Relevant bibliographies by topics / Daniel Libeskind

Academic literature on the topic 'Daniel Libeskind'

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Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Daniel Libeskind"

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Derrida, Jacques. "Response to Daniel Libeskind." Research in Phenomenology 22, no. 1 (1992): 88–94. http://dx.doi.org/10.1163/156916492x00098.

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Lee, Da-Kyoung, and Ja-Yeon Cho. "Counterbalance applied to the Dynamics of Daniel Libeskind's Architecture - Focused on Libeskind Museums -." Korean Institute of Interior Design Journal 24, no. 1 (February 28, 2015): 64–71. http://dx.doi.org/10.14774/jkiid.2015.24.1.064.

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DERIABINA, О. O. "“THE POETRY OF BREAKING”: THE ARCHITECTURE OF THE MUSEUM IN THE PROJECTS OF DANIEL LIBESKIND." Ukrainian Journal of Civil Engineering and Architecture, no. 1 (June 24, 2021): 52–57. http://dx.doi.org/10.30838/j.bpsacea.2312.230221.52.717.

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Raising of problem. The study of the creativity of masters of architecture of the late XX − early XXI centuries, as a rule, occurs in line with the consideration of the characteristic features inherent in one or another author. Most of the scientific works state that the structure belongs to a certain trend, direction, style. But the choice of artistic means by the architect remains unclear, which is reflected in the discrepancy between the figurative solution and the purpose of the building in the perception of the consumer. Therefore, it is relevant to consider the creativity of architects, in whose works artistic and semantic characteristics acquire an organic fusion. Among such masters is Daniel Libeskind, who made the complex language of deconstructivism the only one possible for his architectural work. The article is devoted to the consideration of the origins of the artistic language of the outstanding architect on the example of his museum projects, which constitute a significant part of his work. Purpose is to analyze the characteristic features of the artistic language of Daniel Libeskind on the example of museum projects. The research was carried out on the material of the master's works dedicated to the national tragedy of the Jewish people − the war and the Holocaust. Conclusion. The circumstances of Daniel Libeskind’s personal life, as well as his passion for philosophy and music, had a great influence on his work. The Libeskind’s artistic language is very individual: within the framework of one project, he combines dissonance and harmony, the tragedy of war and the desire for a peaceful life. The compositional means the architect uses to embody these categories are: asymmetry, contradictory combinations of volumes and spaces, virtuoso interweaving of lines and planes. The artistic language of all Libeskind’s museum buildings has similarities that can be traced in each project, namely broken, non-parallel lines, pointed forms, invasions, contrast and script.
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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.

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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.
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Brown, Douglas. "Daniel Libeskind: The Space of Encounter2001393Daniel Libeskind. Daniel Libeskind: The Space of Encounter. London: Thames & Hudson 2001. ix+224pp, ISBN: 0 500 28257 9 £22.95." Reference Reviews 15, no. 7 (July 2001): 36–37. http://dx.doi.org/10.1108/rr.2001.15.7.36.393.

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Costa, Korina, Andre Damaceno, Thais Espolador, Joyce Rodrigues, and Yohan Turi. "DANIEL LIBESKIND E O MUSEU JUDAICO DE BERLIM." COLLOQUIUM SOCIALIS 1, Especial (April 20, 2017): 155–60. http://dx.doi.org/10.5747/cs.2017.v01.nesp.s0025.

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Meng, Michael. "Monuments of Ruination in Postwar Berlin and Warsaw: The Architectural Projects of Bohdan Lachert and Daniel Libeskind." Comparative Studies in Society and History 59, no. 3 (June 7, 2017): 550–73. http://dx.doi.org/10.1017/s0010417517000160.

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AbstractThis essay provides an interpretation of parallel attempts to represent ruination in the cities of Warsaw and Berlin after the Holocaust—the architectural projects of Bohdan Lachert and Daniel Libeskind. Lachert strove to represent the ruination of Jewish life in Warsaw through a modernist housing project, whereas Libeskind sought to represent Jewish ruination in a museum. While these two projects might seem different, they come together around a shared aspiration: to represent absence and ruination. Both projects endeavored to create a new kind of memorial that moved away from the conventional form. Rather than turning away from ruination and suffering as the conventional monument has done, Libeskind and Lachert sought to develop a new, non-salvific kind of monument that would reflect on death, suffering, and emptiness. This essay emphasizes the novelty of their attempts to create a different relationship to the absence that is the past, while it also explores some of the central challenges—both historical and theoretical—that both architects faced in implementing their artistic visions.
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Escoda Pastor, Carmen. "La alegoría como lenguaje: narración y representación en Daniel Libeskind." EGA. Revista de expresión gráfica arquitectónica 19, no. 23 (May 14, 2014): 126. http://dx.doi.org/10.4995/ega.2014.2174.

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Song, Dae-Ho. "Study of the Musical Spaces Composition in Daniel Libeskind Architecture." Journal of the Korea Academia-Industrial cooperation Society 16, no. 1 (January 31, 2015): 793–800. http://dx.doi.org/10.5762/kais.2015.16.1.793.

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Lindner, Christoph. "Willa Cather, Daniel Libeskind, and the Creative Destruction of Manhattan." Journal of American Culture 28, no. 1 (March 2005): 114–21. http://dx.doi.org/10.1111/j.1542-734x.2005.00158.x.

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Dissertations / Theses on the topic "Daniel Libeskind"

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Robinson, Joel David. "An architecture of soul, modernity, Daniel Libeskind and the spiritual." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ32503.pdf.

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Koenig, Wendy K. "The art of interruption a comparison of works by Daniel Libeskind, Gerhard Richter, Ilya Kabakov /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1087574405.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains vi, 214 p. Includes bibliographical references (p. 205-214). Available online via OhioLINK's ETD Center
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de, la Cova Jorge Raul. "Looking for Vico between zero and infinity." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22356.

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KLECK, TYLER MATTHEW. "DEFINING THE ZEITGEIST: A SEARCH FOR PROCESS IN ARCHITECTURE." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179419906.

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Dogan, Fehmi. "The role of conceptual diagrams in the architectural design process case studies of the First Unitarian Church by Louis Kahn, the staatsgalerie by Stirling & Wilford Associates, and the Jewish Museum by Daniel Libeskind /." Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/5398.

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Pingel, Marcus. "Konstruktion städtischer Räume Entfaltungen einer Welt Daniel Libeskinds /." St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02607935001/$FILE/02607935001.pdf.

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Mussoni, Taron. "Rimini. Un nuovo fronte mare. Riqualificazione del lungomare e proposta di un centro polifunzionale." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8406/.

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Il progetto di tesi si pone come obiettivo la riqualificazione urbana del fronte mare della città di Rimini e la progettazione di un nuovo centro culturale polifunzionale. La costruzione di nuovi margini urbani, viene qui proposta secondo una reinterpretazione di un carattere tipicamente funzionale delle città di costa del litorale adriatico: la proiezione della funzione urbana oltre la linea di costa, con la costruzione di moli oltre l’edificato. “La città allunga la mano nell’acqua.” La tesi riprende questo aspetto di tipicità e propone una serie di “nuovi moli”, strutture polifunzionali destinate a incentivare quale risorsa fruitiva per il pubblico, stanziale o turistico, il rapporto col mare Adriatico. Anche in relazione a queste “proiezioni” oltre il litorale marino la tesi ha analizzato le forme dell’architettura di ultima generazione, cercando di recepirne i significati espressi attraverso la definizione formale; da qui parte il percorso della formulazione compositiva espressa nelle tavole grafiche, nelle quali si sottolinea il rapporto funzionale in relazione alla nova forma urbis e alla ricaduta sul nuovo assetto ambientale. E’, in sintesi, l’accettabilità di questo e dell’integrazione paesaggistica che la tesi vuole sostenere, attraverso il lungo percorso analitico e progettuale affrontato.
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Lavi, Tali, and talilavi@netspace net au. "Tales of Ash: Phantom Bodies as Testimony in Artistic Representations of Terrorism." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080428.114445.

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This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in the aftermath of an event in which certain individuals have sought to eradicate it. The fragmentation of the affected body in these scenarios is understood as further complicating processes of grief and remembrance. Artists who reject political polemic and engage with the dimensions of human loss are seen to have discovered means of referring to the absence caused by the act of terrorism. Three such recurring representations present themselves: ash and remnants, presence/absence and memory building. Phantom Bodies are perceived as simultaneously functioning as a reminder of the event itself, insisting upon the response of bearing witness, and as a symbol of the overwhelming power of humanity. Challenges arise when individuals or sections of the affected society deem these artworks to be inappropriate or explicit. Works considered include: Neil LaBute's play The Mercy Seat, Sigalit Landau's art installation The Country, Jonathan Safran Foer's Extremely Loud & Incredibly Close, Spike Lee's 25th Hour, Daniel Libeskind's architectural plans for the World Trade Center site, Eric Fischl's sculpture 'Tumbling Woman', Honor Molloy's autodelete://beginning dump of physical memory and A.B.Yehoshua's A Woman in Jerusalem. The accompanying play, Tales of Ash: A diptych for the theatre, is set in Melbourne, New York and Tel Aviv and deals with life in the face of and after terror. It veers between naturalism, poetic monologue and the epic. Tales of Ash contains two plays. The first centres on Mia, a young sculptor living in New York, who loses both her lover and her creativity on September 11. Upon returning to her home in Melbourne, she finds familial bonds still entwined with guilt and family trauma. The second play revolves around Ilana and Benny, two people living in Tel Aviv, who find themselves suddenly thrust together after a devastating bombing. As they attempt to resume rhythms of life, in the face of all the inherent ferocity of a modern existence in Israel, the struggle between The Ash Woman and The Ash Takers escalates.
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Gomes, Luís Manuel Gouveia 1980. "Daniel Libeskind e Steven Holl : estudo de duas obras e um projecto." Master's thesis, 2012. http://hdl.handle.net/11067/376.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012
Exame público realizado em 30 de Maio de 2012
Este trabalho pretende um entendimento do percurso profissional e características dos arquitectos Daniel Libeskind e Steven Holl. Ambos fazem parte de um grupo de arquitectos que se distingue na actualidade pela originalidade das suas obras, fazendo com que tenham algum destaque e sejam considerados como arquitectos de referência. Cada um destes arquitectos alia de modo estratégico e surpreendente, a forma e o conceito dos seus projectos. Deste modo, o que pretendemos com este trabalho, é entender o porquê de ambos se distinguirem no seu trabalho e qual o motivo para que cada um tenha esse cunho pessoal que os torna singulares. Para isso fizemos uma análise em termos de referências e influências dos arquitectos, bem como visitas aos dois ateliers e entrevistas a colaboradores. As obras apresentadas nos casos de estudo foram referências conceptuais e formais para o projecto por nós elaborado e que também é um caso de estudo apresentado. (Luís Manuel Gouveia Gomes)
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Costa, Sara Filipa Santos 1995. "Olhos que pensam (desenham) e olhos que sentem (fruem)." Master's thesis, 2019. http://hdl.handle.net/11067/4665.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2019
Exame público realizado em 25 de Julho de 2019
A presente dissertação teve origem, primeiramente, no meu interesse pelo Holocausto que ocorreu durante a Segunda Guerra Mundial. Desde os meus dez anos, com a apresentação do tema através da história de Anne Frank, que me surgem questões intrigantes sobre a existência e responsabilidade de cada Ser Humano. Com o passar dos anos novas questões se puseram, agora no campo da Arquitetura, sobre o seu real propósito. Assim, unindo-se o interesse sobre tal período histórico à extrema necessidade da existência de um sentido na Arquitetura, considerou-se pertinente perceber se e como pode a Arquitetura narrar - sem boca para falar, olhos para mostrar a sua alma, mãos e pés para se mover – uma história, instruindo a população que visita. Como tal, pretende-se dissecar o processo arquitetónico, desde a fase anterior à sua criação, à fase de criação, tal como a fase posterior à construção; destacando, particularmente o papel de espaços públicos, nomeadamente museus, que têm a função se ensinar a população sobre o passado. Pretende-se, portanto, compreender a contribuição da Arquitetura para contar uma história, para fazer parte da história, para ficar para a História. Destaca-se igualmente o papel do arquiteto na Vida Humana para a construção do Mundo que influencia os indivíduos que nele vivem e que, simultaneamente é influenciado por eles. Espera-se que, ao conhecer o funcionamento do Corpo Humano, posteriormente a sua relação com a envolvente que o leva a comportar-se de determinado modo, levando-o a construir de um determinado modo, se possa compreender como tais construções são capazes de manter a memória presente, reduzindo a possibilidade de algo tão trágico como o Holocausto Judeu voltar a acontecer. Pretende-se, portanto, justificar o potencial catártico da Arquitetura.
The present dissertation was instigated, first of all, in my interest in the Holocaust that occurred during World War II. Since I was ten years old, with the (history of Anne Frank) presentation of the theme through the history of Anne Frank, I (started to have questions) “get intriguing” questions about the existence and responsibility of each Human Being. Over the years, new questions have arisen, now in the field of Architecture, about its real purpose. Thus, joining the interest in such a historical period to the extreme necessity of the existence of a meaning in Architecture, it was considered pertinent to see if and how Architecture can narrate – without (with no) mouth to speak, eyes to show their soul, hands and feet to move - a story, instructing the visiting population. For this, it is intended to dissect the architectural process, from the pre-creation phase, to the creation phase, just like the post-construction phase; highlighting, in particular, the role of public spaces, namely museums, whose function is to teach the population about the past. It is intended, therefore, to understand the contribution of Architecture to tell a story, to be part of history, to stay for History. Equally important is the role of the architect in human life for the construction of the world that influences the individuals who live in it and who are simultaneously influenced by them. It is hoped that, by knowing the functioning of the Human Body, later on its relation with the surroundings that causes it to behave in a certain way, leading it to build in a certain way; one can understand how such constructions are able to keep the memory present, reducing the possibility of something as tragic as the Jewish Holocaust to happen again. It is therefore intended to justify the cathartic potential of Architecture.
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Books on the topic "Daniel Libeskind"

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1946-, Libeskind Daniel, ed. Daniel Libeskind. Roma: Edilstampa, 2007.

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Paul, Goldberger, ed. Counterpoint: Daniel Libeskind. Basel: Birkhäuser, 2008.

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Daniel Libeskind: Countersign. New York: Rizzoli, 1992.

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Libeskind, Daniel. Daniel Libeskind, 1987-1996. Madrid: El Croquis, 1996.

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Libeskind, Daniel. Daniel Libeskind, 1987-1996. Madrid: El Croquis, 1996.

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Dorner, Elke. Daniel Libeskind: Jüdisches Museum Berlin. Berlin: Gebr. Mann, 1999.

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Sacchi, Livio. Daniel Libeskind: Museo ebraico, Berlino. Torino: Testo & immagine, 1998.

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Terragni, Attilio Alberto. Daniel Libeskind: Oltre i muri. Torino: Testo & immagine, 2001.

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Daniel Libeskind: Oltre i muri. Torino: Testo & immagine, 2001.

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Libeskind, Daniel. Daniel Libeskind & Cecil Balmond, unfolding. Rotterdam: NAi, 1998.

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Book chapters on the topic "Daniel Libeskind"

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Meisenheimer, Wolfgang. "Daniel Libeskind." In Modelle als Denkräume, Beispiele und Ebenbilder, 294–97. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-20115-9_66.

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Tambling, Jeremy. "Daniel Libeskind and Deconstructive Architecture: Osnabrück and Berlin." In The Palgrave Encyclopedia of Urban Literary Studies, 1–4. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-62592-8_138-1.

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van den Berg, Klaus. "Staging a Vanished Community: Daniel Libeskind’s Scenography in the Berlin Jewish Museum." In Performance and the City, 222–39. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-0-230-30521-2_13.

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"Interview mit Daniel Libeskind / Interview with Daniel Libeskind." In Unbuilding Walls, 98–113. Birkhäuser, 2018. http://dx.doi.org/10.1515/9783035615944-012.

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"Studio Daniel Libeskind." In Wo Architekten arbeiten / Where Architects Work, 191–93. Birkhäuser, 2013. http://dx.doi.org/10.1515/9783038210542.191.

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"4. Daniel Libeskind." In Dekonstruktivismus in der Architektur?, 156–83. transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839430293-003.

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"Daniel Libeskind (1946–)." In Key Modern Architects. Bloomsbury visual Arts, 2018. http://dx.doi.org/10.5040/9781474265072.ch-045.

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"Daniel Libeskind: An Act of Faith." In Drawing from Practice, 138–44. Routledge, 2015. http://dx.doi.org/10.4324/9781315856919-18.

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"Daniel Libeskind “Remembrance of Things Past”." In The Living Tradition of Architecture, 33–40. New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315636573-8.

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Sharr, Adam. "Libeskind in Las Vegas: Reflections on Architecture as a Luxury Commodity." In Critical Luxury Studies. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402613.003.0008.

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This chapter considers a project from renowned architect Daniel Libeskind: a shopping mall opened in Las Vegas in 2009, deploying what have become the architect's trademark crystalline shapes. Named ‘Crystals at CityCenter’, the mall's branding derives its name and its luxury credentials from Libeskind's signature contribution. The chapter examines Crystals at CityCenter as an example of the millennial phenomenon of the ‘starchitect’-designed iconic luxury building. It explores the origins of Libeskind's architectural brand forms in the architecture of trauma in Berlin and, by contrast, the re-use of those forms in service of high-end retail on the Las Vegas Strip. In addition, the chapter argues that Crystals at CityCenter is also an example of architecture as sign — a sign of architecture referring only to itself, of architecture imagined as a luxury commodity.
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Conference papers on the topic "Daniel Libeskind"

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Azulay Tapiero, Marilda. "Arquitectura, dispositivo de experiencia memorial. *** Architecture: a drive of memorial experience ." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7604.

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La arquitectura puede introducirnos en la experiencia de la memoria; memoria como reflexión, y arquitectura como dispositivo para la experiencia memorial a la vez que contenedor de la información. Cada objeto es definido en un proceso en el que considerar diversos actores, sus voluntades, opciones y experiencias. Es el caso de las obras que aborda este trabajo, en las que evidenciar e interrogarnos sobre el gesto arquitectónico, la memoria evocada y su interpretación social. Obras que han alcanzado notoriedad por diferentes motivos: como la Sala del Recuerdo, de Arieh Elhanani, Arieh Sharon y Benjamin Idelson (1961) en Yad Vashem, Jerusalén; por su significado científico e histórico, como el Museo de Historia del Holocausto, también en Yad Vashem, de Moshé Safdie (2005); por su relevancia cultural o arquitectónica, como el Museo Judío (Ampliación del Museo de Berlín con el Departamento del Museo Judío) de Daniel Libeskind en Berlín (1999); e incluso por la controversia que han suscitado, como el Monumento en Memoria de los Judíos Asesinados de Europa, también en Berlín, conocido como el Monumento del Holocausto, de Peter Eisenman (2004).***Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).
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