Скачать презентацию Jewish Museum Berlin The Jewish Museum Berlin
About the Museum.pptx
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Скачать презентацию Jewish Museum Berlin The Jewish Museum Berlin
Скачать презентацию Jewish Museum Berlin The Jewish Museum Berlin
Jewish Museum Berlin
The Jewish Museum Berlin opened in September 2001. Two years earlier, the empty new building by architect Daniel Libeskind was an unexpected visitor attraction. In this section, we present the building complex in image and text: The Old Building – the baroque Collegienhaus, the postmodern Libeskind Building, the Glass Courtyard erected in 2007, and the new Academy opened in 2012.
The entrance to the Jewish Museum Berlin is through the former Collegienhaus (Old Building). Alongside the ticket counter, cloakroom, and visitor information desk, the Old Building houses the museum's temporary exhibition rooms, event rooms, the museum shop and Liebermann's restaurant. The two-story, three-winged house is built around a square courtyard to which a glass roof designed by Daniel Libeskind was added in 2007. The façade of the Old Building has a central projection; the triangular gable over the portal is decorated with the Prussian national coat of arms flanked by the allegorical figures for wisdom and justice – a lasting trace of the function the building originally served. Visitors to the Jewish Museum Berlin pass through this main portal.
The Libeskind Building The modern architectural elements of the Libeskind building comprise the zinc façade, the Garden of Exile, the three Axes of the German-Jewish experience, and the Voids. Together these pieces form a visual and spatial language rich with history and symbolism. They not only house the museum with its exhibits, but they also provide visitors with their own unique experience as they walk through the spaces. "The official name of the project is 'Jewish Museum' but I have named it 'Between the Lines' because for me it is about two lines of thinking, organization and relationship. One is a straight line, but broken into many fragments, the other is a tortuous line, but continuing indefinitely. " (Daniel Libeskind, 1998)
Lines Without Order? The Façade of the New Building "An irrational and invisible matrix" (Daniel Libeskind, 1995) The façade of the Libeskind Building barely enables conclusions to be drawn as to the building's interior, the division of neither levels nor rooms being apparent to the observer. Nevertheless, the positioning of the windows – primarily narrow slits – follows a precise matrix. During the design process, the architect Daniel Libeskind plotted the addresses of prominent Jewish and German citizens on a map of pre-war Berlin and joined the points to form an "irrational and invisible matrix" on which he based the language of form, the geometry and shape of the building.
Paths of German Jews: The Underground Axes The first and longest of these axes is the "Axis of Continuity. " It connects the Old Building with the main staircase (Sackler Staircase) which leads up to the exhibition levels. The architect describes the Axis of Continuity as the continuation of Berlin's history, the connecting path from which the other axes branch off. The "Axis of Emigration" leads outside to daylight and the Garden of Exile. On the way there, the walls are slightly slanted and close in the further one goes, while the floor is uneven and ascends gradually. A heavy door must be opened before the crucial step into the garden can be taken. The "Axis of the Holocaust" is a dead end. It becomes ever narrower and darker and ends at the Holocaust Tower. The glass cases on the way display documents and personal possessions testifying to the private and public life of their owners who were killed. All three of the underground axes intersect, symbolizing the connection between the three realities of Jewish life in Germany.
Exit in Confusion: The Garden of Exile attempts "to completely disorient the visitor. It represents a shipwreck of history. " (Daniel Libeskind, 1999) The Garden of Exile is reached after leaving the axes. Forty-nine concrete stelae rise out of the square plot. The whole garden is on a 12° gradient and disorients visitors, giving them a sense of the total instability and lack of orientation experienced by those driven out of Germany. Russian willow oak grows on top of the pillars symbolizing hope.
Скачать презентацию Jewish Museum Berlin The Jewish Museum Berlin
About the Museum.pptx