Der „Zwischenraum“ als Ort des (leeren) Unsichtbaren: Abt Suger von St.-Denis, Jan van Eyck und Daniel Libeskind

2021 ◽  
pp. 17-50
Author(s):  
Matthias Müller
Keyword(s):  
Daniel Libeskind

scholarly journals A FORMA DIDÁTICA E A DIDÁTICA DA FORMA: EXPLICITAÇÃO DE SABERES ARQUITETÔNICOS A PARTIR DO CASO DA FACHADA DO MUSEU MILITAR DE DRESDEN

2020 ◽  
Vol 4 (15) ◽  
Author(s):  
Nathalia Teixeira Gnutzmann ◽  
Adriane Borda ◽  
Valentina Toaldo Brum
Keyword(s):  
Daniel Libeskind

De interesse formativo no campo da geometria gráfica aplicada à arquitetura, utiliza-se a teoria da transposição didática para explicitação de saberes científicos e profissionais que auxiliam na compreensão da associação entre forma e conceito junto à prática arquitetônica. Hipóteses são elaboradas sobre os saberes envolvidos em um caso de projeto: uma intervenção na fachada principal do Museu Militar de Dresden, realizada por Daniel Libeskind. As relações formais da intervenção e da preexistência, a históriado lugar e a narrativa do arquiteto, deram indícios sobre a adequação deste caso para a estruturação de um desenho didático capaz de explicar os ajustes formais a partir de um conceito. Diagramas geométricos são produzidos e algoritmizados por desenho paramétrico. Elementos da Gestalt são utilizados para decifrar o controle de parâmetros da intervenção. O resultado refere-se a uma maneira didática de associar geometria e psicologia para inferir sobre sensações visuais provocadas pela intervenção na fachada.Palavras-chave: transposição didática, geometria, parametria, gestalt, Museu Militar deDresden, Daniel Libeskind.

scholarly journals DANIEL LIBESKIND E O MUSEU JUDAICO DE BERLIM

2017 ◽  
Vol 1 (Especial) ◽  
pp. 155-160
Author(s):  
Korina Costa ◽  
Andre Damaceno ◽  
Thais Espolador ◽  
Joyce Rodrigues ◽  
Yohan Turi
Keyword(s):  
Daniel Libeskind

scholarly journals Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture

2019 ◽  
Vol 23 (3) ◽  
pp. 210-224
Author(s):  
Elizabeth M. Merrill
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Public Forum ◽  
Museum Architecture ◽  
Art And Culture ◽  
Frank Gehry ◽  
Daniel Libeskind ◽  
Temporary Exhibitions

As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

scholarly journals Eye trackers in evaluation of transformation of historical monuments. Revitalisation of the Dresden arsenal

2018 ◽  
Vol 49 ◽  
pp. 00092
Author(s):  
Marta Rusnak ◽  
Joanna Szewczyk
Keyword(s):  
Military History ◽  
Eye Tracker ◽  
History Museum ◽  
Historical Monuments ◽  
Historic Monuments ◽  
Architectural Research ◽  
Suitable Object ◽  
Daniel Libeskind ◽  
The Way

The paper concentrates on the application of an eye tracker as a tool used to evaluate the successfulness of transformations of various historic monuments for modern purposes. An eye tracker as a device capable of registering the path of one’s gaze makes it possible to analyze the way in which people perceive a given architectural object - in the case of this paper it is the former Dresden Arsenal, now known as the Bundeswehr Military History Museum. Since Daniel Libeskind, the architect behind the transformation, clearly defined the impression he what to achieve and the building provokes significant controversies, it was decided that it would be a suitable object for such a study. The survey was meant to find out whether the changes introduced by Libeskind actually helped him achieve the intended goal. The participants of the survey were shown images of the Arsenal’s façade from before the transformation, after the transformation in the daytime and after the transformation, but at night, with the illumination turned on. The paper not only shows and analyzes differences in the way people perceive these three images, but also raises a question as to the potential of eye trackers as tools used in architectural research.

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