2. • DATE- 2001
• STATUS –Completed
• CLIENT -Stiftung Juedisches
Museum Berlin
• Architects- Studio Libeskind
• Area- 13000.0 m²
• Competition: 1989
Completion: 1999
Opening: 2001
• FACT FILE
• Location – Berlin, Germany
3. In his addition to the Jewish Museum Berlin,
completed in 1999, Daniel Libeskind
communicates the displacement and disassociation
of the Jewish people in Germany
through his use of metaphor, fragmentation, void,
and disorientation.
Daniel Libeskind is a Polish-American architect who
has been practicing since completing
his education in the 1970s. His works are most
concentrated in Europe and
more recently the United States, and many are
related to Jewish culture and history
(“Daniel Libeskind” 2014).
BACKGROUND
4. PHILOSOPHY
LIBESKIND BELIEVES IN ARCHITECTURE AS A FORM OF
COMMUNICATION:
“FOR ME, A BUILDING IS A MEDIUM TO TELL A STORY. IT’S NOT ONLY
ABOUT ITSELF”
“ARCHITECTURAL SPACE, AS I SEE IT, HAS TO BE PART OF THE STORY IT’S
TRYING TO COMMUNICATE.
IT’S NOT JUST A CONTAINER TO BE FILLED; IT’S PART OF THE SYMBOLISM
OF THE
BUILDING. AND THE SYMBOL TRANSPORTS YOU BEYOND THE MATERIAL
REALITY AND, IN ARCHITECTURE,
TOWARD THAT WHICH LANGUAGE ITSELF CANNOT FULLY ARTICULATE”
(QUOTED
IN LIBESKIND & GOLDBERGER, 2008).
5. “BETWEEN THE LINES”: DANIEL LIBESKIND AND HIS DESIGN
PLANS
ARCHITECT DANIEL LIBESKIND’S “BETWEEN THE LINES” DESIGN
WON THE COMPETITION IN 1989 FOR THE “EXTENSION OF THE
BERLIN MUSEUM WITH A JEWISH MUSEUM DEPARTMENT.” IT
WAS THE FIRST TIME THAT ONE OF HIS DESIGNS WAS ACTUALLY
BUILT.
“THE OFFICIAL NAME OF THE PROJECT IS ‘JEWISH MUSEUM’
BUT I HAVE NAMED IT ‘BETWEEN THE LINES’ BECAUSE FOR ME
BETWEEN THE LINES
6. CONCEPT
The building’s overall composition is that of a
distorted Star of David, with a straight
“void” running through the length of the
building.
Heavy with symbolism and metaphor,
the building uses fragmentation, void, and
disorientation to reflect the three
aforementioned aspects of Jewish history.
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
7. numerous numbers of trajectories between
two points (AB), representing the individual biographical
trajectories of citizens of Berlin, which Libeskind refers to as
histories
DESIGN EVOLUTION
9. 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
10. 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
11. THE AXES : CONTINUITY ,EMIGRATION AND HOLOCAUST
HOLOCAUST EMIGRATION
CONTINUITY
All three of the underground axes intersect,
symbolizing the connection between the
three realities of Jewish life in Germany.
12. 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.
13. 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
14. 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
15. 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.
28. SUMMARY
Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways
described in the table below to communicate the suffering of the Jewish people in
and out of Berlin.
29.
30. CONCLUSION
Daniel Libeskind’s addition to the Jewish Museum Berlin utilizes symbolism and
metaphor, including fragmentation, void, and disorientation, in order to create a
more substantial museum experience for the visitor. Rather than presenting information
as museums often do, Libeskind’s Jewish Museum Berlin uses these effects
to communicate the aspects of Jewish history, especially the Holocaust, which cannot
be expressed in only words.
THANK YOU
32. FACT FILE
ARCHITECT: SAFDIE ARCHITECTS
LOCATION: SINGAPORE
YEAR: 2011
AREA : TOTAL BUILT-UP 5000SQM
CLIENT : Government of Singapore’
PHILOSOPHY
"I WORKED VERY HARD TO GET FORMS THAT
WOULD GIVE A SMOOTH MACHINE-LIKE SURFACE
RATHER THAN A BRUTAL ROUGH SURFACE," HE
SAID. "THE BOXES COME TOGETHER AS VERY
PURE GEOMETRY SO I THINK OF IT AS AN ANTI-
BRUTALIST BUILDING; A REACTION TO BRUTALISM.
IT JUST HAPPENED TO BE BUILT IN THAT PERIOD.
Moshe Safdie
33. CONCEPT
The overall form has been compared to a lotus flower and been dubbed, “The welcoming hand
of Singapore,” by Sheldon Adelson, chairman of Las Vegas Sands Corporation which developed
Marina Bay Sands.
The design of the Museum is composed of two principle parts.
The base, which is embedded in the earth and surrounded by the Bay’s water and a giant lily
pond, and a flower-like structure made of 10 petals, generated by the geometry of spheroids
of varying radii that seemingly floats above the landscaped pond base.
The petals, or fingers as some refer to them, rise towards the sky with varying heights, each
crowned by a skylight which draws in daylight penetrating the base and illuminating the
galleries within.
34. The museum is entered through a free-
standing glass pavilion.
Large elevators and escalators convey
the public to the lower and upper
galleries. In total, there are three levels of
galleries with a total area of 6,000 square
meters.
the ArtScience Museum is
grounded around a circular base
with 10 extending finger-like
structures that house 21 naturally lit
galleries.
Surrounded by a lily pond reflecting
pool and boasting commanding
views of downtown Singapore, the
Museum is a symbol for Singapore.
35.
36. The dish-like roof form collects rainwater and drains
it through an oculus, creating a waterfall through the
center of the museum that feeds an interior pond.
The asymmetrical museum structure, conceived by
Arup, reaches upward into the skyline as high as 60
meters and is supported by an elaborate steel lattice
structure.
This assembly is supported by ten columns and tied
down at its center by a basket-like diagrid–a
sculptural centerpiece that accommodates the
asymmetrical forces that the building’s form
generates.
The result in an efficient resolution of the structural
forces for the building, giving it a seemingly
weightless quality as it hovers above the ground.
37. The museum’s envelope is composed of double-curved
Fiber Reinforced Polymer skin typically used at such a scale
in the construction of boats and yachts.
The vertical sides of each petal are sheathed in bead-
blasted stainless steel panels.
The unprecedented use of FRP has made possible the joint-
less, continuous skin for each of the sail-like surfaces
achieving a sense of lightness with their gleaming petals.
As elsewhere in Marina Bay Sands, the building aims and
achieves the highest levels of sustainability
38. TEXT REFERENCES
Curtis, W. (1996). Modern Architecture Since 1900 (3rd ed.). London: Phaidon.
Daniel Libeskind. (2014). In Encyclopædia Britannica. Retrieved fromhttp://www.britannica.com/EBchecked/
topic/914364/Daniel-Libeskind
Daniel Libeskind: Welcome to the 21st century [Video file]. (1999). In Films On Demand. Retrieved November
9, 2014, from http://digital.films.com/PortalPlaylists.aspx?aid=17906&xtid=10500
Libeskind, D. (1999). Jewish Museum, Berlin: Architect, Daniel Libeskind. Amsterdam: G & B Arts International.
Libeskind, D., & Goldberger, P. (2008). Counterpoint: Daniel Libeskind in conversation with Paul Goldberger.
New York: Monacelli Press.
The Libeskind Building. (n.d.). Retrieved November 9, 2014, from http://www.jmberlin.de/main/
EN/04-About-The-Museum/01-Architecture/01-libeskind-Building.php
39. The ArtScience Museum promises to feature 21 gallery spaces equating to 50,000 square feet (6,000 square
meters) which will display exhibits from combined art/science, media/technology, as well as
design/architecture motifs.
Permanent exhibits include objects indicative of the accomplishments of both the arts and the sciences
through the ages, along the lines of Leonardo da Vinci's Flying Machine, a Kongming Lantern, and a high-
tech robotic fish.
The museum opened with an exhibition of a collection of the Belitung shipwreck cargo, and Tang dynasty
treasures that were discovered and carefully preserved by Tilman Walterfang of Seabed Explorations NZ Ltd.
44. IMAGE REFERENCES
Cover: Bitter Bredt. Facade, Window Detail [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.
com/projects
1. Guenter Schneider. Aerial View 2 [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/
projects
2. Michele Nastesi. Skyline View [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/
projects
3. Studio Daniel Libeskind. Star Plan [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.
com/projects
4. Building Butler. Model [Photograph], Retrieved November 9, 2014 from: http://www.buildingbutler.com/bd/
Daniel-Libeskind/Berlin/Jewish-Museum/3752
5. Studio Daniel Libeskind. Early Sketch [Photograph], Retrieved November 9, 2014 from: http://www.inexhibit.
com/case-studies/daniel-libeskind-jewish-museum-berlin/
6. Studio Daniel Libeskind. Untitled [Photograph], Retrieved November 9, 2014 from: http://www.e-architect.
co.uk/berlin/jewish-museum-berlin-academy
7. Studio Daniel Libeskind. From Counterpoint: Daniel Libeskind in conversation with Paul Goldberger (p. 25) by D.
Libeskind and P. Goldberger, 2008, New York, Monacelli Press.
8. Bitter Bredt. Paul Celan Courtyard [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.
com/projects
9. Bitter Bredt. Holocaust Tower (left) and Garden of Exile (c) [Photograph], Retrieved November 9, 2014 from:
http://daniel-libeskind.com/projects
10. Bitter Bredt. Holocaust Tower [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/
projects
11. Torsten Seidel. JMB Void [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/projects
12. Bitter Bredt. The Void [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/projects
45. 13. Bitter Bredt. Main Staircase with Structural Beams [Photograph], Retrieved November 9, 2014 from: http://
daniel-libeskind.com/projects
14. Michele Nastesi. Windows as part of Star of David Matrix [Photograph], Retrieved November 9, 2014 from:
http://daniel-libeskind.com/projects
15. Three Axes [Photograph], Retrieved November 9, 2014 from: http://aformulatedphrase.com/category/museums/
16. Michele Nastesi. Stair [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/projects
17. Studio Daniel Libeskind. From Counterpoint: Daniel Libeskind in conversation with Paul Goldberger (p. 37) by
D. Libeskind and P. Goldberger, 2008, New York, Monacelli Press.
18. Jens Ziehe. Garden of Exile, Jewish Museum Berlin [Photograph], Retrieved November 9, 2014 from: http://
www.jmberlin.de/main/EN/04-About-The-Museum/01-Architecture/01-libeskind-Building.php
19. Michele Nastesi. Exterior View, Garden of Exile [Photograph], Retrieved November 9, 2014 from: http://daniel-
libeskind.com/projects
20. Bitter Bredt. Void [Photograph], Retrieved November 9, 2014 from: http://daniel-libeskind.com/projects
