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  • Dresden's Military History Museum Daniel Libeskind

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    Dresden’s Military History Museum Daniel Libeskind

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    Dresden's Military History Museum Daniel Libeskind

    Загружено:

    CerrodeInox

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
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    Military History Museum | Dresden, Germany | Studio Dafiel MibeShina An expansion of a museum of military history in Dresden in a provocatively results in symbolic design. Hifi il } Ht ii) La Hh Hh l Hy ‘pmespEw 15 a place of ghosts and unease, the site of the most controversial and devastating series of Allied bombing raids of World War I But today, the city is also a symbol of rebirth and reconciliation, epitomized by the painstak- ing reconstruction ofits historic center—most ‘notably the famous Baroquestyle Lutheran church, Frauenkirche, (1726-43), designed with a vireuoso stone dome by George Babs. ‘A jagged heap of rubble during the Communist Fast German regime, the church was finally restored a a cost of $240 million in 2005, fifteen years after Germanys reunification. The ety xemains a supremely charged teri tory. And it is here that Daniel Libeskind has just expanded what had been a local East German museum into the largest museum in ‘Germany, with 215,085 square feet of space Itisalso now the official central museum of ‘the German Armed Forces. Seeing the place reminded me of my visit co Lieskina’s very frst completed project. the ‘ny Felix Nussbaum Haus art museum of 1998 in Osnabriick, another city largely attened in ‘the war and freighted with another charged context; Nussbaum. a Jewish artist, had perished at Auschwit. As with that building And the larger Jewish Museum in Berlin (designed before the Nussbaum museum but PEELE ERP ‘completed later, in 2001), in Dresden, Libeskind once again adds to an existing build ing. Yet in this longgestating project that he ‘won in a competition in 2001, he has gone ‘much further. Not content with merely extend: ing an imposing 1876 former arsenal that was ‘omverted intoa museum of military history in 1897, Libeskind has sliced through the struc- ‘ure. A new fivestory concrete-andstel wedge ‘now forces is way at an angle from the back ‘Hough to the front, bursting through the roofline and disrupting the serene symmetry ofthe original Neo-Renaissance building This simple conceptyou could see it as an arrow, a missile, a crashed plane, a knife oF ‘word, the prow of a warship is an uncharac teristically direct choice of symbolism by Libesknd, who is sometimes inclined to over: intellectualize in his search for form. Consider ‘his 2001 Imperial War Museum in Manchester, England: Its three “shards were conceived as simplified Fragments ofa shartered globe that ‘the casual visitor is unlikely to plek up on ata slance. In Dresden, is clear enough thatthe building is sundered by some huge weapo 58 ARCHITECTURAL RECORD JANUARY 2012 Libeskind has skilfully handled his angled Incision, even tothe extent of chopping through existing windows, which are neatly finished around the wedges perforated lumina ski, The architectural sleight oFhand is not quite a case ofeutting a pieshaped slice out ofthe old and then filling in the gap. Rather. the new section is grafted tothe old, the steel structure lightly casping the ironand-sandstone mother ship witha certain amount of internal recom struction providing wider-span spaces. The front section~the tip ofthe artow-is empty, though it contains an 82foothigh observation deek within it that looks ot over the rebuilt city The arow points tothe southwest the direction from which the bombers came in 1945, The bombs destroyed the city inthe shape ofa wedge with a40-degree angle atthe tip~ the same geometry asthe Libeskind addition, At the rear of the building the twin barbs ofthe arrowhead are slid beneath the lattice ‘work skin to contain gallery space. Inside Angled walls of concrete follow the thrust of the arrow's path, Within the resulting wedge. AR PROJECT TOP LEFT: The thematic exibition installations and HC Merz Architehten of Zurich, emphasize within Lbeskine's museum space Mlltaryinspired TOP RIG: Bombs rain down ona series of concrete shelters in arear galery ofthe nev wesgelite exhibition space LEFT: The erevicetite spaces provide dramatic backgrounds for dlplays suchas ths mitary heeopte (OPPOSITE: The narrowing ofthe

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