Te Papa to Berlin by Ken Gorbey

Author:Ken Gorbey
Language: eng
Format: epub
Publisher: Otago University Press
Published: 2020-08-15T00:00:00+00:00

CHAPTER 13

DANIEL LIBESKIND, ARCHITECT

‘HELLO – YOU’RE THE FIFTH DIRECTOR I’VE WORKED WITH,’ and Daniel listed them.

It was early in our Berlin residency, spring 2000, and I had arranged to meet architect Daniel Libeskind. Susan and I were uncertain what to expect. I had already read of Libeskind described as Woody Allen on speed. And I had it from colleagues in the international museum community that he was no ‘loving child’, the literal translation of his name, but, rather, a harsh infighter and a person to be wary of. Mind you, none of these commentators had ever met him and that reputation undoubtedly came from the vicious fight some years back to make sure the museum was not cast upon the scrapheap of bright, never realised architectural projects. Even now, with the museum built, the hurt of that campaign was still fresh.

We stood outside the museum. It was a Sunday, one of those brilliantly fine early spring days when the sky above Berlin does its very best to be blue. Few people were about. I was tense, even anxious.

Libeskind arrived with his wife and business partner Nina. They were a short couple but up close their bright and open faces dominated all else. There was a generous sparkle as Daniel put names to those who had gone before, evidence of various executive arrangements tried, failed, rejected. We relaxed, and in no time were joking. I am sure that this couple could be very tough when required but right from this first meeting it was humour, as well as Daniel’s building, that bonded us. It was the beginnings of not just a partnership but an easy friendship.

‘We were crossing this street after the competition award ceremony.’ Nina indicated Lindenstrasse. ‘I turned to Daniel and said, “Do you really want to build this thing?” and he said, “Yes”, and I said, “Right, let’s do it!” At that time we were in the midst of a shift from Italy to the States. Daniel had a new position. Our household stuff was already being shipped, but I took charge and organised everything to be reloaded and moved to Berlin.’

Daniel was architect as academic. The Jewish Museum Berlin was not just his first museum, it was his first building. Photos show the professor in front of his students, engaged in architecture as theatre, perhaps the Woody-Allen-on-speed reference. The chalkboard behind him full of powerful, if obtuse, diagrams.

*

The Berlin City Museum, on the other hand, was no theatre, nor did it have a single driving idea that captured attention. Levels of excitement and expectations were set low and nothing lifted it above the noise of other cultural happenings. Its collections were slight, of interest to a limited group. It had no champions. As a result, the economic recovery of Germany after the war, the Wirtschaftswunder, had not touched this place. Other cultural institutions, opera, music, theatre, dance and museums, had new buildings to replace bombed-out ruins. But the Berlin City Museum, infrequently visited and with minimal profile,

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