Counterpoint: Daniel Libeskind in Conversation with Paul Goldberger

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Overview

Architect Daniel Libeskind, known for his dynamic, fractured compositions, is also recognized for introducing a new critical discourse to architecture. In an enormous variety of projects around the world—major cultural institutions, convention centers, universities, hotels, commercial centers, and residential work—he has manifested his commitment to expanding the horizons of architecture and urbanism. Counterpoint: Daniel Libeskind is the first comprehensive portrait of the work of Studio Daniel Libeskind, which was established in Berlin in 1989 and moved to New York in 2003 after winning the World Trade Center design competition.

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More About This Book

Overview

Architect Daniel Libeskind, known for his dynamic, fractured compositions, is also recognized for introducing a new critical discourse to architecture. In an enormous variety of projects around the world—major cultural institutions, convention centers, universities, hotels, commercial centers, and residential work—he has manifested his commitment to expanding the horizons of architecture and urbanism. Counterpoint: Daniel Libeskind is the first comprehensive portrait of the work of Studio Daniel Libeskind, which was established in Berlin in 1989 and moved to New York in 2003 after winning the World Trade Center design competition.

Drawn from a series of interviews with celebrated architecture critic Paul Goldberger, Counterpoint exemplifies Libeskind's multidisciplinary approach, which reflects a profound interest in philosophy, art, music, literature, theater, and film. Along with Memory Foundations, the master plan for the World Trade Center site, featured projects include the Jewish Museum Berlin, the Royal Ontario Museum, the extension to the Denver Art Museum, the MGM Mirage CityCenter in Las Vegas, a multi-building complex in Busan, South Korea, and projects in the United Kingdom, Switzerland, Spain, the Netherlands, Italy, Israel, Mexico, Japan, and China.

Product Details

  • ISBN-13: 9781580932066
  • Publisher: The Monacelli Press
  • Publication date: 11/18/2008
  • Pages: 400
  • Sales rank: 836,797
  • Product dimensions: 7.52 (w) x 10.40 (h) x 1.51 (d)

Meet the Author

Daniel Libeskind is the founder and principal of Studio Daniel Libeskind, founded in Berlin in 1989.

Paul Goldberger is the architecture critic for the New Yorker. He also holds the Joseph Urban Chair in Design and Architecture at the New School in New York City. He began his career at the New York Times, and in 1984, he was awarded the Pulitzer Prize for Distinguished Criticism. He is the author of several books, most recently his chronicle of the process of rebuilding Ground Zero, Up From Zero: Politics, Architecture, and the Rebuilding of New York. The author lives in New York.

Read an Excerpt

Daniel Libeskind in Conversation with Paul Goldberger
Introduction

Daniel, your practice is now a huge operation with a main office in New York, and other offices in Zurich and Milan. It’s a big enterprise. A dozen years ago or so, there was only a handful of employees and a small amount of work, and the nature of that work was more academic and theoretical. How did the transition evolve from small and academic to large and, in many ways, more commercial?

I like to think it’s a natural evolution of a practice. I started with a single building: the Jewish Museum Berlin. I never built a building before. But even when I was doing what seemed to others to be abstract drawings, I never thought of them as theoretical but as somehow part of an investigation of architecture.

The curve has gone very much more dramatically upward.

I know that many architects would think that the object of their career is to build a museum. I have been fortunate to build a great number. But architecture has to engage in the whole spectrum of needs, such as housing, shopping, education, and office buildings. I certainly love the expanded opportunities. In fact, I try to blur the lines between these different typologies in order to see what is common between them as the art of architecture. I used to do one project at a time, but now I’m equally and intensely involved with many projects. I never enjoyed doing just a sketch of a concept and handing it over to others.

You had anticipated my next question, which is one of management and administration. How is it possible for one man to be completely involved in all of the work in an office as large and as diverse as this now is?

Well, first of all, I have Nina, who is a master at managing the complex operations of the studio. And of course, I am supported by extraordinarily bright and talented young architects from all over the world. In architecture, different projects are not done at the same time. If you have thirty projects, some are at the conceptual stage, some in development, some in working drawings, some in construction. So the demands are not beyond what I can do.

It’s sometimes hard to explain that even in this scope of practice, I’m still designing every window, checking every form, and coordinating every detail—making sure that each building is a hand-crafted work. And that’s what I love to do! If I wasn’t doing that, if I didn’t allow myself to do that, I wouldn’t enjoy it. The diversity of different projects, in fact, finds unexpected connections and leads to new discoveries. The complexity of practice often subverts the prejudice of theory. So the mix has enriched my world view and hasn’t reduced it.

Table of Contents

Counterpoint: Daniel Libeskind
in Conversation with Paul Goldberger

Jewish Museum Berlin
Berlin, Germany

Editoriale Bresciana Tower
Brescia, Italy

Westside Shopping and Leisure Center
Brunnen, Switzerland

Haeundae Udong Hyundai I’Park
Busan, South Korea

Danish Jewish Museum
Copenhagen, Denmark

The Ascent at Roebling’s Bridge
Covington, Kentucky

Extension to the Denver Art Museum, Frederic C. Hamilton Building
Denver, Colorado

Denver Art Museum Residences
Denver, Colorado

Military History Museum
Dresden, Germany

Grand Canal Square Theatre and Commercial Development
Dublin, Ireland

Roedingsmarkt
Hamburg, Germany

Creative Media Centre
Hong Kong

Riverstone
Incheon, South Korea

Jerusalem Oriya
Jerusalem, Israel

Reflections
Keppel Bay, Singapore

MGM Mirage CityCenter
Las Vegas, Nevada

London Metropolitan University Graduate Centre
London, England

Extension to the Victoria and Albert Museum
London, England

Imperial War Museum North
Manchester, England

Fiera Milano
Milan, Italy

18.36.54
New Milford, Connecticut

Memory Foundations
New York, New York

New York Tower
New York, New York

Felix Nussbaum Haus
Osnabrück, Germany

Memoria e Luce
Padua, Italy

Tour Signal, La Défense
Paris, France

Studio Weil
Port d’Andratx, Spain

Proportion

The Wohl Centre
Ramat Gan, Israel

The Contemporary Jewish Museum
San Francisco, California

Tangent
Seoul, South Korea

Gazprom Headquarters
St. Petersburg, Russia

Royal Ontario Museum
Toronto, Canada

The L Tower and Sony Centre for the Performing Arts
Toronto, Canada

Hermitage-Guggenheim Vilnius Museim
Vilnius, Lithuania

Zlota 44
Warsaw, Poland

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Sort by: Showing all of 4 Customer Reviews

  • Posted May 31, 2009

    Lame Collection of Bad Cad Drawings & Photos

    I was shocked that Monacelli, known for their fine imprint, was involved in this shoddy book. Counterpoint is not really a monograph. It is more like a cheap glossy catalogue. There's plenty of archibabble trying to generate the illusion of intellectual relevance where none really exists. The underlying problem seems to be the glaring paucity of architectural or intellectual ideas informing the current work of Studio Daniel Libeskind. Most of the projects are just gaudy "shape-ism" used as an excuse for attention. Give this a miss.

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  • Posted April 15, 2009

    Like Totally Awesome Architecture for Pothead Dudes, Maann!

    If you are 13 years old and like your buildings to be loud, brash and garish, then Daniel Libeskind is your type of guy.

    This loud, brash and garish collection of cheaply rendered CAD models, and its loud, brash and garish commentary by the equally loud, brash and garish architect will satisfy for every need to be awesomely amazed by shiny, pointy, glitzy stuff with other stuff and bits added for no good reason, and other stuff chopped out to ramp up the loudness, brashness and garishness of these things.

    If, however, your IQ is in the double or triple digits, or even if you are only vaguely interested in art, history, aesthetics or sophisticated design, then you may want to shield yourself from this one. It may be the most senseless book on design available today.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Posted February 14, 2009

    I Also Recommend:

    9780393731125 9781580931892 9783764374976

    A Collection of Superficial Ideas About Design

    There's nothing critical or analytical in this very superficial book. It's almost as if Libeskind promised Monacelli a manuscript and tricked them into paying for the cost of publishing his office brochure.

    There's plenty of slick graphics, glossy pictures and some complimentary words by Daniel Libeskind about his own work. Goldberger prompts with some light questioning, but there's no depth to the conversations. But then there's not much depth to Libeskind's work either. His is a simplistic assumption that architecture is an exercise in graphics only. Hence, he does little more than deform plans and add some slit windows applied chaotically to the exterior. Counterpoint, showing his oeuvre as a whole, only serves to to emphasize that Libeskind was never a very good architect. He's earned some notoriety for attention-getting formalism, but it's not serious architecture.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 11, 2009

    No text was provided for this review.

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