SUBMITTED BY: ADITI

DENIAL LIBESKIND CHANDEL

18001256
INTRODUCTION
Born in postwar Poland in 1946.
As a youngster he moved with his family to Israel in 1957
and to the United States in 1959.
Studied music in Israel but left music to study architecture.
Professional architectural degree in 1970 from the Cooper
Union.
Postgraduate degree in History and Theory of Architecture
at the School of Comparative Studies at Essex University
(England) in 1972.
Has taught and lectured at many universities worldwide. He
has held such positions as the Frank O. Gehry Chair at the
University of Toronto.
CHARACTERISTICS
FEATURES : architecture with his Polish background.
• His designs combine today's modern
• Libeskind always considers how he can add his own twist into a typical structure to make it unique.
• His architecture is the perfect combination between organic and sophisticated.
• Daniel Libeskind is renowned for his ability to evoke cultural memory in buildings.
• Drastic angles, strong geometries and seamless transitions between spaces are observed in his
buildings.
PHYLOSOPHY
Daniel Libeskind believe that architecture has entered nearly an end condition.
Not only that he says that architecture has lost its reputation and the everyday
architecture is dead.
He wants to give his works some movement & life & from here he comes to
Deconstruction.

He thought the architecture as a connector or linkage of present, past & future. So

most of his works have the reflection of the history (past), says of the time
(present) & run to the infinity (future).

His buildings are never just buildings they are metaphors. he says a writer is not
interested in writings he just want to tell a story. so to him architecture is a
medium to communicate the beauty of a space, of life and shadow. he says,” I
have a repertoire of forms but I don't think about them, I think the meaning of
project.” In his life dislocation, destruction and survival are powerful elements. He
determined to get away from the simplified view of architectures tradition. And his
aim was emotionally to create such a space which is emotionally moved the soul.
 The Jewish Museum, Berlin

Denver Art Museum, Denver

Ground ZERO, New York

Imperial War Museum North

Danish Jewish Museum, Denmark

Felix Nussbaum museum,

Germany

The Ascent, Covington

Royal Ontario Museum,

Canada
PROJECTS . . .
BERLIN
MUSEUM

Competition: 1989
Completion: 1999
Opening: 2001
Client: Stiftung Juedisches Museum Berlin
 INTRODUCTI
ON
The jewish museum (judisches museum berlin) completed in
1999 and opened in 2001 is one of the largest Jewish Museums
in Europe. In three buildings, two of which are new additions
specifically built for the museum by architect Daniel Libeskind
two millennia of German-Jewish history are on display in the
permanent exhibition as well as in various changing
exhibitions.

STAR represents Jewish history and culture throughout the history

of Berlin and its absence in the present-day city.
ZIG-ZAG LINE represents the atrocities done on Jewish
History of the Museum
1893 Founded as the Denver Artists Club.
1932 Moved into first galleries in City and County building and became Denver Art Museum.
2006 Frederic C. Hamilton building, designed by Daniel Libeskind.
07.10.2006 The new building opened.
CONCEP
TThe new design was based on three concepts that formed the museum’s foundation :-
• First the impossibility of understanding the history of Berlin without understanding the
enormous intellectual, economic and cultural contribution made by the Jewish citizens of
Berlin.
• Second, the necessity to integrate physically and spiritually the meaning of the Holocaust
into the consciousness and memory of the city of Berlin.
• Third that only through the acknowledgement and incorporation of this erasure and void
of Jewish life in Berlin, can the history of Berlin and Europe have a human future.
PLAN SHOWING DIFFERENT
ACCESSIBLE AREAS
In the museum different plans are shown where different activity zones are placed for the visitors
and the workers.
For example :- circulation, Exhibition shapes, voids, administrative space, library, mechanical space.
PLANNIN
G
OLDBUILDING

NEW BUILDING
PLAN
DESIGN
The Jewish Museum essentially consists of two buildings –
• a baroque old building (that formerly housed the Berlin
Museum).
• a new deconstructivist-style building by Libeskind

The two buildings have no visible connection above ground

and the new one is accessible only via an underground
passage from the old building.

The Jewish Museum is clad chiefly with titanium-covered

zinc which will oxidize and turn bluish as it weathers. No entry from
new building
FACADE
The division of neither levels nor rooms
being apparent to the observer.

Windows – primarily narrow slits – follows a precise matrix.

Daniel Libeskind plotted the addresses of prominent Jewish and

German citizens on a map of pre-war Berlin and joined the points to
form an "irrational and invisible matrix“

Untreated alloy of titanium and zinc

ZINC FACADE INTERIOR

 - In the basement, visitors first encounter three intersecting, slanting corridors named the
“Axes.”
- The basement further divided into three areas with different meanings.

The three axes symbolize three paths of Jewish life in Germany :-

• Continuity in German history (permanent museum)
• Emigration from Germany (leads to the garden of exile)
• The Holocaust (the dead end)

CONTINUITY EMIGRATION HOLOCAUST

(Staircase) (garden of exile) (the dead end)
VOID
The Museum's Voids refer to "that which can never be exhibited when it come
to Jewish Berlin history: humanity reduced to ashes."

Five cavernous Voids run vertically

through the New Building.

They have walls of bare concrete, are

not heated or air- conditioned and are
largely without artificial light, quite
separate from the rest of the building

“FALLEN LEAVES” IN THE

SECTION OF VOID
VOID
 THE GARDEN
OF EXILE
• The second axis connects the Museum proper to The Garden of
Exile, whose foundation is tilted.

• The Garden of Exile is reached after leaving the axes. Forty-nine

concrete stela rise out of the square plot. The whole garden is on
a 12° gradient and disorients visitors, giving them a sense of the
total instability and lack of orientation experienced by those
driven out of Germany.

• Russian willow oak grows on top of the pillars symbolizing

hope.

CORRIDOR PILLARS IN GARDEN OF EXILE

 THE HOLOCAUST
- TOWER
The third axis leads from the Museum to the Holocaust Tower, a 79 foot (24
m) tall empty silo. The bare concrete Tower is neither heated nor cooled, and
its only light comes from a small slit in its roof.
- The “ axis to holocaust" is a dead end .
- It becomes even narrower and darker and ends at the
Holocaust Tower..
- The concrete tower is 24 meters high and neither heated nor
insulated.
- Tower commemorates the numerous Jewish victims of mass murder. Noises
from the outside world are clearly audible
Lit by
narrow slit

Faces indicating the

sufferers of the
concentration
DENVER ART MUSEUM
-- DENVER, USA.
  ARCHITECT : DANIEL LIBESKIND
 COMPLETED :- 2006.
 COST: $ 62,000,000
 LOCATION: WEST 14TH AVENUE PARKWAY, DENVER, UNITED
STATES
 ACTUAL NAME :- FREDERIC C. HAMILTON BUILDING.
 TOTAL AREA :- 1,46,000 Sq. Ft.
 COMPLETED IN ASSOCIATION WITH DAVIS PARTNESRSHIP.

Old Museum, now known as North building was completed in 1971. New Museum building. Constructed right in front of the
Designed by Italian architect Gio Ponti old
one across the road.
 It is a kind of city hub, tying together downtown, the civic
center, and forming a strong connection to the golden triangle
neighborhood.(The new modern society in contrast to the old
Denver areas.) The project is not designed as a stand alone
building, but as part of a composition of public spaces,
monuments and gateways in this developing part of the city.

MATERIALS
• The structure is steel and concrete.
• Materials used in construction are majorly glass
and titanium. (9000 panels of titanium have
been used).
• For the siding was chosen titanium and
granite, thus looking for a dialectical
relationship with the other elements of the
context: monuments, public spaces,
infrastructure.
• In 2740 the building was used tons of steel,
21,368 square feet of titanium and 5658
cubic meters of concrete.
 DESIGN
PHILOSOPHY
 The museum is at a site which is close to the rocky mountains.
Daniel has derived this form consisting sharp geometric volumes by getting
inspired by the peaks and valleys of the majestic rocky mountains.
He wanted different functions of a public space to come together and form a single
volume.
Sharp angles of the Geometric Volumes are seen at the
exteriors as well as in the interiors.

Initial sketch by Daniel Libeskind showing the

relation of an urban surrounding and sharp
angles of his design.
 CONCE
PT
• The museum consists of a series of interlocking rectangles.
• This is an aggressive form of geometric design, pure and irregular, glass
and titanium, reflecting the peaks and rock crystal from the nearby
mountains.
• A volume overhang crosses the street to link the structure of the Gio
Ponti building by a bridge of steel and glass.
• The aim of the designers has been to prevent the rebuilding of ideas already on
the existing structure, pointing to a building that also communicate outside the
particularity of its content, in which art and architecture are the real protagonists.
• The project is designed as a single building, but as part of a composition of public
spaces, monuments and gateways in the development of this part of the city,
which contributes to the relationship with neighboring buildings.
• Museums, shops and a loft-type apartment complex, also designed by
Libeskind encourage the public square.
• The most striking feature of the museum is the triangular shape of a corner that is
fired out of the street toward the old Gio Ponti building.
SITE
PLAN
 PLAN-BASEMENT

PLAN-GROUND FLOOR
PLAN-SECOND FLOOR

PLAN-THIRD FLOOR
S
E
C
T
I
O
N
S
SECTION

ELEVATION
PHOTO
GALLERY