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Figure 7 The Jewish Museum in Berlin (Pavka, 2010
from REVITALIZING THE HISTORICAL ESSENCE OF THE G.E.M. AREA THROUGH LITERARY ARCHITECTURE
by nohahatem_
REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA narration, emotions in order to relate a certain experience to the user. One of Peter Eisenman’s mantra is that “Architecture is written” which is why he relates his designs to narrations. (Chan, 2019)
The following section will discuss the practical designs implementing the mentioned theories and approaches to emphasize the depiction of human emotions and linguistics in their forms and spatial configurations. It starts with a detailed analysis of The Jewish Museum by Daniel Libeskind and then followed by Calgary Central Library by Snohetta to analyse the spatial configuration of libraries in the enhancement of user experience.
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3. CASE STUDIES
In order to better explain the practical implementation of the aforementioned theories, two case studies will be discussed in this section of the thesis. The analysis focuses on the user experience in buildings and how unique spatial configurations and forms are created in order to convey certain emotions and experiences to the user. The section starts first with The Jewish Museum in Berlin that practically conveys meanings and words within its features and walls and then followed byCalgary Central Library which better explains the optimization of circulation in libraries.
3.1. Case Study 1: The Jewish Museum; Berlin, Germany
The Jewish Museum is an extension of The Old Baroque building that opened its doors in 1933 to depict Jewish history but was closed off under Nazi rule. The Old Building opened its doors once again in 1975. The one-of-a-kind design by Daniel Libeskind is interpreting the emptiness and loss of the expulsion of Jews from Berlin. He turned that journey into an architectural experience that is unprecedent in its uniqueness. (The Libeskind Building, 2021)
3.1.1.General Overview
The Jewish Museum in Berlin finished construction in 1999 and officially opened its doors in 2001. Designed by studio Libeskind for a competition in 1988 on an area of 15,500 m2, the extension of the original Baroque building is officially called The Jewish Museum yet Daniel Libeskind refers to it as “Between the Lines”. Because his concept was to recount the Jewish-German invisible history through two lines of thinking which are organization and relationship. Figure (7) shows the exterior architecture of Libeskind’s building. (Pavka, 2010)
