Daniel Libeskind in Conversation with Paul

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Daniel Libeskind in Conversation with Paul

8 110 COUNTERPOINT: DANIEL LIBESKIND MILITARY HISTORY MUSEUM IN CONVERSATION WITH PAUL GOLDBERGER Dresden, Germany 22 122 JEWISH MUSEUM BERLIN GRAND CANAL SQUARE THEATRE AND Berlin, Germany COMMERCIAL DEVELOPMENT Dublin, Ireland 40 EDITORIALE BRESCIANA TOWER 130 Brescia, Italy ROEDINGSMARKT Hamburg, Germany 46 WESTSIDE SHOPPING AND LEISURE CENTER 136 Brunnen, Switzerland CREATIVE MEDIA CENTRE Hong Kong 58 HAEUNDAE UDONG HYUNDAI I'PARK 146 Busan, South Korea RIVERSTONE Incheon, South Korea 66 DANISH JEWISH MUSEUM 154 Copenhagen, Denmark JERUSALEM ORIYA Jerusalem, Israel 76 THE ASCENT AT ROEBLING'S BRIDGE 162 Covington, Kentucky REFLECTIONS Keppel Bay, Singapore 84 EXTENSION TO THE DENVER ART MUSEUM, 172 FREDERIC C. HAMILTON BUILDING MGM MIRAGE CITYCENTER Denver, Colorado Las Vegas, Nevada 100 182 DENVER ART MUSEUM RESIDENCES LONDON METROPOLITAN UNIVERSITY Denver, Colorado GRADUATE CENTRE London, England 190 EXTENSION TO THE VICTORIA AND ALBERT MUSEUM London, England Bibliografische Informationen digitalisiert durch http://d-nb.info/990501841 gescannt durch 198 300 IMPERIAL WAR MUSEUM NORTH PROPORTION Manchester, England 304 214 THE WOHL CENTRE FIERA MILANO Ramat Gan, Israel Milan, Italy 314 226 THE CONTEMPORARY JEWISH MUSEUM 18.36.54 San Francisco, California New Milford, Connecticut 326 234 TANGENT MEMORY FOUNDATIONS Seoul, South Korea New York, New York 336 250 GAZPROM HEADQUARTERS NEW YORK TOWER St. Petersburg, Russia New York, New York 344 264 ROYAL ONTARIO MUSEUM FELIX NUSSBAUM HAUS Toronto, Canada Osnabruck, Germany 358 274 THE L TOWER AND SONY CENTRE FOR THE MEMORIA E LUCE PERFORMING ARTS Padua, Italy Toronto, Canada 282 364 TOUR SIGNAL, LA DEFENSE HERMITAGE-GUGGENHEIM VILNIUS MUSEIM Paris, France Vilnius, Lithuania 292 376 STUDIO WEIL ZLOTA 44 Port d'Andratx, Spain Warsaw, Poland 388 Credits.

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Libeskind's Jewish Museum Berlin
Encountering empty architecture: Libeskind’s Jewish Museum Berlin Henrik Reeh Preamble In Art Is Not What You Think It Is, Claire Farago and Donald Preziosi observe how the architecture of contemporary museums inspires active relationships between exhibitions and visitors.1 Referring to the 2006 Denver Art Museum by Daniel Libeskind, they show the potentials germinating in a particular building. When artists and curators are invited to dialog with the spaces of this museum, situations of art-in-architecture may occur which go beyond the ordinary confrontation of exhibitions and spectatorship, works and visitors. Libeskind’s museum is no neutral frame in the modernist tradition of the white cube, but a heterogeneous spatiality. These considerations by Farago and Preziosi recall the encounter with earlier museums by Libeskind. Decisive experiences particularly date back to the year 1999 when his Jewish Museum Berlin was complete as a building, long before being inaugurated as an exhibition hall in 2001. Open to the public for guided tours in the meantime, the empty museum was visited by several hundred thousand people who turned a peripheral frame of future exhibitions into the center of their sensory and mental attention. Yet, the Libeskind building was less an object of contemplation than the occasion for an intense exploration of and in space. Confirming modernity’s close connection between exhibition and architecture, Libeskind’s Jewish Museum Berlin unfolds as a strangely dynamic and fragmented process, the moments of which call for elaboration and reflection. I. Architecture/exhibition Throughout modernity, exhibitions and architecture develop in a remarkably close relationship to one another.
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