daniel libeskind.doc

7/28/2019 Daniel Libeskind.doc

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Daniel Libeskind's

17 words of architectural inspiration

True or False. Watch the video and answer true or false for the following:

According to the speaker architecture is resistant to change.

Architecture tells a kind of story. It tells a story of all things that are possible.

Optimism plays a minor role in successful architecture.

The speaker believes that architecture can do well in times of economic hardship.

And today we have a kind of evangelical pessimism all around us.And yet it is in times like

thisthat I think architecture can thrive with big ideas,ideas that are not small. Think of the

great cities.Think of the Empire State Building, the Rockefeller Center.They were built intimes that werenot really the best of times in a certain way.And yet that energy and power of

architecturehas driven an entire social and political space that these buildings occupy.

So again, I am a believer in the expressive.I have never been a fan of the neutral.I don't like

neutrality in life, in anything.I think expression.And it's like espresso coffee, you know, you

take the essence of the coffee.That's what expression is.It's been missing in much of the

architecture,because we think architecture is the realm of the neutered,the realm of the kind

of a state that has no opinion,that has no value.And yet, I believe it is the expression --

expression of the city, expression of our own space --that gives meaning to architecture.

And, of course, expressive spaces are not mute.Expressive spaces are not spacesthat simply

confirm what we already know.Expressive spaces may disturb us.And I think that's also part

of life.Life is not just an anesthetic to make us smile,but to reach out across the abyss of

history,to places we have never been,and would have perhaps been, had we not been so

lucky.

So again, radical versus conservative.Radical, what does it mean? It's something which is

rooted,and something which is rooted deep in a tradition.And I think that is what

architecture is, it's radical.It's not just a conservation in formaldehydeof dead forms.It is

actually a living connectionto the cosmic event that we are part of,and a story that is

certainly ongoing.It's not something that has a good ending or a bad ending.It's actually astory in which our acts themselvesare pushing the story in a particular way.
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So again I am a believer in the radical architecture.You know the Soviet architecture of that

buildingis the conservation.It's like the old Las Vegas used to be.It's about conserving

emotions, conserving the traditionsthat have obstructed the mind in moving forwardand of

course what is radical is to confront them.And I think our architecture is a confrontationwith

our own senses.Therefore I believe it should not be cool.

There is a lot of appreciation for the kind of cool architecture. I've always been an opponent

of it. I think emotion is needed.Life without emotion would really not be life.Even the mind

is emotional.There is no reason which does not take a positionin the ethical sphere, in the

philosophical mystery of what we are.So I think emotion is a dimensionthat is important to

introduce into city space, into city life.

And of course, we are all about the struggle of emotions.And I think that is what makes the

world a wondrous place.And of course, the confrontation of the cool, the unemotional with

emotion,is a conversation that I thinkcities themselves have fostered.I think that is the

progress of cities.It's not only the forms of cities,but the fact that they incarnate emotions,

not just of those who build them,but of those who live there as well.

Inexplicable versus understood. You know, too often we want to understand everything.But

architecture is not the language of words.It's a language. But it is not a language that can be

reducedto a series of programmatic notes that we can verbally write.Too many buildings

that you see outside that are so banaltell you a story, but the story is very short,which says,

"We have no story to tell you."(Laughter)

So the important thing actually,is to introduce the actual architectural dimensions,which

might be totally inexplicable in words,because they operate in proportions,in materials, in

light.They connect themselves into various sources,into a kind of complex vector matrixthat

isn't really frontalbut is really embedded in the lives,and in the history of a city, and of a

people.So again, the notion that a building should just be explicitI think is a false notion,

which has reduced architecture into banality.

Hand versus the computer.Of course, what would we be without computers?Our whole

practice depends on computing.But the computer should not just be the glove of the hand;

the hand should really be the driver of the computing power.Because I believe that the hand

in all its primitive, in all its physiological obscurity,has a source, though the source is

unknown,though we don't have to be mystical about it.We realize that the hand has been

given usby forces that are beyond our own autonomy.And I think when I draw drawings

which may imitate the computer, but are not computer drawings --drawings that can comefrom sourcesthat are completely not known, not normal, not seen,yet the hand -- and that's

what I really, to all of you who are working --how can we make the computer respond to our

handrather than the hand responding to the computer.

I think that's part of what the complexity of architecture is. Because certainly we have gotten

used to the propagandathat the simple is the good. But I don't believe it.Listening to all of

you, the complexity of thought,the complexity of layers of meaning is overwhelming.And I

think we shouldn't shy away in architecture,You know, brain surgery, atomic theory,

genetics, economicsare complex complex fields.There is no reason that architecture should

shy awayand present this illusory world of the simple.It is complex. Space is complex.

Space is something that folds out of itself into completely new worlds. And as wondrous as itis,it cannot be reduced to a kind of simplificationthat we have often come to be admired.
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3/7

And yet, our lives are complex.Our emotions are complex.Our intellectual desires are

complex.So I do believe that architecture as I see itneeds to mirror that complexity in every

single space that we have,in every intimacy that we possess.

Of course that means that architecture is political.The political is not an enemy of

architecture.The politeama is the city. It's all of us together. And I've always believed that theact of architecture,even a private house, when somebody else will see it, is a political act,

because it will be visible to others.And we live in a world which is connecting us more and

more.So again, the evasion of that sphere,which has been so endemic to that sort of pure

architecture,the autonomous architecture that is just an abstract objecthas never appealed to

me.And I do believe that this interactionwith the history, with history that is often very

difficult,to grapple with it, to createa position that is beyond our normal expectations and to

create a critique.

Because architecture is also the asking of questions.It's not only the giving of answers.It's

also, just like life, the asking of questions.Therefore it is important that it be real.You know

we can simulate almost anything.But the one thing that can be ever simulatedis the humanheart, the human soul.And architecture is so closely intertwined with itbecause we are born

somewhere and we die somewhere.So the reality of architecture is visceral. It's not

intellectual.It's not something that comes to us from books and theories.It's the real that we

touch -- the door, the window,the threshold, the bed --such prosaic objects. And yet,I try, in

every building, to take that virtual world,which is so enigmatic and so rich,and create

something in the real world.Create a space for an office,a space of sustainabilitythat really

works between that virtualityand yet can be realized as something real.

Unexpected versus habitual.What is a habit? It's just a shackle for ourselves.It's a self-

induced poison.So the unexpected is always unexpected.You know, it's true, the cathedrals,

as unexpected,will always be unexpected.You know Frank Gehry's buildings, they will

continue to be unexpected in the future.So not the habitual architecture that instills in usthe

false sort of stability,but an architecture that is full of tension,an architecture that goes

beyond itselfto reach a human soul and a human heart,and that breaks out of the shackles of

habits.

And of course habits are enforced by architecture.When we see the same kind of architecture

we become immured in that world of those angles,of those lights, of those materials.We

think the world really looks like our buildings.And yet our buildings are pretty much limited

by the techniques and wondersthat have been part of them.

So again, the unexpected which is also the raw.And I often think of the raw and the refined.

What is raw? The raw, I would sayis the naked experience, untouched by luxury,untouched

by expensive materials,untouched by the kind of refinementthat we associate with high

culture.So the rawness, I think, in space,the fact that sustainability can actually, in the future

translate into a raw space,a space that isn't decorated,a space that is not mannered in any

source,but a space that might be cool in terms of its temperature,might be refractive to our

desires.A space that doesn't always follow uslike a dog that has been trained to follow us,

but moves ahead into directions of demonstratingother possibilities, other experiences,that

have never been part of the vocabulary of architecture.

And of course that juxtaposition is of great interest to mebecause it creates a kind of a sparkof new energy.And so I do like something which is pointed, not blunt,something which is
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4/7

focused on reality,something that has the power, through its leverage,to transform even a

very small space.

So architecture maybe is not so big, like science,but through its focal pointit can leverage in

an Archimedian waywhat we think the world is really about.And often it takes just a

buildingto change our experience of what could be done, what has been done,how the worldhas remained both in between stability and instability.And of course buildings have their

shapes.Those shapes are difficult to change.And yet, I do believe that in every social space,

in every public space,there is a desire to communicate morethan just that blunt thought, that

blunt technique,but something that pinpoints, and can point in various directionsforward,

backward, sideways and around.So that is indeed what is memory.So I believe that my main

interest is to memory.Without memory we would be amnesiacs.We would not know which

way we were going,and why we are going where we're going.

So I've been never interested in the forgettable reuse,rehashing of the same things over and

over again,which, of course, get accolades of critics.Critics like the performance to be

repeated again and again the same way.But I rather play somethingcompletely unheard of,and even with flaws,than repeat the same thing over and over which has been hollowedby its

meaninglessness.So again, memory is the city, memory is the world.Without the memory

there would be no story to tell.There would be nowhere to turn.

The memorable, I think, is really our world, what we think the world is.And it's not only our

memory,but those who remember us,which means that architecture is not mute.It's an art of

communication.It tells a story. The story can reach into obscure desires.It can reach into

sources that are not explicitly available.It can reach into millenniathat have been buried,and

return them in a just and unexpected equity.

So again, I think the notion thatthe best architecture is silent has never appealed to me.

Silence maybe is good for a cemetery but not for a city. Cities should be full of vibrations,

full of sound, full of music.And that indeed is the architectural missionthat I believe is

important,is to create spaces that are vibrant,that are pluralistic,that can transform the most

prosaic activities,and raise them to a completely different expectation.Create a shopping

center, a swimming placethat is more like a museum than like entertainment. And these are

our dreams.

And of course risk. I think architecture should be risky.You know it costs a lot of money and

so on, but yes,it should not play it safe.It should not play it safe, because if it plays it safe it's

not moving us in a direction that we want to be.And I think, of course,risk is what underliesthe world.World without risk would not be worth living.So yes, I do believe that the risk we

take in every building.Risks to create spaces that have never been cantilevered to that extent.

Risks of spaces that have never beenso dizzying,as they should be, for a pioneering city.

Risks that really move architectureeven with all its flaws, into a space which is much better

that the ever again repeatedhollowness of a ready-made thing.

And of course that is finally what I believe architecture to be. It's about space. It's not about

fashion.It's not about decoration.It's about creating with minimal meanssomething which

can not be repeated,cannot be simulated in any other sphere.And there of course is the space

that we need to breathe,is the space we need to dream.These are the spaces that arenot just

luxurious spaces for some of us,but are important for everybody in this world.
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