve services at St. Paul's Chapel, and words fail--it's like it left an eerie humanizing cosmic mark upon *all* of NYC, and I felt it even when taking local transit from LaGuardia through Jackson Heights and over Queens and under to Grand Central. Yes, "humanizing"--almost as if it were some necessary but not-to-be-repeated "shock treatment".
And that moment of "9/11 greatness" really encompasses those (now sadly forgotten) early months of shellshock, taking-stock, and clearance--that is, before it all came to be grotesquely jingoistically kitschified within the larger cultural sphere. And, I'll betcha that the hyperengagement that it triggered helped nurture a whole slew of urbanists out there, almost in that "everyone who bought the first Velvets record formed a band" way.
So it isn't about endorsing destruction. It's about comprehending enormity--including the rich enormity of our present world, inhabiting and making sense of the ruins. And it might be argued that by being of "a" past,
everything around us is a metaphorical "ruin" of sorts.
And as an "aesthetic event", 9/11 did it. Did it in such a way that renders fixating upon future starchitecture as a be-all and end-all to be insipid piffle by comparison.
And I'd feel the same way, even if I lost loved ones on 9/11.
Mirvish/Gehry? Hey, whatever happens. But if it doesn't happen or something gets messed up in the process, don't go bawling your eyes out; as 9/11-as-I-described-it proves, urbanity is
far, far richer than that...