A Quote by Daniel Libeskind

We often judge cities by great public buildings. But we admire great cities because people live there in a beautiful way. You have to think about how each person will live there; you can't just think about abstract ideas.
In trading with each other cities can't be in too different stages of development, and they can't copy one another. Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires. Empires want them only to trade with the empire, which doesn't help them at all. It's just a way of exploiting them.
For the most part, French cities are much better preserved and looked after than British cities, because the bourgeoisie, the people who run the cities, have always lived centrally, which has only recently begun to happen in big cities in England. Traditionally in England, people who had any money would live out in the suburbs. Now, increasingly, people with money live in the cities, but this has changed only in the last 20 or so years.
I think one of the great joys of being a writer is you can transcend everything, even your own sex, what century you live in, and how you think. I found it quite natural to think as a male because I actually think that as a female, one often thinks in the mind of a male in terms of eroticism. You think about what the other person feels. So it's not that hard to imagine being that person.
I just think cities are unnatural, basically. I know there are people who live happily in them, and I have cities that I love, too. But it's a disaster that we have moved so far from nature.
I've spent most of my life in cities, and so I've always lived with the curiosity about what makes for city cultures and how peoples live in cities, how peoples anywhere manage to co-exist, the public life and the private life.
These monster cities we live in today are blights of modern society. They will certainly give way to planned cities interlinked to the countryside. Everybody will live with the natural advantages of the country and the cultural associations of the town.
As industries migrate toward the Far East, the future of many Western cities will no longer lie in manufacturing products but ideas and patents. Young, mobile elites can choose where they want to live, and they can easily move, which means that cities are involved in a heated competition for the best people. Only the most attractive cities can benefit from this development.
Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires.
It's a difficult task to deal with cities. But with some original ways of getting things done, with some basic commandments, you can really get cities to be a great, great place to live.
I don't think you ever think of a big city as sweet or community, but there are cities that I think of as charming and particular and interesting cities. I live in one now, Charleston.
What I feel I can do is help people become aware of how pervasive and extensive the arts are, how they affect each one of us in our daily lives—what kind of [buildings] we live in, what kind of clothes we wear, what we see with our eyes. We are often blind to the beautiful things around us. What I'm mostly concerned about is how often we're blind to our own talent. I think that within each human being there is a creative spirit, and some of us have been fortunate enough to have good teachers and parents who've brought this out and encouraged it, but others haven't.
Every time I traveled to a new city, I would learn about local heroes I did not know about, and I would learn about their very impressive contribution to their cities. There are nuanced senses that only people from the region can understand, and no amount of globalization can change that. It's almost like a maxim of a sorts, when you think about language, the way that people speak in a location. It does happen with architects, in terms of how they engage cities.
What we have now is a communication ability. We have the ability to see working ideas that are going on in the great cities throughout the world and whether you live in Shanghai or you live in Sao Paulo, you have the ability of seeing and knowing the ideas of some of the greatest minds of our generation.
I can live in Paris for four months or London or, you know, Barcelona. These are places that are like New York. But I don't think I could live in many places. When I had to make a film in the United States I picked San Francisco because to me it's one of the great cities of America.
I admire people's marriages, and I think it's a wonderful thing to have, but I don't think it's the only way to live. I think there are many ways to live and many ways to establish intimate support in your life that can be from family or friends or great roommates that you like.
Because there are a lot of big cities in the world, people who live in cities have become more isolated than ever.
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