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Journal articles on the topic 'Daniel Libeskind'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Derrida, Jacques. "Response to Daniel Libeskind." Research in Phenomenology 22, no. 1 (1992): 88–94. http://dx.doi.org/10.1163/156916492x00098.

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Lee, Da-Kyoung, and Ja-Yeon Cho. "Counterbalance applied to the Dynamics of Daniel Libeskind's Architecture - Focused on Libeskind Museums -." Korean Institute of Interior Design Journal 24, no. 1 (February 28, 2015): 64–71. http://dx.doi.org/10.14774/jkiid.2015.24.1.064.

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3

DERIABINA, О. O. "“THE POETRY OF BREAKING”: THE ARCHITECTURE OF THE MUSEUM IN THE PROJECTS OF DANIEL LIBESKIND." Ukrainian Journal of Civil Engineering and Architecture, no. 1 (June 24, 2021): 52–57. http://dx.doi.org/10.30838/j.bpsacea.2312.230221.52.717.

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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,

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4

Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.

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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodil

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Brown, Douglas. "Daniel Libeskind: The Space of Encounter2001393Daniel Libeskind. Daniel Libeskind: The Space of Encounter. London: Thames & Hudson 2001. ix+224pp, ISBN: 0 500 28257 9 £22.95." Reference Reviews 15, no. 7 (July 2001): 36–37. http://dx.doi.org/10.1108/rr.2001.15.7.36.393.

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Costa, Korina, Andre Damaceno, Thais Espolador, Joyce Rodrigues, and Yohan Turi. "DANIEL LIBESKIND E O MUSEU JUDAICO DE BERLIM." COLLOQUIUM SOCIALIS 1, Especial (April 20, 2017): 155–60. http://dx.doi.org/10.5747/cs.2017.v01.nesp.s0025.

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Meng, Michael. "Monuments of Ruination in Postwar Berlin and Warsaw: The Architectural Projects of Bohdan Lachert and Daniel Libeskind." Comparative Studies in Society and History 59, no. 3 (June 7, 2017): 550–73. http://dx.doi.org/10.1017/s0010417517000160.

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AbstractThis essay provides an interpretation of parallel attempts to represent ruination in the cities of Warsaw and Berlin after the Holocaust—the architectural projects of Bohdan Lachert and Daniel Libeskind. Lachert strove to represent the ruination of Jewish life in Warsaw through a modernist housing project, whereas Libeskind sought to represent Jewish ruination in a museum. While these two projects might seem different, they come together around a shared aspiration: to represent absence and ruination. Both projects endeavored to create a new kind of memorial that moved away from the con

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8

Escoda Pastor, Carmen. "La alegoría como lenguaje: narración y representación en Daniel Libeskind." EGA. Revista de expresión gráfica arquitectónica 19, no. 23 (May 14, 2014): 126. http://dx.doi.org/10.4995/ega.2014.2174.

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9

Song, Dae-Ho. "Study of the Musical Spaces Composition in Daniel Libeskind Architecture." Journal of the Korea Academia-Industrial cooperation Society 16, no. 1 (January 31, 2015): 793–800. http://dx.doi.org/10.5762/kais.2015.16.1.793.

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Lindner, Christoph. "Willa Cather, Daniel Libeskind, and the Creative Destruction of Manhattan." Journal of American Culture 28, no. 1 (March 2005): 114–21. http://dx.doi.org/10.1111/j.1542-734x.2005.00158.x.

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Song, Dae-Ho. "Study of the Interpretation of Landscape in Daniel Libeskind Architectural Space." Journal of the Korea Academia-Industrial cooperation Society 15, no. 12 (December 31, 2014): 7372–79. http://dx.doi.org/10.5762/kais.2014.15.12.7372.

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Barreto da Silva, Juliana, and Korina Aparecida Teixeira Ferreira Da Costa. "A CONTRIBUIÇÃO DE DANIEL LIBESKIND PARA A CAPITAL EUROPEIA DA CULTURA." Colloquium Socialis 2, Especial 2 (December 1, 2018): 575–80. http://dx.doi.org/10.5747/cs.2018.v02.nesp2.s0338.

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Lee, Young-Sun, Sang-Young Yoon, and Jae-Eun Yoon. "A Study on the virtual line on Daniel Libeskind Architecture Space." Korean Institute of Interior Design Journal 22, no. 2 (April 30, 2013): 89–99. http://dx.doi.org/10.14774/jkiid.2013.22.2.089.

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14

Vaccaro Cruz, María Cristina. "El museo judío de Berlín: El espacio, el acontecimiento y el Vacío." Bitácora arquitectura, no. 39 (December 17, 2018): 16. http://dx.doi.org/10.22201/fa.14058901p.2018.39.67822.

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<p>En este artículo se estudia el Museo Judío de Berlín, de Daniel Libeskind –en particular la Torre del Holocausto– desde la idea del “acontecimiento” del filósofo francés Jean-François Lyotard y su discusión con la categoría estética de lo sublime del empirista Edmund Burke. Se trata de analizar las afectaciones sensibles que provocan ciertas experiencias en los sujetos y sus implicaciones políticas y sociales.</p>

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Almantas, Samalavičius. "The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind." Journal of Architectural Design and Urbanism 2, no. 1 (October 7, 2019): 13. http://dx.doi.org/10.14710/jadu.v2i1.4897.

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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

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ZASLAVSKAYa, A. Yu. "FEATURES, FORMING AN ARCHITECTURAL OBJECT, BASING ON FRACTAL STRUCTURES." Urban construction and architecture 1, no. 2 (July 15, 2011): 15–17. http://dx.doi.org/10.17673/vestnik.2011.02.4.

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The use of fractal structures in contemporary architecture is presented. Features and properties of nature fractal structures and abilities of their usage in architectural objects at the level of three components structure, construction, shell or form - are discussed. The theme of fractals is seen in F.L. Rights works, who positioned organic approach, Le Corbusier, who got ahead the time with his ideas of ecological approach to projecting. In contemporary architecture fractal structures are successfully use by such famous professionals as Daniel Libeskind, Greg Lynn, Toyo Ito.

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Tsiftsi, Xanthi. "Libeskind and the Holocaust Metanarrative; from Discourse to Architecture." Open Cultural Studies 1, no. 1 (November 27, 2017): 291–303. http://dx.doi.org/10.1515/culture-2017-0026.

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Abstract The Holocaust today resides between memory and postmemory. Initially, children of survivors and their contemporaries inherited a mediated past and bore full responsibility for disseminating their ancestors’ experiences. However, with the prevalence of the Holocaust metanarrative and its absolutist historicism, it was realised that when memory needs to cross generational boundaries, it needs to cross medial as well. The discourse was not enough; there was a need for broadening the narrative beyond the verbal using a powerful medium with the capacity to affect cognition and provoke emot

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Dafrina, Armelia Dafrina. "Arsitektur Dekonstruksi sebagai Karakteristik Desain pada Bangunan Modern." Jurnal Arsitekno 5, no. 5 (February 21, 2019): 11. http://dx.doi.org/10.29103/arj.v5i5.1216.

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Abstrak Pengaruh filosofi Arsitektur Dekonstriksi yang diperkenalkan oleh Jacques Derrida serta konstruktivisme yang berkembang di Rusia pada awal abad ke 20 melahirkan dua aliran utama dalam arsitektur dekonstruksi yang dikenal sebagai dekonstruksi derridean dan dekonstruksi non derridean. Segera setelah kemunculannya di dunia Arsitektur, dekonstruksi menjadi aliran baru menggantikan International Style yang sebelummnya mendominasi karakter desain bangunan. Tokoh-tokoh yang terkemuka dibalik kesuksesan Arsitektur Dekonstruksi dengan sebutan the seven architects, Bernard Tschumi, Peter Eisenme

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Dafrina, Armelia Dafrina. "Arsitektur Dekonstruksi sebagai Karakteristik Desain pada Bangunan Modern." Jurnal Arsitekno 5, no. 5 (February 21, 2019): 11. http://dx.doi.org/10.29103/arj.v5i5.1220.

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Abstrak Pengaruh filosofi Arsitektur Dekonstriksi yang diperkenalkan oleh Jacques Derrida serta konstruktivisme yang berkembang di Rusia pada awal abad ke 20 melahirkan dua aliran utama dalam arsitektur dekonstruksi yang dikenal sebagai dekonstruksi derridean dan dekonstruksi non derridean. Segera setelah kemunculannya di dunia Arsitektur, dekonstruksi menjadi aliran baru menggantikan International Style yang sebelummnya mendominasi karakter desain bangunan. Tokoh-tokoh yang terkemuka dibalik kesuksesan Arsitektur Dekonstruksi dengan sebutan the seven architects, Bernard Tschumi, Peter Eisenme

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Kamczycki, Artur. "Libeskind’s Museum in Berlin as a toppled tower." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 325–52. http://dx.doi.org/10.14746/seg.2015.12.16.

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In the article the author will attempt to interpret the architectural structure of the Jewish Museum in Berlin, designed in 1989 by Daniel Libeskind. The context of deliberations presented here will rely on a broadly understood idea of tower, an entity identical with the Judaic as well as Christian vision of the Heavenly Jerusalem. However, the key to the metaphor is the assumption that the structure symbolizes a toppled tower, which in its turn is a meaningful analogy to the concepts derived from the issues of the Holocaust.

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Ningsih, Elza Fitria, Yohannes Firzal, and Pedia Aldy. "Penerapan prinsip desain Daniel Libeskind pada fasilitas permainan tradisional Melayu Riau di Pekanbaru." ARTEKS : Jurnal Teknik Arsitektur 5, no. 2 (August 1, 2020): 219–28. http://dx.doi.org/10.30822/arteks.v5i2.389.

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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 di

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22

Dogan, Fehmi, and Nancy J. Nersessian. "Conceptual diagrams in creative architectural practice: the case of Daniel Libeskind's Jewish Museum." Architectural Research Quarterly 16, no. 1 (March 2012): 15–27. http://dx.doi.org/10.1017/s1359135512000255.

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The Jewish Museum in Berlin is the first major building of Daniel Libeskind [1,2]. The project for the museum has instigated a wealth of discussions in architectural circles and achieved a rare status of attracting the attention of scholars from other disciplines. Kurt W. Forster put the design for the Jewish Museum on a par with Piranesi's Carceri d'Invenzione, an unusual position for any building since very rarely does an architectural design ‘[…] bear this double burden of representing both actual buildings and mental structures, and which therefore have to submit to being measured by both

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23

Rusnak, Marta, and Joanna Szewczyk. "Eye trackers in evaluation of transformation of historical monuments. Revitalisation of the Dresden arsenal." E3S Web of Conferences 49 (2018): 00092. http://dx.doi.org/10.1051/e3sconf/20184900092.

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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 sign

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Nepravishta, Florian. "Contemporary Architecture in Tirana during the Transition Period." South East European Journal of Architecture and Design 2016 (May 12, 2016): 1–10. http://dx.doi.org/10.3889/seejad.2016.10019.

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AIM: Tirana is a city that in transition period has been changed and transformed both architecturally and in its urban form.MATERIAL AND METHODS: Unavoidable changes in urban rush: from unregulated spontaneous development and without infrastructure it has gone through the urban redevelopment planning and architectural projects.RESULTS: Actually some of the most famous European studios, from Bolles+Wilson to MVRDV, AtenaStudio, Bjarke Ingels, Archaea Studio, Grimshaw, Daniel Libeskind are facing Tirana capital that has claimed the international architectural culture’s attention.CONCLUSION: This

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Tufano, Antonella. "Dessins et design : représenter l’espace mental de l’architecture : les dessins déconstructivistes de Daniel Libeskind : Micromegas." Livraisons d'histoire de l'architecture, no. 30 (December 30, 2015): 81–92. http://dx.doi.org/10.4000/lha.553.

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Casildo Rendón, Christian Uriel. "La arquitectura deconstructivista como fenómeno político. Un recorrido analítico a través de sus emplazamientos." Academia XXII 8, no. 15 (June 9, 2017): 86. http://dx.doi.org/10.22201/fa.2007252xp.2017.15.60417.

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Este trabajo tiene como propósito explorar y reflexionar la configuración contemporánea de los mecanismos de ejercicio del poder, de control y vigilancia inscritos en la arquitectura llamada deconstructivista. El objetivo de la selección de esta “corriente” tiene que ver con su papel hegemónico dentro de la arquitectura como institución histórica y en su constitución como sistema experto en la sociedad contemporánea. Para este cometido se analizarán algunos proyectos y fenómenos protagonizados por la arquitectura: desde el diseño de la primera tienda insignia de Prada en Nueva York, por parte

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Kamczycki, Artur. "The Kabbalistic Alphabet of Libeskind: The Motif of Letter-shaped Windows in the Design of the Jewish Museum in Berlin." Ikonotheka 28 (August 6, 2019): 7–40. http://dx.doi.org/10.5604/01.3001.0013.3319.

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The present article attempts to analyse and interpret the structure of windows in the Jewish Museum in Berlin, designed by Daniel Libeskind and constructed in 1989–1999. Elongated, narrow, irregular window openings arranged at different angles like a tangle of cuts and grooves span the entire structure and resemble Hebrew letters and the kabbalistic notion of the “scattered alphabet”, which functions in Jewish tradition as a visual metaphor. The assumption of such a perspective of interpretation, based on the visual form of the building which was, in its principle, meant to partially refer to

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Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (September 2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.

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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 com

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EYÜCE, Emine ÖZEN. "ALLURE OF THE "CRYSTAL: MYTHS AND METAPHORS IN ARCHITECTURAL MORPHOGENESIS." International Journal of Architectural Research: ArchNet-IJAR 10, no. 1 (April 26, 2016): 131. http://dx.doi.org/10.26687/archnet-ijar.v10i1.908.

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'Form' has always been one of the most important issues in architectural design. In the process of form-giving to the end-product, architects make use of different sources from typologies to intuitions or metaphorical ones. When the generic ideas of the prominent examples in architectural history have been traced, it can clearly be stated that one of the most effective metaphors used in architecture is the 'Crystal.' Appearing at the intersections between nature and human history and having a long history going back to myths, the 'Crystal' has been used extensively in architecture both as refl

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Chaves Hernández, Ricardo. "Fenomenologia de arquitetura. Discursos de Christian Norberg-Schulz e Juhani Pallasmaa." REVISTARQUIS 8, no. 2 (June 30, 2019): 23–35. http://dx.doi.org/10.15517/ra.v8i2.37928.

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Na teoria arquitetónica, a fenomenologia entende-se como um movimento que investiga a arquitetura enquanto experiência humana. Dentro desse movimento, este artigo destaca dois discursos: o de Christian Norberg-Schulz e de Juhani Pallasmaa por apresentarem, respetivamente, uma “fenomenologia do exterior” e uma “fenomenologia do interior”– domínios pertencentes e interdependentes da arquitetura. Estes arquitetos-fenomenólogos problematizaram sobre arquitetura-lugar e arquitetura-corpo para marcar as suas posições críticas ao movimento moderno e pós-moderno. O objetivo deste artigo é compreender

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Leon, Anna. "Between and within choreographies: An early choreographic object by William Forsythe." Dance Articulated 6, no. 1 (June 24, 2020): 64–88. http://dx.doi.org/10.5324/da.v6i1.3639.

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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

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Kamczycki, Artur. "Unheimlich: Struktury Pustki w berlińskim muzeum Libeskinda." Studia Europaea Gnesnensia, no. 10 (January 1, 2014): 333–57. http://dx.doi.org/10.14746/seg.2014.10.15.

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The Museum of 2000 years of German-Jewish History in Berlin, designed in 1989 by Daniela Libeskind, an architect of Polish origins, was to make a powerful reference to the Holocaust as well. Using an underground passage, the architect connected the existing Baroque edifice of the Kollegienhaus in Kreuzberg’s Lindenstrasse, with the building created to his design (the so-called Abteilung). The external form of the buildings is a steel, flat-topped structure, composed of cubical blocks, irregular and marked by incisive edges. Inside, this zig-zagging building was intersected by a straight struct

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Schonig, Barbara. "The Books of Groningen: Heiner Muller's Contribution to Daniel Libeskind's Groningen Project." New German Critique, no. 73 (1998): 95. http://dx.doi.org/10.2307/488651.

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Lee, Kyoung-Chang. "Study on Daniel Libeskind’s Jewish Museum in Berlin viewed from critical theory." Journal of architectural history 24, no. 3 (June 30, 2015): 7–16. http://dx.doi.org/10.7738/jah.2015.24.3.007.

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Young, James E. "Daniel Libeskind's Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture." Jewish Social Studies: History, Culture, and Society 6, no. 2 (January 2000): 1–23. http://dx.doi.org/10.2979/jss.2000.6.2.1.

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Young, James Edward. "Daniel Libeskind's Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture." Jewish Social Studies 6, no. 2 (2000): 1–23. http://dx.doi.org/10.1353/jss.2000.0007.

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Kligerman, Eric. "Ghostly Demarcations: Translating Paul Celan's Poetics into Daniel Libeskind's Jewish Museum in Berlin." Germanic Review: Literature, Culture, Theory 80, no. 1 (January 2005): 28–49. http://dx.doi.org/10.3200/gerr.80.1.28-49.

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Vrachliotis, Georg. "Popper’s Mosquito Swarm: Architecture, Cybernetics and the Operationalization of Complexity." European Review 17, no. 2 (May 2009): 439–52. http://dx.doi.org/10.1017/s1062798709000817.

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For the architecture theorist Charles Jencks, Frank Gehry’s Guggenheim Museum in Bilbao, Peter Eisenman’s Aronoff Center in Cincinnati, and Daniel Libeskind’s Jewish Museum in Berlin are architectural replies to the question of the cultural outgrowths of ‘complexity science’. In the light of new technologies being used in architecture, it seems necessary to explore Jencks’s position from new perspectives and to ask: in the context of architectural production, is it possible to discuss complexity not only as an artistic-aesthetic category, but also as a fundamental technical-constructive idea?

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György, Kubinyi. "Stílus, forma, esztétika." Építés - Építészettudomány 49, no. 3-4 (August 30, 2021): 329–42. http://dx.doi.org/10.1556/096.2021.00013.

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Olyan átfogó stílusok, mint a gótika a reneszánsz vagy a barokk voltak, napjainkban nem segítik az építész munkáját a formaalakításában, de különböző stílusok, brandek és ideológiák nagy számban választhatók. A választás létre is jön – elsősorban az azonosíthatóság és a jó eladhatóság érdekében – az építészirodák formaalkotási metódusát alapvetően meghatározva. Az így létrejövő építészeti formák nem az adott feladatból következnek, nem az adott feladathoz kapcsolódnak, hanem a meglévő formakészlet elemeinek használatával, adaptálásával jönnek létre. A kortárs művészetben nem csak az építészet

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Kurbiel, Justyna. "Sztuka wobec Zagłady w warszawskich galeriach po 1989 r. Rekonesans." Zagłada Żydów. Studia i Materiały, no. 7 (December 10, 2011): 629–40. http://dx.doi.org/10.32927/zzsim.832.

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Spróbujmy usystematyzować formy obecności tematu Zagłady w sztuce prezentowanej w warszawskich galeriach. Z jednej strony są to ekspozycje dokumentacyjne. Pokazują przebieg Zagłady, jej poszczególne etapy („Zagłada Romów europejskich i rasizm we współczesnej Europie”) czy dokumentują pamiątki i wspomnienia po ofiarach Holokaustu („I ciągle widzę ich twarze”). Zdarza się też, że są głosem ocalonych, którzy w swojej twórczości odnoszą się do tych tragicznych wydarzeń, jak w przypadku twórczości Samuela Willenberga, Gustava Metzgera czy części prac Daniela Libeskinda. Świadomie zostały pominięte

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Wischer, Stephen. "Incarnations of Paul Celan’s Todesfuge in the Paintings of Anselm Kiefer and Daniel Libeskind’s Jewish Museum, Berlin." Architectoni.ca 1, no. 2 (June 7, 2012): 95–105. http://dx.doi.org/10.5618/arch.2012.v1.n2.1.

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42

BENTON, C. "'An insult to everything the Museum stands for' or 'Ariadne's thread' to 'Knowledge' and 'Inspiration'? Daniel Libeskind's Extension for the V & A and its Context. Part I." Journal of Design History 10, no. 1 (January 1, 1997): 71–91. http://dx.doi.org/10.1093/jdh/10.1.71.

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BENTON, C. "'An insult to everything the Museum stands for' or 'Ariadne's thread' to 'Knowledge' and 'Inspiration'? Daniel Libeskind's Extension for the V & A and its Context. Part II." Journal of Design History 10, no. 3 (January 1, 1997): 309–28. http://dx.doi.org/10.1093/jdh/10.3.309.

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"Jagd und Wunderkammer; Daniel Libeskind." ProCare 14, no. 11 (November 2009). http://dx.doi.org/10.1007/s00735-009-0255-5.

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Cairns, Graham, and Daniel Libeskind. "Ground Zero – the socio-political minefield of symbolic architecture." Architecture_MPS, February 1, 2013. http://dx.doi.org/10.14324/111.444.amps.2013v2i2.001.

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Daniel Libeskind is today one of the architecture profession’s media elite. He took up his position in the list of ‘super star architects’ twenty ago and has remained in the spotlight of the press ever since. He has projects across the globe and has been awarded prizes by Time Magazine , The Goethe Institute , the American Institute of Architects and the RIBA . He was also appointed the first Cultural Ambassador for Architecture by the State Department of the United States in 2004. He has been both critically lauded and sardonically ridiculed. Tom Dyckhoff of the London Times refers to him as

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"Daniel Libeskind realisiert ein neues Objekt in Dresden." Bautechnik 89, no. 1 (January 2012): 76–77. http://dx.doi.org/10.1002/bate.201290013.

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Gnutzmann, Nathalia Teixeira, Adriane Borda, and Valentina Toaldo Brum. "A FORMA DIDÁTICA E A DIDÁTICA DA FORMA: EXPLICITAÇÃO DE SABERES ARQUITETÔNICOS A PARTIR DO CASO DA FACHADA DO MUSEU MILITAR DE DRESDEN." PIXO - Revista de Arquitetura, Cidade e Contemporaneidade 4, no. 15 (November 24, 2020). http://dx.doi.org/10.15210/pixo.v4i15.19416.

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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

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Recena, Maria Paula, and Daniel Dillenburg. "Representação Como Operação." Revista Prumo, December 27, 2018. http://dx.doi.org/10.24168/revistaprumo.v3i5.832.

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O uso de meios digitais para a produção da representação arquitetônica — principalmente a partir dos anos 1990 — permite reposicionar a função do desenho à mão. Assim como a pintura adquire novo interesse com a afirmação da fotografia, o desenho à mão surge em novo patamar de interesse na produção arquitetônica após a difusão da computação gráfica. A argumentação se dá com base em análise de desenhos e diagramas de Daniel Libeskind para o Museu Judaico de Berlim, bem como estabelece, como ponto de referência, para esta reflexão, a produção da Cooper Union, especialmente centrada nos problemas

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Hannah, Dorita. "Jewish Museum of Berlin:." IDEA JOURNAL, July 20, 2006, 26–41. http://dx.doi.org/10.37113/ideaj.vi0.160.

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   Architecture provides the site for this exploration of the relationship between museums and performance, which focuses on the Jewish Museum of Berlin. Between 1999 and 2001 the Jewish Museum operated solely as a venue for architectural tours. Rather than housing static objects it became a location where the experiential body on the move was central to its existence. This was particularly apparent in June 1999 when the Sasha Waltz Dance Company performed ‘Dialogue ’99 II’ within the museum as a response to, and exploration of, the provocative and haunting interior architect

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