Daniel Libeskind
Daniel Libeskind
Daniel Libeskindis a Polish-American architect, artist, professor and set designer of Polish Jewish descent. Libeskind founded Studio Daniel Libeskind in 1989 with his wife, Nina, and is its principal design architect. His buildings include the Jewish Museum in Berlin, Germany, the extension to the Denver Art Museum in the United States, the Grand Canal Theatre in Dublin, the Imperial War Museum North in Greater Manchester, England, the Michael Lee-Chin Crystal at the Royal Ontario Museum in Toronto, Canada, the Felix...
NationalityPolish
ProfessionArchitect
Date of Birth12 May 1946
CountryPoland
The truth is, the way you write music, it's a code. It has to be very precise. It's scientific, but ultimately it also depends on interpretation. It's very similar to how you grow a master plan: it's an objective document, but at the same time it is a lyrical document which allows through interpretation to become a harmonious work of art.
And then, build a bustling wonderful city of the 21st century, with a restoration of a spectacular skyline, which Manhattan, of course, needs. So, that is really the design as a whole
I'm not Candide, nor Dr Pangloss, but we know that faith moves mountains
I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us
And, yes, I love the process of building.
What is a habit? It’s just a shackle for ourselves.
I believe that the idea of the totality, the finality of the master-plan, is misguided. One should advocate a gradual transformation of public space, a metamorphic process, without relying on a hypothetical time in the future when everything will be perfect. The mistake of planners and architects is to believe that fifty years from now Alexanderplatz will be perfected. -p.197
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built
We live in a time of renaissance ... cities are coming back to life, after a long neglect.
Cities are the greatest creations of humanity.
I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.
We often judge cities by great public buildings. But we admire great cities because people live there in a beautiful way. You have to think about how each person will live there; you can't just think about abstract ideas.
Young people have the advantage because they have their whole lives open to be astonished.
The official name of the project is 'Jewish Museum' but I have named it 'Between the Lines' because for me it is about two lines of thinking, organization and relationship. One is a straight line, but broken into many fragments, the other is a tortuous line, but continuing indefinitely.