Daniel Libeskind was a very poor choice for this important commission in Northern Ireland. Despite his spurious claims to the contrary, he really has no appreciation for the nature of the struggle or the way in which the conflict is understood culturally within the local community. The man could care less about the Irish people so long as he gets to concoct another gimmick-laden shard form. We’ve seen it in Germany, Britain, the Far East, anywhere people have bought into his pretentious rhetoric. More to the point, Libeskind’s racist opinions about Catholics and Protestants (which he proudly published in his rather ridiculous book of “poetry” called Fishing from the Pavement), clearly mark him as an insensitive, divisive and dangerous figure. http://www.nationalreview.com/articles/207372/shred-libeskind-blueprints/deroy-murdock - Don’t be fooled by that supercilious grin Libeskind dons for the cameras. It’s always been about his ego. Not least, Libeskind’s forms (in addition to being banal one-liners), are inherently hostile, brutal and aggressive. It’s hardly the formal vocabulary for expressing peace and hope. It says something about how much of a fast talking con man he is, that his buildings are so widely despised by the public, so commonly the subject of ridicule and derision in the press. Smugness is no substitute for talent. Libeskind was kicked off the World Trade Center projects after his shallow and superficial ideas were found to be offensive to many people. And it is with good reason that over a decade later he has yet to get a single commission in his home town of New York where he is widely known to be a charlatan and buffoon. So why is the Maze wasting money on his formulaic ideas? Why would they risk invoking the disrespect that invariably become associated with Libeskind’s work? Perhaps Mr. Pallister could ask Libeskind a few more follow-up questions regarding these troubling matters.
Yet another formulaic Crystal from Libeskind. It would be nice if he bothered to think about his projects for even one or two minutes before he scribbled the usual drivel that informs all of his feeble work.
Comment on: Holl's Glasgow School of Art wins go-ahead
The wilful imposition of Holl's self-indulgent formalism is yet another example of cultural imperialism masquerading as innovative design. Holl's blatant and arrogant disregard for the context and setting should rightly offend anyone concerned with maintaining the dignified part of our cultural patrimony that is C.R. Mackintosh's extraordinary GSA building. We've seen the fiasco that the Scottish parliament building has become. It is already a dated and fatuous expression of ideas that have nothing bto do with Scotland, or indeed the British Isles. Let's not make the same mistake again.
No need to wait until Libeskind releases the drawings. I am confident that the "design" will feature angled walls and diagonal windows newly co-opted and deployed as a symbolic metaphor for the struggles of the Kurdish people. The character of an existing building or neighborhood will be diminished as the "solution" will be brutal, insensitive and contextually inappropriate. Libeskind will fabricate some childish rhetoric linking the stock solution to the specific problem.