Daniel Libeskind : The Space of Encounter

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Summary: Libeskind - The Britney Spears of Architecture
Review: Catchy, at best, but in serious architectural discussion, Daniel Libeskind hardly rates a mention. Although flash in a modish, but insubstantial and purely graphical way, his work lacks the meaningful level of enquiry that characterizes mature architectural investigations. Lacking a more convincing body of work, this particular volume hides behind a slew of quirky typefaces and fonts laid out in irritatingly angled lines. And there are plenty of drawings that are not intended to be intelligible at any meaningful level. It is the smoke and mirrors approach that matches Libeskind's work. Significantly his design approach has more to do with a capricious and whimsical selection of generators. In the case of the World Trade Center site, for example, purely arbitrary lines based loosely on flight paths, arrows towards fire stations, and such are presented (without a hint of embarrassment) as though they are a response to the real problem at hand, which was to generate a valuable urban space and building for New York. Similarly fanciful notions are presented in Libeskind's characteristically giddy way without reference to context at other locations. Architecturally, the 70's and 80's were marked by embarrassing fads including Brutalism, Deconstruction and Post Modernism. And as Libeskind's built work already takes on the tired look of the gimmicks that they always were, it doesn't take a clairvoyant to recognize that his oeuvre will be consigned along with disagreeable buildings by Stanley Tigerman, Helmut Jahn and Ricardo Bofill (all popular faddish architects in their day) to the scrapheap of senseless design. - And as one other reviewer on this page has pointed out, Libeskind himself seems not to have been willing to live in an apartment of his own design. - Given how poorly he functions as an architect, I suppose he could be forgiven for that. - If "pop" architecture is all that you are interested in, there might be something in this amusing book. But if you are serious about the profession, try Jane Jacobs, William H. White or Louis Kahn, all of whom had genuine, informed and sincere comments on how our buildings and cities might satisfyingly be composed. But Generally speaking, Libeskind has nothing worthwhile to add to the discussion of either.

Rating:
Summary: Plain Nonsense
Review: Firstly, you have to know that when Libeskind moved to New York, he hired another Architect (Alexander Gorlin) to design his own apartment. That alone should say a great deal about the hypocrisy of architecture's current king salesman/charlatan. But a look at this volume reveals why he may have made such a decision. Libeskind's rational is abstract at best, and barely rational. He cannot respond to human needs (vis-a-vis his own apartment) so he avoids designing for them. Only a fool would be taken in by the pretentious writing in this preposterous book. Decide for yourself if the cap fits.

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Summary: paradigm shift
Review: Following up from Libeskind's previous monograph, radix matrix, "The Space of Encounter" read brilliantly into the life of this master architect. However whilst the former read as an extrusion into his work, "Space" intelligently delves into the writing that aided in the creation of such experience like the Jewish Museum in Berlin. With additional writing by the likes of Kipnis and Vidler it makes this book a must read for anyone interested in the theory and manifestation architectural of ideas. Though the pictures are few, the articulation of the writing weaves fantastical imagery lending to very technique used by Libeskind in his drawings. The book is convenient, as well - fitting nicely in the hand or satchel, making it the ideal companion both in size and in content. Libekind's "Space of Encounter" is easily the "S, M, L, XL" of the new era.

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Summary: Mindless Self-Praise
Review: I suppose you have to look at self-penned monographs with a degree of suspicion. Libeskid is the last person to be honestly critical of his own work, so expect a one-sided view of things here. Libeskind is one of the enfant-terribles of architecture today. Like the spoiled brat who insists on making crayon marks on the wall precisely because he was told not to do it, Libeskind sets himself apart with similarly juvenile concepts and the ill-considered drawings to go with them. Sure it is different, but look closely at the left-over spaces and failed urbanism of all his 'sculptural' work, and you will understand how tiresome and fashionable this stuff really is. Libeskind's work is characterized by capricious and random decision making. His 'logic' (if it can be called such), does not stant up to rational scrutiny. If flashy, slick and loud is your thing, Libeskind will certainly have something to satisfy any need for instant gratification of this sort. But if you plan on maturing as a civilized architect with a finely-honed intellectual basis for your thinking process, then look elsewhere.

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Summary: A Well Designed Ego
Review: It's very unfortunate that you cannot give a book zero stars or, better yet, minus 5 stars. The only interesting design that Daniel Libeskind has ever come up with is his own ego. That is truly a work of art! The book is a hollow attempt to be clever, the way a teenager (or adolescent) who thinks he knows it all would try to be clever. I was actually embarrassed for him after reading it. Now, tell me again, how did someone of such little consequnce and talent "win" the the LMDC competition to redesign Ground Zero?

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Summary: Deconstruction
Review: Libeskind has refind his deconstructivist style, expressionist architecture and somewhat of an "acquired" taste. The book shows only a couple of pictures per project, however the reading gives a fantastic insight into the mind of Libeskind. I'm not the type that would usually read the amount of text that's included in this book but it does draw you in, enabling a full and "accurate" understanding of what his architecture is all about. If your not passionate about deconstructivist architecture steer well clear.

Rating:
Summary: Deconstruction
Review: Libeskind has refind his deconstructivist style, expressionist architecture and somewhat of an "acquired" taste. The book shows only a couple of pictures per project, however the reading gives a fantastic insight into the mind of Libeskind. I'm not the type that would usually read the amount of text that's included in this book but it does draw you in, enabling a full and "accurate" understanding of what his architecture is all about. If your not passionate about deconstructivist architecture steer well clear.

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Summary: Empty Space
Review: Libeskind's conceptual position has always been highly abstract and not rooted in the real world. His buildings reflect this distancing from the human condition and help to explain why they make such poor architecture. Libeskind delights in the youthful act of "challenging" the status quo, not because he can find fault with it, rather because it is the easy way to achieve fame and recognition. But his work ultimately fails both as architecture (which he does not understand) AND as sculpture (which is how he really perceives it). This is the pouting work of a spoiled brat who throws tantrums rather than learn why civilised behavior is best in company. Look closely at the gimmicky concepts for most of his work (the 'shard' and 'shell' of the British War Museum is a fine example) and see how poor these one-trick ideas are. As for urban space, Libeskind doesn't even try. This is the severe work of an outsider who cannot accept that he has never fit in. That the work is so joyless becomes easier to understand.

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Summary: Architectural Merit
Review: The above critic has a deep seeded grudge against Libeskind and his work and has obviously not visited Libeskind's Jewish Museum in Berlin. The museum offers some of the most dynamic and moving spaces in the contemporary architectural scene.

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Summary: Libeskind's Work
Review: The refreshing thing about this book is that it steers away from the traditional 'monograph' format, in presenting work both built and unbuilt as well as significant theoretical treatises from Libeskind and others. There could have been more attention paid to structuring the content so that the projects followed a particular line of architectural strategy (as opposed to alphabetical organisation) but with Libeskind this is likely an intertextual approach, allowing the projects to be linked as the reader sees fit. An excellent snapshot of the thoughts of one of todays best architects...