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The Jewish Museum is conceived as an emblem in which the Invisible and the Visible are the structural features which have been gathered in this space of Berlin and laid bare in an architecture where the unnamed remains the name which keeps still
Jewish Museum Berlin Daniel Libeskind Between the Lines Emma e. scarmack Jewish Museum Berlin Jewish Museum Berlin “The Jewish Museum is conceived as an emblem in which the Invisible and the Visible are the structural features which have been gathered in this space of Berlin and laid bare in an architecture where the unnamed remains the name which keeps still.” Daniel Libeskind Location: Berlin, Germany Design: Daniel Libeskind Competition: 1989 Completion: 1999 Opening: 2001 Client: Land Berlin Net Area: 120, 000 sq. ft. Structure: Reinforced Concrete with Zinc Facade Building Cost: USD 40.05 million Four Story Building Shortest Elevation Parallels and Breaks the Lindenstrasse frontage: and entrance to the site. Overview Jewish Museum Berlin The Jewish Museum Berlin was originally founded on Oranienburger Straße in 1933. It was closed in 1938 by the Nazi regime 6 The idea to revive the museum was rst voiced in 1971, and an “Association for a Jewish Museum” was founded in 1975 4 An international jury headed by Josef Paul Klei- heus reviewed 165 submissions and awarded rst prize to Daniel Libeskind 4 The aim of the project was a critical recon- struction of the historical city plan, using contemporary architectural means Competition for the design of the new build- ing was held in 1989, building was complet- ed in 1999 but ofcially opened in 2001 4 Site The Jewish Museum marks a special point on the map of Berlin. Its located at the intersec- tion of Markgrafenstrasse and Lindenstrasse lies on the edge of Friedrichstadt 6 Markgrafenstrasse, paralleling Friedichstrasse, connects the main museum with Gendarmen- markt, the most important square in the for- mer Royal Residence 6 The area exhibits a compelling key of histori- cal buildings and architectural styles consisit- ing of Karl Schinkel’s Schauspielhaus, or The- ater, Carl von Gontard’s two tower structures, and Daniel Libeskind’s Jewish Museum The location is an area near the Wall: These designs try to help create a new language for Berlin while responding to the fragmentation and segregation of the area. Site Plan Fourfold Concept Structure 1_The site is the new-old center of Berlin on Linderstrasse 6 Libeskind at the same time felt there was an invisible matrix of connections between the gures of Jews and Germans 4 Libeskind plotted an “irrational matrix” which resembled a distorted star: the yellow star that was worn often on this very site 4 2_To complete the opera by Schonberg: “Moses and the Aaron” architecturally 4 3_To give dimension to the deported and missing Berliners 4 Libeskind inspired by the ‘Gedenbuch’ which contains all the names, dates of births, and places/dates of deporation and/or deaths 4_Incorporated Walter Benjamin’s text ‘One Way Street’ into the continuous sequence of 60 sections along the zigzag, each represent- ing of the ‘Stations of the Star’ 4 Diagram of distorted star matrix Program The Jewish Museum goes under the existing building and crisscrosses underground Externally the buildings are independent of one another Three Underground ‘roads’ are programatically different 1_ The longest road leads to the main stair, to the exhibition spaces of the Jewish Museum 4 2_Leads to the exterior Hoffman Garden and represent exile of the Jews from Germany 4 3_Leads to the dead end: the Holocaust Void 4 Underground Floor Plan Ground Floor Plan Cutting through the form of the Jewish Museum is a void, a straight line forms the space the exhibitions are organized around 4 Visitors cross sixty bridges to cross from one space to another 4 Zig-Zag best desicribes the form: two linear structures, combined to form the body of the building Section through great stair which links galleries Section through Die Leere East/West section through galleries Sections [...]... Museum, with the Jewish Museum .12 (Aug 1990): 18-57 < http://links.jstor.org/sici?sici=0889-3012%28199008%290%3A12%3C18%3ABTLETT%3E2.0.CO%3 B2-6> 3) Libeskind, Daniel Jewish Museum Berlin Ruksaldruck, Germany: Studio Libeskind, G + B Arts International, 1999 4) Libeskind, Daniel “The Jewish Museum Berlin: Between the Lines.” Daniel Libeskind 18 April 2007 < http://www .daniel- libeskind. com/projects/pro.html?ID=2>... importantly, LIbeskind poses the question, how do we deal with the scars from the past? Final Thought 1) Hanson, Brian and Nikos Salingaros “Death, Life, Libeskind. ” The Cause of Architecture: Architectural Record February 2003 18 April 2007 < http://archrecord.construction.com/inTheCause/020 3Libeskind/ libeskind- 2.asp> 2) Libeskind, Daniel “Between the Lines: Extension to the Berlin Museum, with the Jewish. .. 2007 < http://www .daniel- libeskind. com/projects/pro.html?ID=2> 5) Toy Maggie and Charles Jencks New Science = New Architecture New York: Academy Group Ltd., 1997 6) Schneider, Bernhard Daniel Libeskind: Jewish Museum Berlin New York: Prestel, 1999 Footnotes ... Holocaust Tower Close-up of the zinc clad exterior of the museum The windows bear no relationship to the division of floors within the building The Holocaust Tower, a concrete, freestanding structure Extra Photos The structure of this building goes far beyond the physical realm It addresses the social structure of Berlin and the absence of Jews in Berlin Libeskind creates a dialogue between the past and... the critical mass of the object In time the shine of the zinc will dull down to blue-grey 4 Zinc Cladding Libeskind got the idea to use zinc from Schinkel 2 In Berlin untreated zinc turns a beautiful blue-gray 5 Materials used enabled Libeskind to bring the total cost below the original budget 4 Libeskind s obsessive perfectionism of the detail is everywhere evident Secondary steps Stair Parapets Handrails... tracked within preplanned recesses in ceilings Overall, oridinary materials and products were used Materials Cross section showing relationship of museum and Holocasut Tower Structure The Jewish Museum has sharp, angular shards, with gravitydefying walls 1 Libeskind reproduces the horridity of the Concentration camps by using high-tech materials to define a specific geometry 5 This geometry is intended... reinforced concrete in the Jewish Museum is the openings of the windows or doors could be made at any width and height 6 There are also no columns to allow for larger, uninterruped spaces The concrete is reinforced to give it extra strength, without the reinforcement the museum would collapse Both precast concrete and insitu concrete were used in the construction of the museum 6 The reinforcement bars... heavy black steel door into the Holocaust Tower 6 It is a void outside the museum building It is a bare concrete tower 24 meters high 6 It isn’t heated, airconditioned, or insulated 6 It is lit by a single narrow slit high above the ground 6 Noises from the outiside can be heard 6 The bare and empty tower pays tribute to the numerous Jewish victims of mass murder Interior View Holocaust Tower Elevations... It is a a museum for all Berliners, all citizens 6 It is an attempt to give a voice to a common fate 6 The extension is conceived as an emblem of Hope 4 The void and the invisible are the structural features 6 In terms... tangible order and form to a building sized sculpture through structural, geotechnical and civil building services Some of the interior walls are sloped at angles so acute it’s impossible to hang artwork 6 Libeskind makes it impossible to perceive the whole structure in standard terms: invisible almost Structure Due to the severly angled walls in some locations it was decided that a steel reinforced concrete