Daniel Libeskind

• Daniel Libeskind, born May 12, 1946, Poland

• Polish American architect known for introducing
complex ideas and emotions into his designs.
• Libeskind first studied music at the Łódź
Conservatory, and in 1960 he moved to New York City
on a music scholarship.

PROJECTS :
• Felix Nussbaum Haus
• Jewish Museum Berlin
• Imperial War Museum North
• Contemporary Jewish Museum
• Royal Ontario Museum (expansion)
• One World Trade Center (2002)
• The Ascent at Roebling's Bridge
STYLE OF ARCHITECTURE
DECONSTRUCTIVISIM

• His work is often described as Deconstructivist, a style of postmodern architecture characterized by fragmentation

and distortion
• Deconstructivism is a movement of postmodern architecture which appeared in the 1980s. It gives the impression of
the fragmentation of the constructed building, commonly characterized by an absence of obvious harmony, continuity,
or symmetry
1. Federic.C.Hamilton Building
PROJECT NAME : The Frederic C. Hamilton
Building
LOCATION : 100 W 14th Ave Parkway ,Denver
, CO , United States
CLIENT/OWNER : Denver Art Museum
PROJECT TYPES : Cultural
PROJECT SCOPE : New Construction
SIZE : 146,000 sq. feet
YEAR COMPLETED : 2006
SHARED BY : deane madsen , editor, hanley
wood, llc
PROJECT DESCRIPTION

The Extension to the Denver Art Museum, The Frederic C. Hamilton Building, is an expansion and addition to the existing museum, designed
by the Italian Architect Gio Ponti.

• The 146,000-square-foot extension, which opened in October 2006, currently houses the Modern and Contemporary art collections as
well as the collections of Oceanic and African Art.
The Hamilton Building’s design recalls the peaks of the Rocky Mountains and geometric rock crystals found in the foothills near Denver.
• The materials of the building closely relate to the existing context as well as introducing innovative new materials, such as the 9,000
titanium panels which cover the building’s surface and reflect the brilliant Colorado sunlight.
• The project is designed as part of a composition of public spaces, monuments and gateways in this developing part of the city, tying
together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood.
Titanium
Libeskind chose to complement Gio Ponti’s million gray glass
tiles of the North Building by selecting another reflective and
unusual material: 9,000 titanium panels. Libeskind said, “We
had an aim from the beginning: a building that is luminous.”
The Hamilton Building’s different sides reflect light at different
angles, and thus appear to be different shades of gray. The
titanium also reflects varying colors throughout the day. It
often appears more rosy in the early morning hours and golden
at sunset, depending on the weather.
Fun Fact: 9,000 titanium panels cover the building’s surface

The Prow
The tip of the building, which we call the “prow,” makes a reaching
gesture across 13th Avenue toward the North Building and Civic Center.
The angled walls of the prow, and the many other angled walls that shape
the building, are reflected inside and create unique interior spaces. These
dramatic spaces have provided new opportunities for innovative displays
of artwork
The Atrium
Libeskind spoke of the atrium as an introduction to
the visitor’s experience of the building: “The first
sounds, the atmosphere, the connectivity with that
atmosphere—the mood is set. And I think it’s proper
that an atrium should set those moods because
that’s where you quite literally enter, get informed,
get ready for an adventure with art.” The walls and
ceiling of the atrium create a variety of shaped
spaces, making it one of the most dramatic spaces in
the building.

How Does the Building Stay Up?

The building is essentially a giant truss, meaning its

steel frame is a balanced network of interlocking
triangles. After all the steel beams are set in place,
the building holds itself up and transfers weight to
“anchors” of concrete pillars that reach down into
bedrock. Libeskind described the building as a tree,
branching out from these anchoring “roots.”
Fun Fact: 2,750 tons of steel and 50,000 steel bolts
were used in the Hamilton Building.
Section views
Section views
ROYAL ONTARIO MUSEUM
Toronto, Canada
 • ARCHITECT : DANIEL LIBESKIND
• DATE : 2007
• STATUS : Completed
• CLIENT : Royal Ontario Museum
• BUILDING SIZE : 182,000 sq.ft / 17,280 sqm
• AWARDS
• 2009 – XVII Concorso Internazionale – “Sistema d’autore Metra”
• 2008 – Named one of Conde Nast Traveler’s “New Seven Wonders
of the World”
• 2007 – Ontario Steel Design Awards – Canada Institute of Steel
Construction

COMBINATION OF CLASIC AND OLD ORIGINAL BUILDING

• The extension to the Royal Ontario Museum (ROM), now named the Michael Lee-Chin Crystal, is situated at one of the most
prominent intersections in downtown Toronto. It is the largest Museum in Canada and attracts more than a million visitors a year.
• Its new name is derived from the building’s five intersecting metal-clad volumes, which are reminiscent of crystals—inspired by the
crystalline forms in the ROM’s mineralogy galleries.
• Libeskind created a structure of organically interlocking prismatic forms turning this important corner of Toronto, and the entire
museum complex, into a luminous beacon.
• The design succeeds at inviting glimpses up, down, and into galleries, from its interior bridges and from the street.
• The large entrance atrium, the Gloria Hyacinth Chen Court, separates the old historic building from the new, providing a nearly
complete view of the restored façades of the historic buildings.
• The Chen Court also serves as a venue space for all kinds of public events. The entire ground level is unified into a seamless space with
clarity of circulation and transparency.
Concept

• Largest museum in CANADA

• 5th Largest Museum in North
America
• Collection of 6 million piece in 40
galleries

• Inspired by the crystalline forms of the Mineralogy Galleries.structure of prism forms.

• Originally linked to each other Giving priority space.
• People danced at a wedding and provided for the health of the newlyweds when Daniel Libeskind scribbled on a napkin his idea for
his new assignment: an expansion to the Royal Ontario Museum, the largest in Canada.
• Daniel Libeskind, was inspired by the crystalline forms of the Department of Mineralogy of the Royal Ontario Museum to shape your
project posed a structure of prismatic shapes, organically linked, giving priority to public space and transforming the museum into a
luminous center.
Project
The intersection of the five volumes of the building are reminiscent of the quartz crystals in nature.

Spirtit House
The intersection of two crystals, both dedicated to new galleries, creates a vacuum, known as the Spirit House (Spirit House). A large
atrium that rises from below the ground level to the fourth floor, crossed by bridges at various levels, the Spirit House aims to be a place of
reflection for visitors.

Stair of Wonders
A glass room, known as the Ladder Wonderland (Stair of Wonders), is intended to vertical movement, but also has display cases at the
landings.

Hyacinth Gloria Chen Court

A fifth glass houses a restaurant. The spaces of intersection of the Michael Lee-Chin Crystal create variety of courts at different levels, with
a view to galleries and other spaces within the Museum. A large atrium, known as Hyacinth Gloria Chen Court (Hyacinth Gloria Chen
Court), separates the new construction of the existing building, ROM, and provides an almost complete view of the restored historic
facades.

Structure
Is considered one of the most complex and innovative construction projects in North America for its sophisticated structure. The building
consists of five prismatic structures interconnected steel beams autosoportadas coexist, but not structurally attached to the original
building ROM rather than bridges that unite them Federic.C.Hamilton Building,Royal Ontario Museum,.
Methodology
• Libeskind’s buildings are well known for their unusual shapes, and challenge
the team started at the same time the contest.
• A special structure intended, since the challenge was increased by the desire
to insert the new shape with the original building and take advantage of their
existing plants.
• In previous projects with Libeskind as the Imperial War Museum
North in Manchester, England, the structural engineer Arup used a
methodology based on 3-D programs like Rhino or GSA.
• For the competition of ROM, this methodology allowed to create the basis of
structural concept.

Superstructure
• Construction complexity led to the decision to use steel structures.
• The frames were adapted to the shape of the building and architecturally
best way to harmonize with the coating glass top.
• Composite steel and concrete floors complement the main structure and act
as horizontal membranes that help stabilize and maintain the structural form.
• In this superstructure is a single vertical wall, the other generate lateral
forces acting together in complex ways with the floors.
Distribution systems of the building services were incorporated into high
structural floor to allow flexibility of use in exhibition spaces.
• The socket exposure rises from the ground allows exposure of dinosaur
skeletons, reaching the same level as visitors.
Fire Protection
• The whole building is protected by sprinklers, and
new galleries have a smoke control system for
areas incorporated into the walls of thick glass to
remove the smoke on the basis of a signal fire
fans.
Lighting
• The exhibition spaces with natural light are
resurfacing, leaving behind only the illuminated
spots or other light system.
• Daylight provides a natural and changing
dynamics and a better appreciation of colors that
artificial light, in addition to supporting the
environment.
Environmental control
• The heating and cooling requirements were
based on local external data, corresponding to a
99% statistical reports: -17.8º winter, summer
32º-24º.
• The internal criterion was: the lower galleries,
“blockbuster” and level 4 in the new building 21º
in summer and winter, with a variation of 2. MATERIALS
• The interior of the glass galleries 2nd and 3rd • Steel beam – 500 tons
levels: 24º in summer and 20 in winter, ranging • Concrete - 9000 m3
from 2nd. • Skin – 25% glass & 75% sheets of burnished manufactured in a factory in
• The galleries of the existing building: 24º in Germany with which Gehry works for the creation of its world-known
summer and 20 in winter, ranging from 2nd. titanium plates.
SITE PLAN
PLAN

On June 12, 2007, the Royal Ontario Museum opened the new extension designed by Daniel Libeskind in collaboration with
Bregman + Hamann.
The project is called Michael Lee-Chin Crystal, in honor of the Canadian billionaire Michael Lee-Chin banker who contributed
$ 30 million to immortalize his name as a patron of art
Floor plan