“THE POETRY OF BREAKING”: THE ARCHITECTURE OF THE MUSEUM IN THE PROJECTS OF DANIEL LIBESKIND

Raising of problem. The study of the creativity of masters of architecture of the late XX − early XXI centuries, as a rule, occurs in line with the consideration of the characteristic features inherent in one or another author. Most of the scientific works state that the structure belongs to a certain trend, direction, style. But the choice of artistic means by the architect remains unclear, which is reflected in the discrepancy between the figurative solution and the purpose of the building in the perception of the consumer. Therefore, it is relevant to consider the creativity of architects, in whose works artistic and semantic characteristics acquire an organic fusion. Among such masters is Daniel Libeskind, who made the complex language of deconstructivism the only one possible for his architectural work. The article is devoted to the consideration of the origins of the artistic language of the outstanding architect on the example of his museum projects, which constitute a significant part of his work. Purpose is to analyze the characteristic features of the artistic language of Daniel Libeskind on the example of museum projects. The research was carried out on the material of the master's works dedicated to the national tragedy of the Jewish people − the war and the Holocaust. Conclusion. The circumstances of Daniel Libeskind’s personal life, as well as his passion for philosophy and music, had a great influence on his work. The Libeskind’s artistic language is very individual: within the framework of one project, he combines dissonance and harmony, the tragedy of war and the desire for a peaceful life. The compositional means the architect uses to embody these categories are: asymmetry, contradictory combinations of volumes and spaces, virtuoso interweaving of lines and planes. The artistic language of all Libeskind’s museum buildings has similarities that can be traced in each project, namely broken, non-parallel lines, pointed forms, invasions, contrast and script.

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

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.

Penerapan prinsip desain Daniel Libeskind pada fasilitas permainan tradisional Melayu Riau di Pekanbaru

Kota Pekanbaru memiliki wahana anak yang beraneka ragam. Wahana tersebut umumnya dapat dijumpai pada mall atau pusat komersial tertutup yang cenderung menyediakan permainan modern. Permainan modern lumrah adanya sebagai bagian dari kemajuan teknologi yang semakin canggih. Beda halnya dengan zaman dahulu, anak-anak lebih menyukai bermain dengan mengambil tempat di tanah lapangan kosong. Kondisi dua hal yang berbeda antara permainan modern dengan permainan tradisional mulai ditandai dengan semakin banyaknya jenis permainan modern dan hilangnya permainan tradisional. Permainan Tradisional yang dimaksud ialah jenis permainan yang berasal dari daerah Melayu Riau. Salah satu jenis permainannya yaitu congklak, statak, gasing dan sebagainya. Maka dari itu, dipihlah judul fasilitas permainan tradisional Melayu Riau yang gunanya agar permainan tradisional ini tetap dapat dilestarikan khususnya anak-anak dapat bermain sambil belajar mengenal nilai-nilai tradisional. Dengan konsep desain gerak dalam bermain Statak, fasilitas ini dirancang dengan fungsi utamanya sebagai tempat bermain. Dengan menggunakan metode primer berupa survei, serta berbagai sumber literatur dan standar fasilitas permainan sebagai metode sekunder. Fasilitas permainan tradisional ini mengedepankan prinsip desain Daniel Libeskind sehingga dapat menciptakan suatu desain modern yang tetap kental dengan nilai tradisionalnya. Meskipun hasil desain fasilitas memiliki banyak sudut geometris namun tetap aman dan tidak mengganggu pergerakan anak-anak dalam bermain. © 2020 Elza Fitria Ningsih, Yohannes Firzal, Pedia Aldy

Between and within choreographies: An early choreographic object by William Forsythe

In 1990, William Forsythe created The Books of Groningen – Book N(7), an installation commissioned by the Dutch city of Groningen and architect Daniel Libeskind. This early choreographic object is composed of a water canal, a series of willow trees pulled by wires in order to grow in arched shape and a bush hedge. At a time of marked interest in expanded choreography as it develops in conjunction with choreography’s links to visual art, as well as in choreographic history, this article considers Book N(7) in relation with diverse historical conceptions of choreography – as dance-making, as an organisation of moving bodies, as notation and pre/scription. This analysis shows that the installation negates certain aspects of choreographic history while exemplifying and perpetuating others, therefore situating itself between different historical construals of choreography. At the same time, it points to the ways in which Book N(7) defies the possibility both of complete ruptures and of smooth continuities with the choreographic past, engaging in a negotiation which reworks this past in the present. Framing this analysis of The Books of Groningen – Book N(7) by references to certain of Forsythe’s ulterior works, this article presents the installation as a part of the artist’s longlasting, shifting engagements with the notion and history of choreography.

The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind

The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called ‘Bilbao effect’ triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum’s architectural design remains an example of ‘signatory architecture’ that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents.

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

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.