Daniel Libeskind is an architect who comes with a weight of expectation. His work is still widely thought to be full of portent, and understandably: this is the legacy of his early work such as the Jewish Museum in Berlin, Felix Nussbaum museum in Osnabrueck, and of course his masterplan for Ground Zero in New York, where he is based. As a long-time 'paper architect' who finally got to build, he is assumed to base his work on strong theoretical foundations. We expect the often startling geometry of his buildings to be generated by something vaguely psycho-geographical. But in the Belgian city of Mons, he has done none of these things. Studio Libeskind is these days a 30-strong gener-alist architectural practice with a signature style and a succession plan: Libeskind's son Lev runs the Milan office. So nobody should be amazed that it can turn out relatively run-of-the-mill commercial buildings such as this: the Mons International Congress Xpe-rience (sic) or MICX.
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机译：Daniel Libeskind是一位充满期待的建筑师。人们仍然认为他的作品充满了潜能，并且可以理解：这是他早期作品的遗产，例如柏林的犹太博物馆，奥斯纳布吕克的费利克斯·努斯鲍姆博物馆，当然还有他在纽约的“零地带”总体规划。他根据。作为一个长期的“纸质建筑师”，他最终得以建立，他被认为是建立在强大的理论基础上的。我们期望他的建筑物经常令人震惊的几何形状是由某种模糊的心理地理学产生的。但是在比利时的蒙斯市，他没有做过这些事情。如今，利贝斯金工作室是30年代的具有一般风格的建筑实践，具有标志性的风格和继任计划：利贝斯金的儿子列夫（Lev）负责米兰办公室。因此，没有人会惊讶地发现它能生产出相对较普通的商业建筑：Mons International Congress Xpe-rience（sic）或MICX。
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