After the World Trade Center furor, Daniel Libeskind moves on.
by PAUL GOLDBERGER
Issue of 2006-08-28
Daniel Libeskind’s architectural career has had an unusual trajectory.
He went from being a theoretician whose highly academic designs were so
obscure that most people couldn’t understand them to being a celebrity
architect whose work is dismissed by many of his peers as too
Such success is a reminder of the fact that second-tier American cities
have often proved more willing to take architectural risks than
supposedly sophisticated cities like New York. In giving Libeskind the
freedom denied him in New York, Denver is taking a risk: Does Libeskind
have the ability to design a building that will exert the magnetic pull
of an icon and still work well as a museum? And can he set out a plan
for an entire neighborhood, as he tried to do in New York? Libeskind’s
new Denver Art Museum is an eruption of hard-edged rhomboids that
suggests gargantuan quartz crystals.