Architectural concepts and

their manifestation
Theories of Architecture
Addition to the Jewish
Museum
Overview
Location Berlin,
Germany
Design Daniel Libeskind
Competition 1989
Completion 1999
Opening 2001
Client Land Berlin
Net Area 120, 000 sq. ft.
Structure Reinforced
Concrete

it! "inc #acade

uilding Cost $%D &0.0'
million
#o(r %tory B(ildin)
!The Jewish Museum is conceived as an em"lem in
which
the #nvisi"le and the $isi"le are the structural
features which
have "een gathered in this space of erlin and laid
"are
in an architecture where the unnamed remains the
name
which %eeps still.&
'Daniel Li"es%ind
The Lines
Libeskind felt there was an invisible
matrix
of connections between the figures of
Jews
. and Germans
The architect plotted an IRRATIONAL
ATRI!
. which resembled a distorted star
the "ellow star that was often worn on
. this site
To give dimension to the deported
, and missing #erliners conceptuall"
Libeskind makes , the invisible
visible b" tr"ing to
trace the Jewish presence in #erlin s
, sk"
Design Conceptuali(ation
. Tra$ectories between points A#
. The #erliner Luft the air across #erlin
%risscrossing Jewish and German
. histor" lines
Design Conceptuali(ation
. &tar evolving into a 'ig'ag
%ombination of the invisibilit" of the Jews and the histor" lines of Jews
and Germans
New vs Old
, It is a museum for all #erliners all
. citi'ens
It is an attempt to give a voice to a
. common (ate
The extension is conceived as an emblem of
. )ope
The void and the invisible are the
. structural (eatures
, In terms of the cit" the idea is to give
new value to the existing context
New vs Old
Garden of *xile
Tower
of &ilence
Old useum
New useum
. The +oids represent the central structural element of the New #uilding
, (rom the Old #uilding a staircase leads down to the basement through a +oid
of bare concrete
. which $oins the two buildings
uilding Configuration
(ive +oids run verticall"
through
the new building
,alls of bare concrete
Not heated or air conditioned
Largel" without artificial
light
A)is of *)ile + A)is of
,olocust
Axis of *xile
Axis of )olocaust
-arden of *)ile
- (ort" nine concrete stalea rise out of the s-uare plot
The whole garden is at ./ gradient meant to disorient visitors with a sense
. of total instabilit" and lack of orientation
Those driven out of German" Oleaster grows on top of
. pillars s"mboli'ing hope
Tower of Silence
The Axis of the )olocaust leads
through a heav" black steel door into
. the )olocaust Tower
It is a void outside the museum
. #uilding
It is a bare concrete tower /0 meters
. high
, - , It is not heated air conditioned or
. Insulated
It is lit b" a single narrow slit high
. above the ground
. Noises from the outside can be heard
The bare and empt" tower pa"s tribute
to the numerous Jewish victims of mass
. murder
The structure of this "uilding goes far "e.ond the ph.sical realm.
#t addresses the social structure of erlin and the a"sence of Jews in
erlin.
Li"es%ind creates a dialogue "etween the past and the present of the
,olocaust/ and most importantl./ Li"es%ind poses the 0uestion/ how
do we deal with the scars from the past1
Machine 2 a e)pression
into architecture
!Machine contains within its self
the factor of economy/ which
ma%es for selection.&
)ouse is a machine to live in
. A beaut" of more technical order
. An aesthetic nearer to its original origins
L* %OR#1&I*R
TO,AR2& A N*, AR%)IT*%T1R*
A standard is definitivel. esta"lished ".
e*+eriment
3arthenon is a product of selection applied to
a standard.
Architecture operates in accordance with
standards.
&tandards are a matter
, of logic anal"sis and
; minute stud"
the" are based on a problem which
. has been well defined
,uman od. 2 A machine
etabolists . tried to connect the workings of the human bod" to that of a machine
. This led to a brief age when brutalist architecture and evolutionar" buildings came up
Living *)ample
& - 4amanashi 3ress #roadcasting %entre 5en'o Tange Japan
, , Just like Le %orbusier (orm follows function the idea of *TA#OLI&
. confirmed to its principle
, *mbedded in the premise is the -uestion of aesthetics language and
. st"le
Capsule Tower 2 a memor.
- N akagin % apsule Tow er 5 isho 5urokaw a Tok"o Japan
. The % apsule tow er had m odules that w ere m achines m ade to hum an scale
Li"es%ind3s Three Lessons in
Architecture.
4eading Machine
" Teaches an almost forgotten process
, of building a process which is in its
own wa" not "et full" unfolded in
. Architecture
, The wheel revolves and in completing
a revolution returns to its starting
point while exposing its own
. uselessness and kinetic beaut"

" " , *xecuted in a medieval manner with
glue less $oints and using no energ"
, of a contemporar" kind this machine
represents the triumph of spirit over
; . matter of candle light over darkness
, It is made solel" from wood as are
." the books
Memor. Machine
" ( The emor" achine dedicated to
) *rasmus consists of the backstage
- onl" the spectacle takes place
. wholl" outside of it

" " , 2one in a Renaissance st"le of being
the emor" achine abounds in the kind
of inventiveness and caprice that we
. associate with the Odradek

This pro$ect represents the stage of
Architecture7s appearance and is a
. testament to its own manifestation
ade of wood also are the eighteen
, subordinate spectacles which include
" ". : the schi'ophrenic forum %olourless
the blood" red illuminates the shin"
exterior of an inner sanctum dedicated
. to what remains nameless etal is
- used exclusivel" for non structural
, reasons related as it is to light
. ." itself Ropes are used throughout
5riting Machine