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UED:我们知道您在少年时期就十分擅长演奏手风琴。您也曾经说过最喜欢在五线谱上作画,甚至在您的某些平面作品中也体现出了对音乐和建筑关系的探索。音乐对于您的建筑生涯究竟意味着什么?丹尼尔·里伯斯金:我热爱音乐。音乐是建筑的灵魂。两者都令人产生情与理的共鸣,因此直击人心。没有建筑,音乐就如同噪音一样喧闹;没有音乐,建筑亦沦为一件普通的商品。UED:在《破土》一书中,您向我们呈现了纽约建筑师全然不同的一面。在您的笔下,建筑师更像是社会活动家、政治家,甚至是流行歌星,这与公众最初对于这一职业的认识大相径庭。至少在东方人的眼中,建筑师们通常是谦逊、稳重的代名词。您认为对于一个好的建筑师而
UED: We know you are very good at playing accordion in early teens. You’ve also said that you like to paint on the staves most often, and even explore the relationship between music and architecture in some of your printworks. What does music mean to your architectural career? Daniel Libeskind: I love music. Music is the soul of architecture. Both have aroused the empathy and empathy, so watch the hearts. Without architecture, music is as noisy as noise; without music, architecture is also reduced to an ordinary commodity. UED: In The Groundbreaking, you showed us the totally different aspect of New York architects. In your pen, architects are more like social activists, politicians, and even pop stars, much different from the public’s initial understanding of the profession. At least in the eyes of Asians, architects are often synonymous with modesty and prudence. You think for a good architect