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
It could not have been done without the generosity of our patrons.
I never forgot that skyline and what it means to an immigrant, an American. It's not just a symbol. It's not just something up in the air. It's about the values that we all share,
Well, I didn't want to have the reminder sort of in the sky, so that people would forever look at it. I wanted to have - really to create a city from the bottom up. From that foundation, which held, from the democratic power of what the site really is.
The foreign press seems obsessed with the Freedom Tower, as if it was the only thing going on here. In fact, we're trying to keep a huge juggling act in balance, with the tower as just one of the many balls in play.
It's a fantastic responsibility and a wonderful moment.
We will work with everybody for the good of New York
We all came to see that site. We all walked around it. It is already sacred.
And you have to remember that I came to America as an immigrant. You know, on a ship, through the Statue of Liberty. And I saw that skyline, not just as a representation of steel and concrete and glass, but as really the substance of the American Dream
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built
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 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
When you're a kid with artistic yearnings brought up in the Bronx, you don't get fed up too easily.
The Spiral Gallery may happen, too. It is not dependent on government funding