DANIEL LIBESKIND

•DANIEL LIBESKIND WAS BORN IN POSTWAR, POLAND•HE BECAME AN AMERICAN CITIZEN IN 1965•STUDIED ARCHITECTURE IN NEW YORK CITY AND GOT

GRADUATED IN 1970 FROM COOPER UNION FOR

ADVANCEMENT OF SCIENCE AND ART FROM NEW

YORK CITY•HE RECEIVED A POST GRADUATE DEGREE IN THEORY`

AND HISTORY OF ARCHITECTURE IN 1972 FROM THE

SCHOOL OF COMPARITIVE STUDIES, ESSEX ENGLAND

IN 1972•HE HAS TAUGHT IN VARIOUS UNIVERSITIES WORLD WIDE SUCH AS THE UNIVERSITY OF TORONTO AND THE UNIVERSITY OF PENNSYLVANIA

•His practice extends from building MAJOR CULTRAL ANDCOMMERCIAL INSTITUTIONS –INCLUDING MUSEUMS AND CONCERT HALLS- TO COMMUNITY CENTRE,UNIVERSITIES, HOTELS, AND SHOPPING CENTRES•HIS WORK HAS BEEN DISPLAYED EXTENSIVELY IN VARIOUS GALLERIES AND MUSEUMS

• DANIEL LIBESKIND WAS HIGHLY INFLUENCED BY CUBISM AND USED IDEAS OF CUBISM IN MANY OF HIS WORKS

• CUBISM IS AN ART OF FITTING UNLIKE

GEOMETRIC FORMS TOGETHER

• THIS BUILDNNG SHOWS HIS INFLUENCE

BY CUBISM

LIBRARY AT MAANTJE

DANIEL LIBESKIND IS A DECONSTRUCTIONIST ARTIST,

WHICH MEANS BUILDING RELATED TO CULTURE BUT MEANINGLESS

PROJECTS

• DANISH JEWISH MEUSEUM, COPENHEGAN DENMARK• WESTSIDE BERN SWITZERLAND• THE JEWISH MEUSEUM IN BERLIN • ROYAL ONTARIO MEUSEUM, TORONTO CANADA

ROYAL ONTARIO MEUSEUM,CANADA

DESIGN FEATURESOF DANIEL LIBESKIND

• BREAKING UP THE WHOLE INTO DISLOCATED PARTS AND JUXTAPOSING THEM INTO ARTFUL INFORMALITY

• ROTATIONAL INVERSION OF BIG SLABS INTO COLOURFUL, DISTORTED, PERSPECTIVAL COMPOSITION

• USE OF FLYING BEAMS IN HIS DESIGNS• HIS MODELS AND DRAWINGS TAKE MUCH OF

NEO- MODERN AESTHETICS TO THE EXTREME

BY USING FLYING BEAMS, TILED FLOORS AND

WALLS, AND EXCAVATIONS

USE OF FLYING BEAMS

USE OF TILED FLOORS AND WALLS IN JEWISH MEUSEUM

THE JEWISH MEUSEUM IN BERLIN

• THIS WAS ONE OF HIS EARLIEST PROJECTS• THIS ZINC COATED ZIGZAG BUILDING IS ONE OF THE BERLIN’S PROMINENT

LANDMARK BUILDINGS

•CONFRONTATION OF THIS BUILDING WITH THE ADJOINING CLASSICAL BUILDING NOT ONLY DEFINESTWO HIGHLIGHTS OF 20TH CENTURY ARCHITECTURE BUT ALSO REVEALS THE STRATIGRAPHY OF HISTORICAL LANDSCAPE AND EXEMPLARY EXPOSURE OF RELATIONSHIP OF JEWS AND GERMANS IN CITY

• HE ALSO USED THE CONCEPT OF ABSENCE,EMPTINESS, AND THE INVISIBLE EXPRESSION OF JEWISH CULTURE IN THE CITY

• HE DESIGNED THE FORM IN KINKED AND ANGLE SEQUENCE THROUGH THE BUILDING TO ALLOW THE VISITOR TO SEE SOME EMPTY SPACE WHICH HE TERMED AS “VOIDED VOIDS”

• THE IDEAS WHICH GENERATE THE PLAN OF THE BUILDING REPEATS THEMSELVES ON THE SURFACE OF THE BUILDING, WHERE VOIDS, WINDOWS, AND PERFORATIONS FORMS A SORT OF COSMOLOGICAL COMPOSITION ON A ZIG ZAG ZINC SURFACE

REAR VIEW OF MEUSEUM IN BERLIN

THE WESTSIDE, WESTERN BERNS

• THE EXTERIORS OF WESTSIDE

SHOWING THE INCLINED WALLS

AND USE OF DIFFERENT

MATERIALS

THE INTERIORS OF WESTSIDE

SHOWING THE USE OF FLYING BEAMS