Professional Documents
Culture Documents
1 Introduction
Daniel Libeskind was born in Poland in 1946 but
became an American citizen in 1965. After studying
music for several years in Israel, Libeskind returned to
the United States, where he became interested in
architecture. He completed his studies, and even
studied abroad for two years in Great-Britain. In 1985,
he won the Leone di Petra award in the Venice
biennale. In 1988, he took part in the exhibition of the
Deconstructivist architects in New Yorks Museum of
Modern Art. Then, from 1989 to 1998, he worked on
the realization of the Berlins Jewish Museum.
Daniel Libeskind has his own company: Studio Daniel
Libeskind, based in Berlin. He is also teaching
Architecture since 1994 in Los Angeless University.
He often still works on projects linked with Judaism
and the Shoah (San Franciscos Jewish Museum and
the Shoahs center in Manchester).
1.1 Deconstructivism
Deconstructivism in architecture is also called
deconstruction. It began in the late 1980s as a
development of postmodern architecture. Just like
postmodernism, it contests the methodical rationality
of modern architecture. Although, the Deconstructivist
basis are completely different as they totally break with
history, society, site and traditions.
The movement is characterized by ideas of
fragmentation, an interest in non-rectilinear shapes
which lead to the distortion and dislocation of some
elements of architecture, like the envelope or the
structure. The finished visual appearance of buildings
using the Deconstructivist style is characterized by a
stimulating unpredictability and a controlled chaos.
The reaching point in Deconstructivism is to move
architecture away from the constricting 'rules' of
modernism such as form follows function, purity of
form, and truth to materials.
The first Deconstructivists were influenced by the
ideas of the French philosopher Jacques Derrida. His
3.2 Composition
Lets now look more closely to the composition.
The composition, in spite of being modern and
Libeskind style ,respects classic rules like hierarchy,
use of shapes from the same formal family and
articulated volumes. Each of the three volumes which
3.3 Textures
There are two main materials used for the structure:
concrete used for zigzagging walls from the
basement and the first floor; and metal used for the
roofs of the Earth and Water Shard and for the Air
Shard, which is like a huge tube. For the exterior
cladding they used aluminium panels. From a distance
it is perceived as an enormous uniform gray skin. The
muted colors of aluminum and exposed concrete
follow the camouflage patterns used by the military.
So, the building is perfectly camouflaged in the lifeless
urban tissue which it belongs to. At a closer look you
can perceive the joints between the aluminum plates,
and the imprints of reinforced concrete.
Excepting a few window strips the building is almost
opaque- like a prison.
4 Structure
The buildings structure is of steel on concrete, with
an aluminum faade. In the main exhibition hall, the
steel posts are hidden behind slanted walls that divide
the interior space in smaller exhibition areas. Even if
the structural system is not apparent to the naked eye,
at a closer analysis of the buildings plans, its role in
the interior arrangement of spaces becomes obvious.
The structural grid becomes a reference point in the
setting of the walls. Dividing the interior space is a
game of connecting dots. In this case the structure has
to be hidden because the accent has to fall upon the
exhibits.
The situation in the Air Shard is, however, very
different. In this case the space frame which supports
the building becomes a display in itself. While taking
the elevator to the outlook platform at the top of the
building, one travels through a maze of beams and
posts. The structure becomes the main character in this
particular play, it captures the eye as well as the
imagination, and it is in itself an engineering marvel.
5 Interior space
The building is made up of three main areas. The Air
Shard, which houses the main entrance and a viewing
platform set at a height of 29 meters; the Water Shard,
in which you can find a restaurant; and last but not
least the Earth Shard, which houses the main exhibition
area.
followed by the 1919-1938 period, 1939-1945, 19461990, and last but not least the 1990 to the present day
period. The exhibition itself is made up of six silos
which tackle subjects such as the legacy of war and the
experience of war; large objects including a T34 Tank
and a Harrier Jump-Jet; time stacks, which give you a
general overview of the era in question; and action
stands, which are interactive displays that visitors can
use.
6 Social impact
The Imperial War Museum North is about people and
their stories, about how life used to be, and perhaps
still is, shaped by war and conflict. It describes the life
and the feelings of the people behind the scenes, the
ones who were fighting, the ones that suffered, or the
ones who were caught in the middle. The accent falls
on the feeling - the idea of imagining how it all
happened- and how war affected the lives of British
and Commonwealth citizens since 1914.
6.1 Education
It doesnt celebrate war, but it shows the difficulty of
attaining peace[6] . Therefore, it is a center with free
admission where both children and grownups can learn
about war, about the political conflicts, about what
influenced them and how they were resolved, about
sacrifice, anger and fear. The intention is not to trace
history, but to transform the visitors experience from a
passive one of gazing onto objects, into one where
artifacts and interpretation are used to stimulate
questions and conversation.
6.2 Volunteering
Supporting Imperial War Museum North's educational
goals, the museum has operated a volunteer program
since opening in 2002. The program seeks to engage
local people at risk of social exclusion. Originally
based on a National Vocational Qualification, the
program was revised and relaunched in 2004, and
consisted of a basic cultural heritage course, providing
opportunities to develop academic skills and improve
confidence, and to support individuals seeking to return
to employment. In return volunteers work in the
museum's public spaces as part of the front of the
house teams.
7 Concluzion
By analyzing Libeskinds work, we have been able to
find several themes and concepts that he seems to
prefer. The theme of war, destruction, but most
importantly, of survival, seems to be one of his
favorites. The real genius of his work resides in the
way he manages to find the goodness and the spiritual
aspects even in the worst situations imaginable.
Due to its many qualities, the museum has become one
of the most popular visitor attractions in the northwest, already receiving over 1.700.000 visitors. People
like it, and what happens in it. They like it because it is
dynamic, because it changes attitude and experiments
with their feelings.
The shape of the museum is the result of the influence
of three factors. The most important is the great vision
of the architect about war and its effects. Determinants
were also the financial constrains and the specific
manner of Libeskind to imagine the space.
Like it or not, the building is a national cultural
institution, a record of who we are and what we have
been, a generator and guardian of shared mythology. It
must surely therefore be something and mean
something
more
than
another
afternoon's
[7]
entertainment, another film on the box.
While visiting it, you experience fear, a world of
insecurity and frustration that others lived in for years.
You learn to appreciate your life and the life of others,
and may find yourself very lucky to live nowadays.
Because of the whole experience, youre point of view
referring to history, life, sacrifice, patience and people
will definitely change. It wont make you a better
person, but it will surely help you understand the way
things happen, how few people control millions of
innocent lives, and that there is nothing you can do to
change it.
Interactive museum are a necesity for the survival of
the program. This seems to be the trend of our
generation. Kurt Cobain said it best: I feel stupid and
contagious / Here we are now , entertain us.[8]
Note bibliografice:
Bibliografie:
[1] http://ooo.nl/libeskind/home.htm
[2] http://www.daniel-libeskind.com/projects/showall/imperial-war-museum-north/
[3]http://www.daniel-libeskind.com/media/singleview/period/1289134927///browse/2/article/353/impe
rial-war-1/
[4] Idem
[5]http://www.jsrussellwriter.com/plopurbanism.html
[6] Idem
[7]http://findarticles.com/p/articles/mi_m3575/is_127
1_213/ai_97232974/pg_2/
[8]http://www.lyricsfreak.com/n/nirvana/smells+like
+teen+spirit_20101055.html