There are more people living in Lower Manhattan now than before the terrorist attacks. That's faith for you. There's such a strong spirit here.
Daniel LibeskindRead
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.
Interpretation
Winning an architectural competition often means little if the design is never realized.
Daniel Libeskind's quote highlights the reality that although winning prestigious competitions may bring recognition to architects, most designs remain unrealized and fade into obscurity. This reflects the gap between creative ideas and their practical implementation in the built environment, suggesting that the creative process is not just about accolades but also about how ideas translate into reality.
In practice
During a presentation on the challenges of bringing architectural ideas to life, you might quote Libeskind to emphasize the importance of actual implementation.
There are more people living in Lower Manhattan now than before the terrorist attacks. That's faith for you. There's such a strong spirit here.
Architecture is not just for the moment, it is not just for the next fashion magazine.
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.
In a strange way, architecture is really an unfinished thing, because even though the building is finished, it takes on a new life. It becomes part of a new dynamic: how people will occupy it, use it, think about it.
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.
Architecture is not based on concrete and steel, and the elements of the soil. It's based on wonder.
Music was never just a hobby for me. I'd pick up a guitar every day to work on whatever I was writing at the time. I would put my ideas in songs the way some people might put them in diaries or journals.
The listener must be gripped and whether he likes it or not, drawn into the flight path of the sounds without special training being necessary. The sensual shock must be just as forceful as when one hears a clap of thunder or looks into a bottomless abyss
It is not enough to place colors, however beautiful, one beside the other; colors must also react on one another. Otherwise, you have cacophony.
Music is part of the life of fashion, too.
I am never going to stop playing the villain. I would be foolish to do so because the audiences apparently enjoy watching me, and who am I to say no?
It's easy to assume that just because you make something in small volumes, not using many tools, that there is integrity and care - that is a false assumption.
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