THE JEWISH MUSEUM DANIEL LIBESKIND
BOOKLET OF THE JEWISH MUSEUM
A SARCASTIC ARCHITECTURE OF A HISTORY
CONTENT
03 Introduction Dainel Libesind 05 Site Location Berline, Germany 07 History Holocaust 1941-1945 10 Design Concept Jewish Museum, Berline 11 Elevation & Section 14 The Voids & Axes 15 Meanings The Three Axes 18 Construcion Diagrams 19 Explode Diagram 23 Diagrams Site Analysis 27 Building's Photos
Da niel Lib esk in d INTRODUCTION
STYLES
Daniel Libeskind is one of the most
Daniel Libeskind is widely regarded
diverse and multifaceted figures
as a reference figure especially
in the world of contemporary
for what concerns the relationship
c r e a t i v i t y. L i b e s k i n d h a s a c t u a l l y
b e t we e n a rc h i t e c t u re a n d h i s t o r y,
created an impressive ensemble of
including the design of historical
different works, from architec tures
museums, of course.
to objects of design, from art installations to abstract artworks. Much of Libeskind's work is instantly The rich personality of Libeskind possibly originates from his personal history and diverse cultural background. Born in Lód’z, Poland, in 1945 from Jewish parents, he first moved to a kibbutz in Israel and t h e n , i n 1 9 5 9 , t o N e w Yo r k C i t y . Before choosing architecture as his main profession and graduating at the Cooper Union, Libeskind was a violin vir tuoso who also played together with a young Itzhak Perlman.
recognizable for its angular forms, intersecting planes, and frequent u s e o f d i a g o n a l l y - s l i c e d w i n d o w s, a style that he has used to great effect in museums and memorials— b u t w h i c h h e h a s e q u a l l y a d a p te d to conference centers, sk yscrapers, and shopping malls.
1999
Jewish Museum Berlin
2001
Imperial War Museum North
2004
THE ASCENT AT ROEBLING’S BRIDGE
2008
LONDON METROPOLITAN UNIVERSITY
2010
MILITARY HISTORY MUSEUM
01
SI T E LO C AT ION LindenstraBe 9-14, 10969 Berlin, Germany The Jewish M useum is located in G er many, nex t to the main road, LindenstraBe.
Mehringplatz, the Peace
Co l u m n , a l a n d m a r k o f B e r l i n & B r u n n e n a m J ü d i s c h e n Museum is also near to the Jewish museum.
LindenstraBe 9-14, 10969 Berlin, Germany
02
HI S TORY B E HI ND
THE HOLOCAUST I n 1 9 3 3 H i t l e r ’s N a z i to o k p owe r i n G e r m a ny. Th i s e ve nt u a l l y l e a d to t h e institutionalized genocide of the jewish people in europe. Of the 9 million jews that lived in europe at the time, around two-third of them were mass murdered by gas, starvation, disease, and hopelessness. Jewish presence in Berlin dates back to 13th centur y, and while they were not always accepted within nor mal societ y, they star ted percolated into all sectors of society from science to business. And yet,the W WII germans allowed their collectivization, and deportation to take them to the graves
AFFECTED THE DESIGN The Jewish Museum in Berlin is both a tribute celebrating the accomplishments of the Jews in Berlin, as well as a memorial remembering what should never occur again.
I n 1987, the Berlin government organized an anonymous competition for an expansion to the original Jewish Museum in Berlin that opened in 1933. The program wished to bring a Jewish presence back to Berlin after WWII. I n 1988, Daniel Libesk ind was chosen as the winner among several other internationally renowned architec ts; his design was the only projec t that implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust.
Daniel Libeskind ' ' Th e o f f i c i a l n a m e o f t h e p ro j e c t i s 'J e w i s h M u s e u m' b u t I h ave n a m e d i t ' B e t we e n t h e L i n e s ' b e c a u s e fo r m e i t i s a b o u t t wo l i n e s o f t h i n k i n g, o r g a n i z a t i o n a n d r e l a t i o n s h i p. O n e i s a s t r a i g h t l i n e , b u t b r o k e n i n t o many fragments, the other is a tortuous line, but continuing indefinitely. ''
03
DE S I GN CO N C E PT
Star of David
Streching
Cutting
Rotate & Squeezing
Distort & Fold
Form Generated
ELEVATION
SECTION
04
A R CH ITE C TU R A L DR AW IN G S
Daniel Libeskind '' Only through acknowledgment of the erasure and void of Jewish life can the history of Berlin and Europe have a human future. ''
05
T H E VOI DS & 3 AXE S
Access through the Kollegienhaus
Interior Memory Void
Axis of Garden Exile
Axis of Holocaust Tower
Axis of Continuity
06
ME A N IN G S TH E 3 AX E S
THE CONTINUITY It leads to the Stair of Continuity & the exhibition spaces of the museum. The architect emphasizes the continue of history through this path.
DEATH It leads to a dead end, the Holocaust Tower, which has no entrance. It sarcastics the history, the Holocaust.
EXILE It leads out of the building & into the Garden of Exile and Emigration. It helps people to remember those who were forced to leave Berlin.
Daniel Libeskind '' We
live
c o m i n g
in
b a c k
a
time t o
of
l i f e ,
renaissance a f t e r
a
l o n g
...
cities
are
n e g l e c t .
' '
07
CO N S T RU C T I O N DI AGR AM S
Vertical Structure Walls
1st Horizontal Concrete Slab
2nd Horizontal Concrete Slab
3rd Horizontal Concrete Slab
Zinc Facade
08
E XPLO D E D IAGR AM S C IR C U LAT IO NS OLD BLOCK GROUND LEVEL -Entrance -Cloak Room -Glass Courtyard -Entrances to garden -Cafe -Museum shop 1st LEVEL -Special Exhibition
NEW BLOCKS BASEMENT -Learning Center -Axes -Garden of Exile -Holocaust Tower Ground LEVEL -Eric. F. Rose Gallery -Memory Void 1st LEVEL -Premanent Exhibition 2nd LEVEL -Premanent Exhibition
Daniel Libeskind '' We often judge cities by great public buildings. But we admire great cities b e c a u s e p e o p l e l i v e t h e r e i n a b e a u t i f u l w a y. Yo u h a v e t o t h i n k a b o u t how each person will live there; you can't just think about abstract ideas. ''
09
A R C H I T E C T U R AL DI AG R AMS
CIRCULATIONS
MAIN ROADS
SIDE ROADS
The museum is easily accessible that situated in convenient location, surrounded by the main traffic road and side roads.
LANDSCAPE
GREEN AREAS (GRASSES)
The museum is surrounded by lots of greeneries, trees and shrubs.
LANDUSE ZONING
COMPOSITE BUILDINGS
RESIDENTIAL BUILDINGS
MUSEUM
The buildings near by are mostly multi-functional buildings and residential area.
MATERIALS
CONCRETE
BRICKS & CONCRETE
ZINC & CONCRETE
BRICKS & GLASS
The buildings in the district are mostly concrete, bricks with concrete. For the museum, old block is applied with bricks and glass. The new one with zine and concrete.
10 PHOTO S
fig. 1
fig. 2
feel the history of Jewish people in Germany full of difficulties and challenges.
fig. 3
fig. 4
fig. 1
fig. 2
fig. 3
fig. 4
PUBLISH ED & GR AP HI C DE S I GN E D BY
YEUNG HOI SUET 173401121
CHOW SUM YIN 1734011108
CHEUNG LIT FUNG 173401103
CHING TUNG YEUNG 173401602
TO CHI WAI 173401119
KO HANG MAN 173401112
RE FE RE N C E S T U DI O L I B E S K I N D
Daniel Libeskind '' Architecture is not just for the moment, it is not just for the next fashion magazine. ''
Copyright © 2019 by group of THE JEWISH MUSEUM
