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Counterpoint: Daniel Libeskind in Conversation with Paul Goldberger Hardcover – November 18, 2008


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Product Details

  • Hardcover: 400 pages
  • Publisher: The Monacelli Press (November 18, 2008)
  • Language: English
  • ISBN-10: 1580932061
  • ISBN-13: 978-1580932066
  • Product Dimensions: 1.5 x 7.5 x 10.4 inches
  • Shipping Weight: 3.8 pounds (View shipping rates and policies)
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,333,464 in Books (See Top 100 in Books)

Editorial Reviews

Review

"[Libeskind's] formally ambitious work has made him a favorite of clients looking for recognizable design. From critics, it has drawn a mix of admiration and vitriol that has placed him at the center of debates about the values and aesthetics of architecture in the first decade of the 21st century."
—William Hanley, Architectural Record

About 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.

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16 of 27 people found the following review helpful By Caravaggio on February 15, 2009
Format: Hardcover
Just recently, Philip Kennicott, architectural critic for the Washington Post, reported that Daniel Libeskind's Royal Ontario Museum expansion in Toronto, "may be the most perverse and disastrous museum expansion in living memory." It was a shocking (though true), indictment of the reign of ego-driven "starchitects", many of whom paid lip-service to program or to budget, and of Daniel Libeskind's work in particular. "Counterpoint" offers an opportunity to view Libeskind's oeuvre as a whole, to analyze his questionable claim to fame, and his self-inflicted plummet to ridicule and ignomy.

Some ten years ago, Daniel Libeskind emerged on the scene with the completion of Berlin's Holocaust Museum. Initially opened as an empty space, he was, for a time, lauded as an original thinker. (When the museum was fitted out, its failings became obvious, and subsequent commentary was much less favorable.) Shortly afterwards, following his selection as Master Planner for the World Trade Center site in New York, Libeskind became a household name. But today, rather pointedly he has not been asked to design any of the new architecture there.

In the years since the Holocaust Museum and the Ground Zero appointments, Libeskind chose to focus on promoting himself, his "brand", and on developing his celebrity status, rather than on refining the process of design. A hastily-written biography and a pretentious book of "poetry" raised more eyebrows than praise. Intended to foster fame, these immature and self-absorbed ramblings merely exposed Libeskind to a scrutiny that has not served him well.
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