This post is based on the premise that what the client and general public's view of what is good architecture, is often times not the same as what the famous architect view of what is good architecture.
In becoming a famous architect you will inevitable have to make a choice in which constituent your design will pander to. Otherwise you can place your design somewhere between these two polarities.
Daniel Lebiskind tends to side with the idea of making architecture that communicates with the public, while Peter Eisenman tends towards communicating to the architectural elite.
This debate played out between the two at the end of the World Trade Center competition which Lebiskind won.
Eisenman's team, was a member of one of seven semi-finalist in the competition. His team, which included Richard Meier & Partners, Gwathmey Siegel & Associates and Steven Holl Architects, proposed creating a five-building matrix arranged at a 90-degree angle and connected by three aerial bridges.
"The project was doomed from the start," Mr. Eisenman told 100 students and faculty in Princeton University's McCosh Hall. "We submitted our credentials and truly we never thought we'd be selected."
Mr. Eisenman blamed New York City officials for turning a serious architectural competition into a popularity contest based on public opinion, and he criticized the media for oversimplifying each team's plan.
"The biggest mistake the city made was asking anyone to vote on such a project," he said. "The media condenses projects and doesn't show anything but images."
Believing his team had developed the most creative, meaningful plan but disappointed it did not reach the final round of competition, Mr. Eisenman hopes to continue promoting its original concepts.
Most of all, Mr. Eisenman laments what he described as the overall failure of the World Trade Center competition. "I think it's sad for New York and sad for the country because the idea posed a lot of hope and not a lot of answers," he said.
Eisenman won't discuss Libeskind by name, but there is no love lost there. He says the New York competition was set up with too much public input -- from families of the victims, the Port Authority, the trade center leaseholder and from the man in the street.
"You can talk to the public, but I don't think they should say what is good art or music" Eisenman says. He has seen the designs sent to him by "Joe Everyman," and they're as heavy-handed as the artwork after Sept. 11 that depicted a crying Statue of Liberty, a reminder of why you should "never pander to popular taste."
"You're dealing with an important memorial," Eisenman says. "How do you make those decisions so you don't get kitsch banality?"
It's a dig at Libeskind, of course, who has made himself accessible to everyone, and who has said, "The public is always right."
Lebiskind's response is "Architecture is a public art, it's not something done in private for private reasons, it has to reach the public, and part of the art of architecture is also language. it's not just some sort of container, some abstract piece of glass and concrete, it is part of communicative system, and we understand old traditional buildings because they signal to us, things about our culture. The same thing is true for new museums, they have to signal the connection between that past and in the future."
In an interview he was asked " You say that, but it is easy for me to think of architects as people who cater to private indulgences and the fetishes of the rich."
Lebiskind's response "Well I was not one of those architects, I have no aspirations to do that kind of architecture because really architecture is what is common between people, and what a contribution it makes to the viability of a city, and to civic space. After all, the pleasures and the celebratory dreams that we have, have to do with the environment we live in, and we might as well make an inspiring environment, an environment that is more than just a shallow façade of something inauthentic, and deal with the problems that we have."
Interviewer: Now what about this common image we have of the architect as a kind of solo visionary. What's the role of the collaborator, of the client, or of the community as a collaborator in these projects, should they just go away and wait until the architect who knows what he's doing has finished the drawings?
Daniel Libeskind: That's a very old-fashioned and very nostalgic view of the old architect, the master who's sort of sitting contemplating and making some models and imposing things on a society. I think the contemporary architect is an architect who is able to be engaged with a client, with the public. Certainly architecture is a communal art, no one person can build a building, you need teams, you need workers, you need people, you need engagement, and of course the building is not built for its own sake, it's built finally for the life that will take place in it. I often point out to my clients that the building is not finished when the building is finished, it's only beginning its life. For the next 30, 40, 50, 100, 150 years, which is what will be exciting and vital for the people who will use it. So yes, it's a collaborative art, it's an art of teams, but that doesn't mean it's a mediocre art, that doesn't mean that it's diluted to the lowest common denominator, it's to raise the art form of architecture, so that it is communicating to our deepest aspirations.
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