Journal articles: '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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Song, Dae-Ho. "Study of the Interpretation of Landscape in Daniel Libeskind Architectural Space." Journal of the Korea Academia-Industrial cooperation Society 15, no. 12 (December 31, 2014): 7372–79. http://dx.doi.org/10.5762/kais.2014.15.12.7372.

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Barreto da Silva, Juliana, and Korina Aparecida Teixeira Ferreira Da Costa. "A CONTRIBUIÇÃO DE DANIEL LIBESKIND PARA A CAPITAL EUROPEIA DA CULTURA." Colloquium Socialis 2, Especial 2 (December 1, 2018): 575–80. http://dx.doi.org/10.5747/cs.2018.v02.nesp2.s0338.

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Lee, Young-Sun, Sang-Young Yoon, and Jae-Eun Yoon. "A Study on the virtual line on Daniel Libeskind Architecture Space." Korean Institute of Interior Design Journal 22, no. 2 (April 30, 2013): 89–99. http://dx.doi.org/10.14774/jkiid.2013.22.2.089.

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Vaccaro Cruz, María Cristina. "El museo judío de Berlín: El espacio, el acontecimiento y el Vacío." Bitácora arquitectura, no. 39 (December 17, 2018): 16. http://dx.doi.org/10.22201/fa.14058901p.2018.39.67822.

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<p>En este artículo se estudia el Museo Judío de Berlín, de Daniel Libeskind –en particular la Torre del Holocausto– desde la idea del “acontecimiento” del filósofo francés Jean-François Lyotard y su discusión con la categoría estética de lo sublime del empirista Edmund Burke. Se trata de analizar las afectaciones sensibles que provocan ciertas experiencias en los sujetos y sus implicaciones políticas y sociales.</p>

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Almantas, Samalavičius. "The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind." Journal of Architectural Design and Urbanism 2, no. 1 (October 7, 2019): 13. http://dx.doi.org/10.14710/jadu.v2i1.4897.

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The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called ‘Bilbao effect’ triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum’s architectural design remains an example of ‘signatory architecture’ that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents.

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ZASLAVSKAYa, A. Yu. "FEATURES, FORMING AN ARCHITECTURAL OBJECT, BASING ON FRACTAL STRUCTURES." Urban construction and architecture 1, no. 2 (July 15, 2011): 15–17. http://dx.doi.org/10.17673/vestnik.2011.02.4.

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The use of fractal structures in contemporary architecture is presented. Features and properties of nature fractal structures and abilities of their usage in architectural objects at the level of three components structure, construction, shell or form - are discussed. The theme of fractals is seen in F.L. Rights works, who positioned organic approach, Le Corbusier, who got ahead the time with his ideas of ecological approach to projecting. In contemporary architecture fractal structures are successfully use by such famous professionals as Daniel Libeskind, Greg Lynn, Toyo Ito.

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Tsiftsi, Xanthi. "Libeskind and the Holocaust Metanarrative; from Discourse to Architecture." Open Cultural Studies 1, no. 1 (November 27, 2017): 291–303. http://dx.doi.org/10.1515/culture-2017-0026.

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Abstract The Holocaust today resides between memory and postmemory. Initially, children of survivors and their contemporaries inherited a mediated past and bore full responsibility for disseminating their ancestors’ experiences. However, with the prevalence of the Holocaust metanarrative and its absolutist historicism, it was realised that when memory needs to cross generational boundaries, it needs to cross medial as well. The discourse was not enough; there was a need for broadening the narrative beyond the verbal using a powerful medium with the capacity to affect cognition and provoke emotions. This would be architecture, a storyteller by nature. In the 2000s, there was a noticeable boom in innovative Holocaust museums and memorials. Deconstructivist designs and symbolic forms constituted a new language that would meet the demands of local narratives, influence public opinion, and contribute to social change. This paper examines the potential of this transmediation and addresses critical issues-the importance of the experience, the role of empathy and intersubjectivity, the association of emotions with personal and symbolic experiences-and ethical challenges of the transmedia “migration” of a story. To accomplish this, it draws upon Daniel Libeskind, a Polish-born architect who has narrated different aspects of the Holocaust experience through his works.

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Dafrina, Armelia Dafrina. "Arsitektur Dekonstruksi sebagai Karakteristik Desain pada Bangunan Modern." Jurnal Arsitekno 5, no. 5 (February 21, 2019): 11. http://dx.doi.org/10.29103/arj.v5i5.1216.

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Abstrak Pengaruh filosofi Arsitektur Dekonstriksi yang diperkenalkan oleh Jacques Derrida serta konstruktivisme yang berkembang di Rusia pada awal abad ke 20 melahirkan dua aliran utama dalam arsitektur dekonstruksi yang dikenal sebagai dekonstruksi derridean dan dekonstruksi non derridean. Segera setelah kemunculannya di dunia Arsitektur, dekonstruksi menjadi aliran baru menggantikan International Style yang sebelummnya mendominasi karakter desain bangunan. Tokoh-tokoh yang terkemuka dibalik kesuksesan Arsitektur Dekonstruksi dengan sebutan the seven architects, Bernard Tschumi, Peter Eisenmen, Frank O Gehry, Rem Koolhaas, Daniel Libeskind, Coop Himmelblau dan Zaha Hadid yang membangun citra baru terhadap arsitektur.

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Dafrina, Armelia Dafrina. "Arsitektur Dekonstruksi sebagai Karakteristik Desain pada Bangunan Modern." Jurnal Arsitekno 5, no. 5 (February 21, 2019): 11. http://dx.doi.org/10.29103/arj.v5i5.1220.

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Abstrak Pengaruh filosofi Arsitektur Dekonstriksi yang diperkenalkan oleh Jacques Derrida serta konstruktivisme yang berkembang di Rusia pada awal abad ke 20 melahirkan dua aliran utama dalam arsitektur dekonstruksi yang dikenal sebagai dekonstruksi derridean dan dekonstruksi non derridean. Segera setelah kemunculannya di dunia Arsitektur, dekonstruksi menjadi aliran baru menggantikan International Style yang sebelummnya mendominasi karakter desain bangunan. Tokoh-tokoh yang terkemuka dibalik kesuksesan Arsitektur Dekonstruksi dengan sebutan the seven architects, Bernard Tschumi, Peter Eisenmen, Frank O Gehry, Rem Koolhaas, Daniel Libeskind, Coop Himmelblau dan Zaha Hadid yang membangun citra baru terhadap arsitektur.

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Kamczycki, Artur. "Libeskind’s Museum in Berlin as a toppled tower." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 325–52. http://dx.doi.org/10.14746/seg.2015.12.16.

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In the article the author will attempt to interpret the architectural structure of the Jewish Museum in Berlin, designed in 1989 by Daniel Libeskind. The context of deliberations presented here will rely on a broadly understood idea of tower, an entity identical with the Judaic as well as Christian vision of the Heavenly Jerusalem. However, the key to the metaphor is the assumption that the structure symbolizes a toppled tower, which in its turn is a meaningful analogy to the concepts derived from the issues of the Holocaust.

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Ningsih, Elza Fitria, Yohannes Firzal, and Pedia Aldy. "Penerapan prinsip desain Daniel Libeskind pada fasilitas permainan tradisional Melayu Riau di Pekanbaru." ARTEKS : Jurnal Teknik Arsitektur 5, no. 2 (August 1, 2020): 219–28. http://dx.doi.org/10.30822/arteks.v5i2.389.

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Kota Pekanbaru memiliki wahana anak yang beraneka ragam. Wahana tersebut umumnya dapat dijumpai pada mall atau pusat komersial tertutup yang cenderung menyediakan permainan modern. Permainan modern lumrah adanya sebagai bagian dari kemajuan teknologi yang semakin canggih. Beda halnya dengan zaman dahulu, anak-anak lebih menyukai bermain dengan mengambil tempat di tanah lapangan kosong. Kondisi dua hal yang berbeda antara permainan modern dengan permainan tradisional mulai ditandai dengan semakin banyaknya jenis permainan modern dan hilangnya permainan tradisional. Permainan Tradisional yang dimaksud ialah jenis permainan yang berasal dari daerah Melayu Riau. Salah satu jenis permainannya yaitu congklak, statak, gasing dan sebagainya. Maka dari itu, dipihlah judul fasilitas permainan tradisional Melayu Riau yang gunanya agar permainan tradisional ini tetap dapat dilestarikan khususnya anak-anak dapat bermain sambil belajar mengenal nilai-nilai tradisional. Dengan konsep desain gerak dalam bermain Statak, fasilitas ini dirancang dengan fungsi utamanya sebagai tempat bermain. Dengan menggunakan metode primer berupa survei, serta berbagai sumber literatur dan standar fasilitas permainan sebagai metode sekunder. Fasilitas permainan tradisional ini mengedepankan prinsip desain Daniel Libeskind sehingga dapat menciptakan suatu desain modern yang tetap kental dengan nilai tradisionalnya. Meskipun hasil desain fasilitas memiliki banyak sudut geometris namun tetap aman dan tidak mengganggu pergerakan anak-anak dalam bermain. © 2020 Elza Fitria Ningsih, Yohannes Firzal, Pedia Aldy

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Dogan, Fehmi, and Nancy J. Nersessian. "Conceptual diagrams in creative architectural practice: the case of Daniel Libeskind's Jewish Museum." Architectural Research Quarterly 16, no. 1 (March 2012): 15–27. http://dx.doi.org/10.1017/s1359135512000255.

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The Jewish Museum in Berlin is the first major building of Daniel Libeskind [1,2]. The project for the museum has instigated a wealth of discussions in architectural circles and achieved a rare status of attracting the attention of scholars from other disciplines. Kurt W. Forster put the design for the Jewish Museum on a par with Piranesi's Carceri d'Invenzione, an unusual position for any building since very rarely does an architectural design ‘[…] bear this double burden of representing both actual buildings and mental structures, and which therefore have to submit to being measured by both standards: the durability of their ideas and the imaginative faculty of their designer.’

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Rusnak, Marta, and Joanna Szewczyk. "Eye trackers in evaluation of transformation of historical monuments. Revitalisation of the Dresden arsenal." E3S Web of Conferences 49 (2018): 00092. http://dx.doi.org/10.1051/e3sconf/20184900092.

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The paper concentrates on the application of an eye tracker as a tool used to evaluate the successfulness of transformations of various historic monuments for modern purposes. An eye tracker as a device capable of registering the path of one’s gaze makes it possible to analyze the way in which people perceive a given architectural object - in the case of this paper it is the former Dresden Arsenal, now known as the Bundeswehr Military History Museum. Since Daniel Libeskind, the architect behind the transformation, clearly defined the impression he what to achieve and the building provokes significant controversies, it was decided that it would be a suitable object for such a study. The survey was meant to find out whether the changes introduced by Libeskind actually helped him achieve the intended goal. The participants of the survey were shown images of the Arsenal’s façade from before the transformation, after the transformation in the daytime and after the transformation, but at night, with the illumination turned on. The paper not only shows and analyzes differences in the way people perceive these three images, but also raises a question as to the potential of eye trackers as tools used in architectural research.

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Nepravishta, Florian. "Contemporary Architecture in Tirana during the Transition Period." South East European Journal of Architecture and Design 2016 (May 12, 2016): 1–10. http://dx.doi.org/10.3889/seejad.2016.10019.

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AIM: Tirana is a city that in transition period has been changed and transformed both architecturally and in its urban form.MATERIAL AND METHODS: Unavoidable changes in urban rush: from unregulated spontaneous development and without infrastructure it has gone through the urban redevelopment planning and architectural projects.RESULTS: Actually some of the most famous European studios, from Bolles+Wilson to MVRDV, AtenaStudio, Bjarke Ingels, Archaea Studio, Grimshaw, Daniel Libeskind are facing Tirana capital that has claimed the international architectural culture’s attention.CONCLUSION: This article draws a view of contemporary architecture produced by domestic and international architects and planners in a city looking through the new century with a will of renewal throw contemporary planning and architecture.

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Tufano, Antonella. "Dessins et design : représenter l’espace mental de l’architecture : les dessins déconstructivistes de Daniel Libeskind : Micromegas." Livraisons d'histoire de l'architecture, no. 30 (December 30, 2015): 81–92. http://dx.doi.org/10.4000/lha.553.

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Casildo Rendón, Christian Uriel. "La arquitectura deconstructivista como fenómeno político. Un recorrido analítico a través de sus emplazamientos." Academia XXII 8, no. 15 (June 9, 2017): 86. http://dx.doi.org/10.22201/fa.2007252xp.2017.15.60417.

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Este trabajo tiene como propósito explorar y reflexionar la configuración contemporánea de los mecanismos de ejercicio del poder, de control y vigilancia inscritos en la arquitectura llamada deconstructivista. El objetivo de la selección de esta “corriente” tiene que ver con su papel hegemónico dentro de la arquitectura como institución histórica y en su constitución como sistema experto en la sociedad contemporánea. Para este cometido se analizarán algunos proyectos y fenómenos protagonizados por la arquitectura: desde el diseño de la primera tienda insignia de Prada en Nueva York, por parte del despacho de Rem Koolhaas oma/amo, hasta el uso de los escritos teóricos de Daniel Libeskind por parte de las Fuerzas de Defensa de Israel en la redefinición de diversas estrategias bélicas.

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Kamczycki, Artur. "The Kabbalistic Alphabet of Libeskind: The Motif of Letter-shaped Windows in the Design of the Jewish Museum in Berlin." Ikonotheka 28 (August 6, 2019): 7–40. http://dx.doi.org/10.5604/01.3001.0013.3319.

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The present article attempts to analyse and interpret the structure of windows in the Jewish Museum in Berlin, designed by Daniel Libeskind and constructed in 1989–1999. Elongated, narrow, irregular window openings arranged at different angles like a tangle of cuts and grooves span the entire structure and resemble Hebrew letters and the kabbalistic notion of the “scattered alphabet”, which functions in Jewish tradition as a visual metaphor. The assumption of such a perspective of interpretation, based on the visual form of the building which was, in its principle, meant to partially refer to the Holocaust, leads to the hypothesis that the chosen motifs of letter-shaped windows (the scattered alphabet) is connected to the kabbalistic postulate of the “repair of the world”, known in Jewish tradition as tikkun olam. The characteristic chaotic arrangement of the window openings is not, as it might be assumed, simply a symbol of the civilisational “fragmentation” resulting from the Holocaust. On the contrary, the design manifestly embodies the nostalgia for the mythical (and messianic) times of harmony, order and regularity, as well as the longing for clear structure and symbiosis. This manifests in the kabbalistic interpretation of the motif of letter-windows understood as a mystical (or even theurgical) element of restoration. Concentration, contemplation, perception and consideration of the forms and shapes of the letters is a notion known from the Kabbalah; in this case architectural references to Jewish mysticism are more than just a strategy for interpretation, but a declarative assumption made by the architect himself. Libeskind’s design in Berlin, therefore, involves the matter of language as the elementary material and instrument of salvation, while the context of the Kabbalah ought to be regarded as a certain symptom or a specific modality shaping new meanings manifested by the work of art that this museum undoubtedly is.

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Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (September 2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.

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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

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EYÜCE, Emine ÖZEN. "ALLURE OF THE "CRYSTAL: MYTHS AND METAPHORS IN ARCHITECTURAL MORPHOGENESIS." International Journal of Architectural Research: ArchNet-IJAR 10, no. 1 (April 26, 2016): 131. http://dx.doi.org/10.26687/archnet-ijar.v10i1.908.

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'Form' has always been one of the most important issues in architectural design. In the process of form-giving to the end-product, architects make use of different sources from typologies to intuitions or metaphorical ones. When the generic ideas of the prominent examples in architectural history have been traced, it can clearly be stated that one of the most effective metaphors used in architecture is the 'Crystal.' Appearing at the intersections between nature and human history and having a long history going back to myths, the 'Crystal' has been used extensively in architecture both as reflecting the meaning originating from its mythical background, and also, as a metaphor representing the perfection in nature. This article will try to trace the use of 'crystal' metaphor in history and analyzing the two examples, namely, the Royal Ontario Museum: 'Crystal' in Toronto (2007) by Daniel Libeskind and Musée des Confluences: 'Crystal Cloud of Culture' in Lyon (2014) by Coop Himmelb(l)au, will try to evaluate the change in the use of crystal metaphor in contemporary architectural morphogenesis.

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Chaves Hernández, Ricardo. "Fenomenologia de arquitetura. Discursos de Christian Norberg-Schulz e Juhani Pallasmaa." REVISTARQUIS 8, no. 2 (June 30, 2019): 23–35. http://dx.doi.org/10.15517/ra.v8i2.37928.

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Na teoria arquitetónica, a fenomenologia entende-se como um movimento que investiga a arquitetura enquanto experiência humana. Dentro desse movimento, este artigo destaca dois discursos: o de Christian Norberg-Schulz e de Juhani Pallasmaa por apresentarem, respetivamente, uma “fenomenologia do exterior” e uma “fenomenologia do interior”– domínios pertencentes e interdependentes da arquitetura. Estes arquitetos-fenomenólogos problematizaram sobre arquitetura-lugar e arquitetura-corpo para marcar as suas posições críticas ao movimento moderno e pós-moderno. O objetivo deste artigo é compreender e confrontar esses discursos por representarem uma sequencialidade de pensamentos que (conclui-se) “abrem a porta” a uma (nova) fenomenologia contemporânea na arquitetura. O desenvolvimento do tema passa pela abordagem das problemáticas da arquitetura enquanto imageme arquitetura de presença corporal; esta última essencial para a fenomenologia contemporânea. Metodologicamente, apresenta-se esse seguimento lógico seguido de uma contraposição das ideias abordadas. Conclui-se, destacando os pensamentos de Norberg-Schulz e Pallasmaa que desenvolvem a análise da noção do corpo na fenomenologia de arquitetura. Esta ampliação encaminha e introduz a fenomenologia contemporânea (fenomenologia de atmosfera como qualidade arquitetónica), aplicação efetiva na prática atual para arquitetos proeminentes como Daniel Libeskind, Steven Holl e Peter Zumthor.

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Leon, Anna. "Between and within choreographies: An early choreographic object by William Forsythe." Dance Articulated 6, no. 1 (June 24, 2020): 64–88. http://dx.doi.org/10.5324/da.v6i1.3639.

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In 1990, William Forsythe created The Books of Groningen – Book N(7), an installation commissioned by the Dutch city of Groningen and architect Daniel Libeskind. This early choreographic object is composed of a water canal, a series of willow trees pulled by wires in order to grow in arched shape and a bush hedge. At a time of marked interest in expanded choreography as it develops in conjunction with choreography’s links to visual art, as well as in choreographic history, this article considers Book N(7) in relation with diverse historical conceptions of choreography – as dance-making, as an organisation of moving bodies, as notation and pre/scription. This analysis shows that the installation negates certain aspects of choreographic history while exemplifying and perpetuating others, therefore situating itself between different historical construals of choreography. At the same time, it points to the ways in which Book N(7) defies the possibility both of complete ruptures and of smooth continuities with the choreographic past, engaging in a negotiation which reworks this past in the present. Framing this analysis of The Books of Groningen – Book N(7) by references to certain of Forsythe’s ulterior works, this article presents the installation as a part of the artist’s longlasting, shifting engagements with the notion and history of choreography.

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Kamczycki, Artur. "Unheimlich: Struktury Pustki w berlińskim muzeum Libeskinda." Studia Europaea Gnesnensia, no. 10 (January 1, 2014): 333–57. http://dx.doi.org/10.14746/seg.2014.10.15.

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The Museum of 2000 years of German-Jewish History in Berlin, designed in 1989 by Daniela Libeskind, an architect of Polish origins, was to make a powerful reference to the Holocaust as well. Using an underground passage, the architect connected the existing Baroque edifice of the Kollegienhaus in Kreuzberg’s Lindenstrasse, with the building created to his design (the so-called Abteilung). The external form of the buildings is a steel, flat-topped structure, composed of cubical blocks, irregular and marked by incisive edges. Inside, this zig-zagging building was intersected by a straight structure, 4.5 m wide, 27 m high and 150 long, which runs interruptedly along the main axis. The resulting empty spaces, extending from the ground floor to the roof, are tightly isolated from the remaining sections of the edifice. The analysis conducted by the author targets the comparison of that structure of the Void with the Freudian notion of the Unheimlich (uncanny). The comparison was made in a conversation with Libeskind by the originator of the theory of deconstruction, Jacques Derrida. Unheimlich is a psychological notion, which in this case denotes “secret”, “hidden” Jewishness, which instead of remaining an “internally closed” aspect is manifested as a characteristic, “negative” reflection. The term, entangled in the context of architectural theory as well as in the notion of anti-monument, represents a starting point in considering the contemporary condition of German culture, where that Void /unheimlich is a constant, “burdensome” echo of the Holocaust.

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Schonig, Barbara. "The Books of Groningen: Heiner Muller's Contribution to Daniel Libeskind's Groningen Project." New German Critique, no. 73 (1998): 95. http://dx.doi.org/10.2307/488651.

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Lee, Kyoung-Chang. "Study on Daniel Libeskind’s Jewish Museum in Berlin viewed from critical theory." Journal of architectural history 24, no. 3 (June 30, 2015): 7–16. http://dx.doi.org/10.7738/jah.2015.24.3.007.

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Young, James E. "Daniel Libeskind's Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture." Jewish Social Studies: History, Culture, and Society 6, no. 2 (January 2000): 1–23. http://dx.doi.org/10.2979/jss.2000.6.2.1.

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Young, James Edward. "Daniel Libeskind's Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture." Jewish Social Studies 6, no. 2 (2000): 1–23. http://dx.doi.org/10.1353/jss.2000.0007.

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Kligerman, Eric. "Ghostly Demarcations: Translating Paul Celan's Poetics into Daniel Libeskind's Jewish Museum in Berlin." Germanic Review: Literature, Culture, Theory 80, no. 1 (January 2005): 28–49. http://dx.doi.org/10.3200/gerr.80.1.28-49.

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Vrachliotis, Georg. "Popper’s Mosquito Swarm: Architecture, Cybernetics and the Operationalization of Complexity." European Review 17, no. 2 (May 2009): 439–52. http://dx.doi.org/10.1017/s1062798709000817.

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For the architecture theorist Charles Jencks, Frank Gehry’s Guggenheim Museum in Bilbao, Peter Eisenman’s Aronoff Center in Cincinnati, and Daniel Libeskind’s Jewish Museum in Berlin are architectural replies to the question of the cultural outgrowths of ‘complexity science’. In the light of new technologies being used in architecture, it seems necessary to explore Jencks’s position from new perspectives and to ask: in the context of architectural production, is it possible to discuss complexity not only as an artistic-aesthetic category, but also as a fundamental technical-constructive idea? Contemporary information technologies confront architectural-theoretical discourses with developments that call for an expanded theoretical instrumentarium. It remains unclear which architectural language might be used best to approach the concept of complexity associated with information technologies.

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György, Kubinyi. "Stílus, forma, esztétika." Építés - Építészettudomány 49, no. 3-4 (August 30, 2021): 329–42. http://dx.doi.org/10.1556/096.2021.00013.

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Olyan átfogó stílusok, mint a gótika a reneszánsz vagy a barokk voltak, napjainkban nem segítik az építész munkáját a formaalakításában, de különböző stílusok, brandek és ideológiák nagy számban választhatók. A választás létre is jön – elsősorban az azonosíthatóság és a jó eladhatóság érdekében – az építészirodák formaalkotási metódusát alapvetően meghatározva. Az így létrejövő építészeti formák nem az adott feladatból következnek, nem az adott feladathoz kapcsolódnak, hanem a meglévő formakészlet elemeinek használatával, adaptálásával jönnek létre. A kortárs művészetben nem csak az építészet küzd a forma ellehetetlenülésével, kiüresedésével. Az irodalomban ugyanúgy kérdésessé vált a forma, a stílus, és kérdésessé vált a gondolat, a mondanivaló direkt ábrázolása. Az irodalomra is figyelve, a párhuzamok segíthetnek a helyzet pontos leírásában, értelmezésében, és szélesíthetik az építészeti horizontot. Azonban nem csak a huszadik század végi, huszonegyedik század eleji építészet sajátja a formai dogmatizmus, az már a kezdet kezdetén megjelent a Modern Mozgalomban. A CIAM és Le Corbusier stiláris diktátumával szemben aktív és passzív ellenállás fejlődött ki. Több jelentős, korszerűen gondolkozó építész hangoztatta, írta le ellenvéleményét, tiltakozva a Modern Mozgalom kiáltványai ellen. A passzívan tiltakozó építészek egyszerűen távol tartották magukat a Mozgalomtól és járták a saját maguk szabta, de modern útjukat. Az aktív és passzív ellenállást tanúsító építészek vonulatát St. John Wilson a modern építészet másik hagyományaként írta le. A modern építészet másik hagyományának folytatásaként – a kortárs tervezésben – a stiláris, formai, esztétikai, gondolati, ideológiai megközelítések elutasítása lehetőséget jelenthet az építész számára egy olyan tervezés gyakorlására, ami a sokrétű építészeti feladatra tud koncentrálni, nem a formai kérdések határozzák meg a tervezést. Az építészet elemi sajátosságaira alapozva, a tervezési helyzet kiértékelése, a funkció betöltése a fundamentum. Minden más ezekből kiindulva alakul, következik, az építészetet praktikus művészetként (techné) gyakorolva. Ez a vonulata az építészetnek nem használ olyan formákat, amelyek nem a tervezési helyzetből következnek, így az épület populáris gesztusok, formák híján a legtöbb esetben nem lesz érdekes a primer érzékelés számára. Az ilyen mű befogadásához csend és elmélyülés kell. However, such overall styles as gothic, renaissance and baroque do not help contemporary architects in creating forms but different styles, brands and ideologies could be chosen freely. The choice is maid – usually for identification and marketability – defining the form creation method of the architecture offices. The forms created like this do not follow the assignment task nor are connected to the architectural or natural context, but these forms are stylistically or ideologically preconceived. The architectural form, structure which is independent from task is not only the contemporary architecture’s peculiarity. At the beginning of the architectural Modern Movement Le Corbusier and the CIAM canonized the International Style. But W. M. Dudok, the Dutch architect (and several other prominent architects) protested against a regime of pre-ordained geometrical form. In the contemporary architecture the MVRDV is diligent to create interesting architectural forms to raise their popularity, however, a few decades ago Winy Maas protested against the formalism: admonishing the architects to design buildings just with transforming the abstract statistic information into a concrete form. Daniel Libeskind said about his Jewish Museum in Berlin: “that was my intent in creating a building that tells a story. Architecture just like any art should tell a story.” And he developed a useless populist building using deconstructive ornaments. But there are a few star architects who do not care about brand building and popularity. One of them is Peter Zumthor, who wrote about the design process of Thermal Baths in Vals: “I remembered how we recently developed a project…not by forming preliminary images of the building in our minds and subsequently adapting them to the assignment, but by endeavouring to answer basic questions arising from the location of the given site, the purpose and the building materials – mountain, rock, water – which at the first had no visual content in terms of existing architecture.”

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Kurbiel, Justyna. "Sztuka wobec Zagłady w warszawskich galeriach po 1989 r. Rekonesans." Zagłada Żydów. Studia i Materiały, no. 7 (December 10, 2011): 629–40. http://dx.doi.org/10.32927/zzsim.832.

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Spróbujmy usystematyzować formy obecności tematu Zagłady w sztuce prezentowanej w warszawskich galeriach. Z jednej strony są to ekspozycje dokumentacyjne. Pokazują przebieg Zagłady, jej poszczególne etapy („Zagłada Romów europejskich i rasizm we współczesnej Europie”) czy dokumentują pamiątki i wspomnienia po ofiarach Holokaustu („I ciągle widzę ich twarze”). Zdarza się też, że są głosem ocalonych, którzy w swojej twórczości odnoszą się do tych tragicznych wydarzeń, jak w przypadku twórczości Samuela Willenberga, Gustava Metzgera czy części prac Daniela Libeskinda. Świadomie zostały pominięte pojedyncze prace podejmujące temat Holokaustu, prezentowane na wystawach monograficznych, takie jak Obóz koncentracyjny Lego Zbigniewa Libery, po raz pierwszy zaprezentowany w Polsce w 2009 r. Nie odmawiam oczywiście wartości dziełom, przegląd ten ma jednak na celu pokazanie podejścia do Zagłady jako tematu, a niekoniecznie wskazanie, którzy artyści temat podejmowali.

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Wischer, Stephen. "Incarnations of Paul Celan’s Todesfuge in the Paintings of Anselm Kiefer and Daniel Libeskind’s Jewish Museum, Berlin." Architectoni.ca 1, no. 2 (June 7, 2012): 95–105. http://dx.doi.org/10.5618/arch.2012.v1.n2.1.

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BENTON, C. "'An insult to everything the Museum stands for' or 'Ariadne's thread' to 'Knowledge' and 'Inspiration'? Daniel Libeskind's Extension for the V & A and its Context. Part I." Journal of Design History 10, no. 1 (January 1, 1997): 71–91. http://dx.doi.org/10.1093/jdh/10.1.71.

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BENTON, C. "'An insult to everything the Museum stands for' or 'Ariadne's thread' to 'Knowledge' and 'Inspiration'? Daniel Libeskind's Extension for the V & A and its Context. Part II." Journal of Design History 10, no. 3 (January 1, 1997): 309–28. http://dx.doi.org/10.1093/jdh/10.3.309.

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"Jagd und Wunderkammer; Daniel Libeskind." ProCare 14, no. 11 (November 2009). http://dx.doi.org/10.1007/s00735-009-0255-5.

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Cairns, Graham, and Daniel Libeskind. "Ground Zero – the socio-political minefield of symbolic architecture." Architecture_MPS, February 1, 2013. http://dx.doi.org/10.14324/111.444.amps.2013v2i2.001.

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Daniel Libeskind is today one of the architecture profession’s media elite. He took up his position in the list of ‘super star architects’ twenty ago and has remained in the spotlight of the press ever since. He has projects across the globe and has been awarded prizes by Time Magazine , The Goethe Institute , the American Institute of Architects and the RIBA . He was also appointed the first Cultural Ambassador for Architecture by the State Department of the United States in 2004. He has been both critically lauded and sardonically ridiculed. Tom Dyckhoff of the London Times refers to him as a ‘global brand’. His most high profile project to date has been The Jewish Museum of Berlin which, after various years of partial completion, was finally opened in full on September 11 2001. The opening day of Libeskind’s commemoration of the twentieth century’s act of horror par excellence then, was also the day of the twenty-first century’s most iconic terrorist act. The macabre irony was not lost on Libeskind himself but the competition that led to him being appointed master planner and architect of the Ground Zero project, turned out to be a dirty, personalised and publically aired media circus. It was a story of political infighting, tawdry economic deals and architectural brinkmanship. It culminated ten years ago this month with Libeskind’s ‘victory.’ In this interview Daniel Libeskind looks back over a decade of working on this project and muses on one of the most high profile, emotive and polemic architectural projects of recent times.

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"Daniel Libeskind realisiert ein neues Objekt in Dresden." Bautechnik 89, no. 1 (January 2012): 76–77. http://dx.doi.org/10.1002/bate.201290013.

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Gnutzmann, Nathalia Teixeira, Adriane Borda, and Valentina Toaldo Brum. "A FORMA DIDÁTICA E A DIDÁTICA DA FORMA: EXPLICITAÇÃO DE SABERES ARQUITETÔNICOS A PARTIR DO CASO DA FACHADA DO MUSEU MILITAR DE DRESDEN." PIXO - Revista de Arquitetura, Cidade e Contemporaneidade 4, no. 15 (November 24, 2020). http://dx.doi.org/10.15210/pixo.v4i15.19416.

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De interesse formativo no campo da geometria gráfica aplicada à arquitetura, utiliza-se a teoria da transposição didática para explicitação de saberes científicos e profissionais que auxiliam na compreensão da associação entre forma e conceito junto à prática arquitetônica. Hipóteses são elaboradas sobre os saberes envolvidos em um caso de projeto: uma intervenção na fachada principal do Museu Militar de Dresden, realizada por Daniel Libeskind. As relações formais da intervenção e da preexistência, a históriado lugar e a narrativa do arquiteto, deram indícios sobre a adequação deste caso para a estruturação de um desenho didático capaz de explicar os ajustes formais a partir de um conceito. Diagramas geométricos são produzidos e algoritmizados por desenho paramétrico. Elementos da Gestalt são utilizados para decifrar o controle de parâmetros da intervenção. O resultado refere-se a uma maneira didática de associar geometria e psicologia para inferir sobre sensações visuais provocadas pela intervenção na fachada.Palavras-chave: transposição didática, geometria, parametria, gestalt, Museu Militar deDresden, Daniel Libeskind.

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Recena, Maria Paula, and Daniel Dillenburg. "Representação Como Operação." Revista Prumo, December 27, 2018. http://dx.doi.org/10.24168/revistaprumo.v3i5.832.

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O uso de meios digitais para a produção da representação arquitetônica — principalmente a partir dos anos 1990 — permite reposicionar a função do desenho à mão. Assim como a pintura adquire novo interesse com a afirmação da fotografia, o desenho à mão surge em novo patamar de interesse na produção arquitetônica após a difusão da computação gráfica. A argumentação se dá com base em análise de desenhos e diagramas de Daniel Libeskind para o Museu Judaico de Berlim, bem como estabelece, como ponto de referência, para esta reflexão, a produção da Cooper Union, especialmente centrada nos problemas dos 9 quadrados, do cubo e de Juan Gris.

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Hannah, Dorita. "Jewish Museum of Berlin:." IDEA JOURNAL, July 20, 2006, 26–41. http://dx.doi.org/10.37113/ideaj.vi0.160.

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Architecture provides the site for this exploration of the relationship between museums and performance, which focuses on the Jewish Museum of Berlin. Between 1999 and 2001 the Jewish Museum operated solely as a venue for architectural tours. Rather than housing static objects it became a location where the experiential body on the move was central to its existence. This was particularly apparent in June 1999 when the Sasha Waltz Dance Company performed ‘Dialogue ’99 II’ within the museum as a response to, and exploration of, the provocative and haunting interior architecture of Daniel Libeskind. This paper examines the interiority of the museum as a performative site activated by dancing and spectatorial bodies. It posits that its ‘emptiness’ held a greater plenitude for memorialising, constituting a radical moment for museum architecture.

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Journal articles on the topic 'Daniel Libeskind'

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