CHETAN ANAND , B.ARCH IV

ARCHITECT PRESENTATION

DANIEL LIBESKIND

Born in postwar Poland in 1946 Mr. Libeskind became an American

citizen in 1965. He studied music in Israel and in

New York, becoming a virtuoso performer.

He left music to study architecture, receiving his professional architectural degree in 1970 from the Cooper Union for the Advancement of Science and Art in New York City.

He received a postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University (England) in 1972.

PHILOSPHY

architecture tells a story about the world, our desires and dreams.  Architecture, and the buildings, are much more than a place, they are destinations meant to evoke emotion and to make you think about the world we all live in.”

buildings and urban projects are crafted with perceptible human energy and that they speak to the larger cultural community in which they are built

Competition: 1989Completion: 1999Opening: 2001Client: Stiftung Juedisches Museum BerlinPROJECT : JEWISH MUSEUM BERLIN (between the lines)

DESIGN EVOLUTION

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

Without spiritual content and without a contribution to a deeper understanding of our Being there can be no significance in any building DANIIEL LIBESKIND

numerous numbers of trajectories betweentwo points (AB), representing the individual biographicaltrajectories of citizens of Berlin, which Libeskind refers to ashistories

DESIGN EVOLUTION

DESIGN EVOLUTION

Libeskind Zigzag in Berlin The new Jewish Museum in Berlin, a striking deconstructivist structure is clad chiefly with titanium-covered zinc which will oxidize and turn bluish as it weathers.

. The museum rises from a base whose line is frequently broken and unwinds in zigzag fashion.

accessible only via an underground passage from the Berlin Museum's baroque wing

The intersection of tunnels underneath the museum.

FAÇADE

THE AXES

HOLOCAUST TOWER

VOID

THE GARDEN OF EXILE

NEW GLASS-ROOFED COURTYARD

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

THE AXES : CONTINUITY ,EMIGRATION AND HOLOCAUST

HOLOCAUST EMIGRATION

CONTINUITYAll three of the underground axes intersect, symbolizing the connection between the three realities of Jewish life in Germany.

Longest axes is the "Axis of Continuity." It connects the Old Building with the main staircase which leads up to the exhibition levels

Axis of Continuity as the continuation of Berlin's history

The "Axis of Emigration" leads outside to daylight and the Garden of Exile

A heavy door must be opened before the crucial step into the garden can be taken.

The "Axis of the Holocaust" is a dead end

It becomes ever narrower and darker and ends at the Holocaust Tower.

HOLOCAUST TOWER

The concrete tower is 24 meters high and neither heated nor insulated.

Tower commemorates the numerous Jewish victims of mass murder.

It is lit by a single narrow slit high above the ground. Noises from the outside world are clearly audible

VOID

The Museum's Voids refer to "that which can never be exhibited when it comes 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

THE GARDEN OF EXILE

The whole garden is on a 12° gradient and disorientates visitors, giving them a sense of the total instability and lack of orientation experienced by those driven out of Germany

Russian olive grows on top of the pillars symbolizing hope

The Garden of Exile is reached after leaving the axes.