In 1998 in Berlin, completed the task of making one of the areas most important museum in the world and particular history, tradition and invoice created to celebrate the life of art and culture of Jewish civilization Berlin and not to forget the terrible suffering, persecution and destruction imposed on this innocent people.
The Polish architect Daniel Libeskind's Jewish Museum with the work reaches a very high level of harmony between architectural design and museological organization, many are also references the source project that should be the star of David, to a musical work; list deportees in Berlin until the date of 1948.
Libeskind on this project also writes an essay entitled Between the Lines, "between the lines" that there are two lines of his thought, like those of every thought: a straight, but reduced to pieces, and a complex and articulated but infinite to indicate the dual relationship that exists, for example, between faith and action, between political belief and architectural response. The architect proposes
this dichotomy in the project where two different lines intersect with each other: one is to "zig-zag" lightning sign, hard and violent changes direction continuously and is not controlled geometry, arising from a hexagonal array distorted away memory of a five-pointed star, the other is a strongly perceived by the visitor empty strip which cuts the factory in the top two from the ground up, in a secluded space of linear translation of the Hebrew tradition and witness the drama of his absence.
The work is organized in five levels: the basement as well as areas for archives, deposits, facilities, safety, a permanent exhibition of Judisches true while the first floor is devoted to temporary exhibitions, the two upper levels contain rooms devoted to the history of theater, fashion, history of the city and the last floor is used as offices. The entire museum
outside is evenly covered with sheets of zinc with modular diagonal pattern, which characterized as a war machine, interrupted by explosive bursts of openings in contrast with the regularity of the height of the building.
The interior is enclosed by reinforced concrete walls in the face of the other walls white el'ortogonalità view is interrupted by dramatic asymmetrical openings all different.
The main entrance is located in the old museum next before falling back to the underground and visit the department's Jewish museum, and here three possible paths that intersect: one to the east leads to the exhibition, is the story of man ascends from roots into the future, this is made through a tunnel and a flight of steps ascending the last of which is tapered toward the bottom making it look even longer than it is the visitor who takes it and up its space is interrupted by square pillars arranged in an irregular way.
The other two paths cover the possibility that the history offered to the people jew: the extermination ol'esilio. The first tower symbolized by a closed, cold, without preconditioning, with a very very faint light from a trapezoidal cut-out of the sky, is called the Holocaust memorial, a place of anxiety and meditation. The other is a garden dedicated to the poet and composer ETA Hoffmann, a garden square that contains 47 square pillars and sloping cables which are the guns that are emblematic of the means of extermination which fall within the plants olive; all of this is a complex engine for our minds that makes us put everything into question.
The Polish architect Daniel Libeskind's Jewish Museum with the work reaches a very high level of harmony between architectural design and museological organization, many are also references the source project that should be the star of David, to a musical work; list deportees in Berlin until the date of 1948.
Libeskind on this project also writes an essay entitled Between the Lines, "between the lines" that there are two lines of his thought, like those of every thought: a straight, but reduced to pieces, and a complex and articulated but infinite to indicate the dual relationship that exists, for example, between faith and action, between political belief and architectural response. The architect proposes
this dichotomy in the project where two different lines intersect with each other: one is to "zig-zag" lightning sign, hard and violent changes direction continuously and is not controlled geometry, arising from a hexagonal array distorted away memory of a five-pointed star, the other is a strongly perceived by the visitor empty strip which cuts the factory in the top two from the ground up, in a secluded space of linear translation of the Hebrew tradition and witness the drama of his absence.
The work is organized in five levels: the basement as well as areas for archives, deposits, facilities, safety, a permanent exhibition of Judisches true while the first floor is devoted to temporary exhibitions, the two upper levels contain rooms devoted to the history of theater, fashion, history of the city and the last floor is used as offices. The entire museum
outside is evenly covered with sheets of zinc with modular diagonal pattern, which characterized as a war machine, interrupted by explosive bursts of openings in contrast with the regularity of the height of the building.
The interior is enclosed by reinforced concrete walls in the face of the other walls white el'ortogonalità view is interrupted by dramatic asymmetrical openings all different.
The main entrance is located in the old museum next before falling back to the underground and visit the department's Jewish museum, and here three possible paths that intersect: one to the east leads to the exhibition, is the story of man ascends from roots into the future, this is made through a tunnel and a flight of steps ascending the last of which is tapered toward the bottom making it look even longer than it is the visitor who takes it and up its space is interrupted by square pillars arranged in an irregular way.
The other two paths cover the possibility that the history offered to the people jew: the extermination ol'esilio. The first tower symbolized by a closed, cold, without preconditioning, with a very very faint light from a trapezoidal cut-out of the sky, is called the Holocaust memorial, a place of anxiety and meditation. The other is a garden dedicated to the poet and composer ETA Hoffmann, a garden square that contains 47 square pillars and sloping cables which are the guns that are emblematic of the means of extermination which fall within the plants olive; all of this is a complex engine for our minds that makes us put everything into question.
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