Daniel Libeskind talks about freedom, reconstruction of the World Trade Center site, and the "44 Złota Residential Tower" in Warsaw - interview by Marta Kaźmierczak.

For being one of the most renowned architects in the world, Daniel Libeskind is quite unaffected by his fame and recognition. He is kind and infectiously optimistic, regarding his work as an art and the most effective way to communicate between people, especially for the benefit of future generations. It is for this reason that Mr. Libeskind's architectural designs have touched many all over the world.
Not only is he an international figure in architecture, but also, Mr. Libeskind, who was born in Poland in 1946, has been highly regarded as an educator and mentor for many who are willing to follow his footsteps. He has received numerous awards and honors for his work and is the subject of many international publications in various languages.
 Clearly, a man of his importance is quite difficult to track down. Nonetheless, I managed to find him (in Russia, I might add) to ask a few questions about his most well-known building project worldwide: the reconstruction of the World Trade Center site in New York, as well as the "44 Zlota Residential Tower" in Warsaw, a mixed-use building planned for delivery in 2008.
 - On February 27, 2003, the Lower Manhattan Development Corporation selected Studio Libeskind to guide the reconstruction of the World Trade Center site in New York. What did this mean to you and your firm?
 Daniel Libeskind: Personally it meant a lot to me. I was an immigrant to New York. I came by ship and the first thing I saw was the Statue of Liberty. Of course, I based my project on the meaning of the Statue of Liberty. To me, the skyline of New York stands for the liberties that the flame of the torch in Lady Liberty's hand symbolizes. That's how I got the idea for the design for Ground Zero. It is also a great responsibility to be the master planner of Ground Zero because there are so many emotions at this site.
 - There is no doubt that the various aspects of the "Memory Foundation" project were well thought out to represent not only September 11th but also, what America truly means to its people. What inspired this design?
 D.L.: First of all, it is the memory of those who perished on that terrible day. At the same time, it is the foundation for a reassertion of the preeminence of the beauty and the future of New York. I wanted to create a spiritual and sacred space for those who perished on this day but at the same time to use this space as the foundation for freedom, the open society, and the reaffirmation of the values for which New York stands.
 - At 1776 feet, the Freedom Tower would become one of the world's tallest buildings. Yet, due to the events of that day, particularly with two skyscrapers collapsing and that horrible image being frozen in people's minds, why did you decide to design another high-rise so tall?
 D.L.: Before the competition, New Yorkers had made their voices clear: they wanted the heights of New York. I didn't want it to become a two-story city, because that's not what New York is. And we must never give in to terrorism and be afraid. New York will stand proud and robust.
 - Another feature would be the "Wedge of Light," a plaza calculated to be unshaded by adjacent buildings every year on September 11th between 8:46 AM, when the first plane hit, and 10:28 AM, when the second building collapsed. What are you communicating to the public here?
 D.L.: I'm communicating something eternal about the light of New York, about the sun and the earth and the memory. It will become a gateway into the memorial itself.
 - Having a recognized name worldwide, you must receive thousands of design propositions and project ideas every year. Why did you choose the "44 Zlota Residential Tower" in Warsaw?
 D.L.:  It's a city that I knew in my childhood. I had a great connection to the Polish culture, language, and to the city itself. When the opportunity arose, I thought how lucky that I could make a contribution to Warsaw in a time when the city is optimistic and positive.
 - Warsaw was mostly destroyed during the war. Although some beautiful pre-war buildings remained, Warsaw had to rebuild and had therefore become more modernized than other cities in Poland. Did this inspire your contemporary design for the building?
 D.L.: I wanted to rebuild for the service of the city itself. I didn't just build a contemporary building; it also encompasses the history of Poland in a deep way. The eagle was removed from the Polish flag when the Communists were in power and so I restored it in the soaring shape of the building, almost like a wing. Of course, we want to provide for the residents of the building, to have the best conditions and views. We wanted to create an iconic entity that will mark Warsaw as a significant place. 
 - You have designed museums, concert halls, convention centers, universities, hotels, shopping centers, and residential work. Which has been your favorite to work on?
 D.L.: It is not about my choice, but instead about what is required. It is about clients and what is important to the respective city. I never thought that architecture is just a fantasy. It is a contribution to the memory and culture of the place. When I work on the large scale of projects that I have, I see all of it as making a city great. I'm truly privileged to have this opportunity.