Daniel Libeskind

THE JEWISH MUSEUM

ONE WORLD TRADE CENTER

SUBMI TTED BY
MEGHANA RAJ NI HARIKA R D
 Daniel Libeskind
• Born in Poland shortly after the end of the second world war,
Libeskind's parents were Jewish survivors of the Holocaust.

• He received a degree in architecture from The Cooper Union in

1970 and a postgraduate degree from the School of
Comparative Studies at Essex University for History and Theory of
Architecture.

• In his early career, Libeskind was a theorist and professor,

however his career as a practicing architect began in the late
1980s, as he started entering competitions while living in Milan.
• He finally started his own firm in Germany soon after winning the
1989 competition to design the Jewish Museum in Berlin.

• Libeskind transferred his firm's headquarters to New York City in

2003, following his appointment as master planner for
the redeveloped World Trade Center site.

• Libeskind established an industrial design studio, Studio

Libeskind Design, which has developed products for clients in
over ten different countries since 2012.
Much of
Libeskind's work is
instantly
recognizable for
its angular forms,
intersecting
planes, and
frequent use of
diagonally-sliced
windows, a style
that he has used
to great effect in
museums and
memorials—but
which he has
equally adapted
to conference
centers,
skyscrapers, and
shopping malls.

R o y a l O n t a r i o M u s e u m , C a n a d a
 HIS PHILOSOPHY
• Daniel Libeskind is renowned for his
ability to evoke cultural memory in
buildings. Informed by a deep
commitment to music, philosophy,
literature, and poetry, Libeskind aims
to create architecture that is
resonant, unique and sustainable.
• Architecture tells a story about the
world, our desires and dreams.
Architecture, and the buildings, are
much more than a place, they are
destinations meant to evoke emotion
and to make you think about the
world we all live in.
• Buildings and urban projects are
crafted with perceptible human
energy and that they speak to the
larger cultural community in which
they are built.
THE CROWN Casalgrande Padana, Italy
 TIMELINE
1989–1999 1997–2001 2001–2004

London Metropolitan
Jewish Museum Berlin Imperial War Museum
University Graduate Centre
Berlin, Germany Manchester, England, UK
London, England, UK
 TIMELINE
2003–2005 2002-2014 2007-2017

Facade for Hyundai Development 1WTC master plan Złota 44, Residential Tower
Corporation Headquarters NYC, New York Warsaw, Poland
Seoul, South Korea
THE JEWISH MUSEUM, BERLIN
 INTRODUCTION
The original Jewish Museum
in Berlin was established in 1933,
but it wasn’t open very long
before it was closed during Nazi
rule in 1938.

Unfortunately, the museum

remained vacant until 1975
when a Jewish cultural group
vowed to reopen the museum
attempting to bring a Jewish
presence back to Berlin.

It wouldn’t be until 2001 when

Libeskind’s addition to the
Jewish Museum finally opened
(completed in 1999) that the
museum would finally establish
a Jewish presence embedded
culturally and socially in Berlin.
 INTRODUCTION
• For Libeskind, the extension to the
Jewish Museum was much more
than a competition/commission; it
was about establishing and
securing an identity within Berlin,
which was lost during World War II.

• Conceptually, Libeskind wanted to

express feelings of absence,
emptiness, and invisibility –
expressions of disappearance of
the Jewish Culture. It was the act
of using architecture as a means of
narrative and emotion providing
visitors with an experience of the
effects of the Holocaust on both
the Jewish culture and the city of
Berlin.
 CONCEPT
The new design was based on three
concepts that formed the museum’s
foundation :-
THE BOROQUE OLD BUILDING.
• First, the impossibility of understanding
the history of Berlin without understanding
the enormous intellectual, economic and
cultural contribution made by the Jewish
citizen of Berlin.
• Second, the necessity to integrate
physically and spiritually the meaning of
the Holocaust into the consciousness and
memory of the city of Berlin.
• Third, that only through the
acknowledgement and incorporation of
THE NEW
this erasure and void of Jewish life in
DECONSTRUCTIVIST STYLE
Berlin, can the history of Berlin and Europe BUILDING.
have a human future.
 DESIGN THE OLD BUILDING

The Jewish Museum essentially

consists of two buildings :
• A baroque old building (that
formerly housed the Berlin Museum)
• A new deconstructivist style building
by Libeskind. THE NEW BULDING

• The two buildings have no visible

connection above ground and the
new one is accessible only via an
underground passage from the old
building, making the two
constructions appear independent
while they are actually deeply
interconnected.
• It is a large entrance in untreated
concrete with sharp angles. FIGURE: The passage that leads to the new
building from the old building.
 THE AXES
• Three different underground axes, each
expressing a specific theme, connect the
• EMIGRATION FROM
descending point with different parts of the
GERMANY- leads to the
complex. garden of exile.
•The “Axis of Continuity, leading to the
exhibition galleries, symbolizes the
continuum of history.
•The “Axis of Emigration”, representing
those who were forced to leave Germany,
leads both to daylight and to the Garden
of Exile and Emigration, where a matrix of
concrete boxes contains a series of willow
oaks.
• THE AXIS OF HOLOCAUST-
• The third axis leads to a dark dead-end
leads to the dead end where
where the Holocaust tower lies; along the
the Holocaust tower lies.
path are glass cases containing objects
that belonged to some of the persons killed
by the Nazis.
• These three divergent axes intersect; thus
• CONTINUITY IN GERMAN HISTORY- leads to
expressing the connection between these
exhibition galleries.
three different stories of the German Jews.
VOID
• The Museum’s Void’s refer
to ‘that which can never be
exhibited when it comes to
Jewish Berlin history :
Humanity reduced to
ashes”.
• Five cavernous Voids run
vertically through the New
Building.
• They have walls of bare
concrete, are not heated or
air conditioned and are
largely without artificial light,
quite separate from the rest
of the building.
 FACADE
• The building exterior is clad with a titanium-zinc skin, narrow windows create an
apparently casual pattern, actually based on an old map of Berlin.
• Furthermore, floor levels and room positions cannot be precisely identified from
the outside by looking at the façade.
ONE
WORLD
TRADE
CENTER
• “One World Trade Center is a bold icon filling
the skyline void left by the fallen towers.
• While the adjacent World Trade Center
Memorial speaks of the past and of
remembrance, One World Trade Center
speaks about the future and hope as it rises
upward in a faceted form.
• Depending on the viewer’s perspective and
angle of light, One World Trade Center
appears to shape-shift from a platonic solid
reminiscent of the original twin towers to an
obelisk recalling the Washington Monument.”

ONE WORLD TRADE CENTER

 SITE

One World Trade Center is located in the northwest corner of the World Trade
Center site, on land claimed from the Hudson River over centuries of
development in Manhattan.
The site, several blocks east of the river and in the heart of the financial district,
which house more than ten million square feet of commercial development
in the towers, a performing arts center, 500,000 square feet of retail, a
transportation hub, and, at its center, the National September 11 Memorial &
Museum.
MASTER PLAN
The master plan restores Fulton
and Greenwich Streets, formerly
blocked by the World Trade
Tower plaza and the original 7
World Trade Center building.

The 2013 opening of 4 World

Trade Center, the second tower
to rise on Greenwich Street,
signalled an important step
towards completing the spiralling
master plan, wherein each new
tower stands progressively taller,
culminating in the symbolic
1,776-foot One World Trade
Center.
FLOOR PLANS

GROUND FLOOR
 FLOOR PLANS

LOWER FLOORS INTERMEDIATE FLOORS HIGHER FLOORS

 PODIUM
The tower rises from a podium whose square plan
measures approximately 204 feet by 204 feet
(62.18m), the same footprints as the original towers.
The podium is 186 feet (56.7m)tall and is clad in
triple-laminated, low-iron glass panels and
horizontal, embossed stainless steel slates.
Then more than 4,000 glass panels, each measuring
approximately 13 feet by two feet, are fixed and
positioned at varying angles along the vertical axis
to form a regular pattern over the height of the
podium.
This pattern both accommodates ventilation for the
mechanical levels behind the podium wall and, in
combination with anti reflective coating, refracts
and transmits light to create a dynamic, shimmering
surface. The podium’s heavily reinforced concrete
walls serve as a well-disguised security barrier.
 TOWER
• Above the podium, the tower’s square edges
are chamfered back, transforming the square
into eight tall isosceles triangles.
• At its middle, the tower forms an equilateral
octagon in plan and then culminates in a
stainless steel parapet whose plan is a 150-foot
by 150-foot square, rotated 45 degrees from the
base.
• The resulting crystalline form captures an ever-
evolving display of refracted light: the surfaces
change throughout the day as light and
weather conditions shift and as the viewer
moves around the tower.
• Careful thought was also given to the design of
the tower’s corners. Made of embossed stainless
steel, the eight edges recall the reflective
corners of the original twin towers
 STRUCTURE
• One World Trade Center features a hybrid
structure comprised of a high-strength
concrete core surrounded by a perimeter
moment frame of steel.
• Paired with the massive concrete shear walls of
the core, the steel frame adds rigidity and
structural redundancy.
• Both bolted and welded together for maximum
connection strength, the steel members were
hoisted into place by two Manitowoc cranes –
the largest ever used in New York City.
• The tower’s tapered, aerodynamic form
reduces exposure to wind loads while
simultaneously reducing the amount of
structural steel needed.
 SPIRE
• The spire performs multiple functions, most of
which involves broadcasting and digital
communication.
• It’s a hybrid structure consisting of 2 major
components: a 137 meter spire and a 3
level communications platform ring.
• At the base of the spire, the circular lattice
ring supports electronic news gathering
antennas and communication antennas.
• To add more support cables are connected
from the mast back to ring.
• Large helical channel, called strakes are
built into the geometry of radome and
wrap around the antenna to direct wind
up and away from the structure.
SUSTAINABILITY • Most of the building's structure and interior is
built from recycled materials,
including gypsum boards and ceiling tiles;
around 80 percent of the tower's waste
products are recycled.
• Although the roof area of any tower is limited,
the building implements a rainwater collection
and recycling scheme for its cooling systems.
• The New York Power Authority selected UTC
Power to provide the tower's fuel cell system,
which was one of the largest fuel cell
installations in the world once completed.
• The tower also makes use of off
site hydroelectric and wind power.
• The windows are made of an ultra-clear glass,
which allows maximum sunlight to pass
through; the interior lighting is equipped with
dimmers that automatically dim the lights on
sunny days, reducing energy costs.
• One World Trade Center is expected to
receive a LEED Gold Certification, making it
one of the most environmentally sustainable
skyscrapers in the world.
 SAFETY FEATURES

Safety features include:

• Emergency central
section
• Fire escapes
• Collapse
prevention Glass wall
• Special staircase
• Fire-proofing Air supply
 SAFETY FEATURES
1 The tower gets its air by sucking it in
using special machines that are really
high up where the air is clean.

2 Central upright section for key safety

features, including water-proof lifts,
special fire-escape stairs and a
separate staircase for emergency
workers.
3 Extra-strong 1m (3ft) concrete casing
protecting the central section and
sprinklers.
4 Glass wall to protect building from
explosions.

A ledge at 417m (1,368ft) marks the

height of the destroyed twin towers
 SAFETY FEATURES
•
EMERGENCY CENTRAL SECTION
An upright section will run through the centre of the
building, containing many of its safety systems.

It will have 1m-thick (3ft) walls made from extra-strong

concrete. In it will be emergency communication
cables, shafts to carry air, water pipes, and stairs and
lifts to go in or out of the building.

• SPECIAL STAIRCASE
Inside the central section there will be a special
staircase for the for police, fire-fighters and ambulance
workers to use.

Special technology will keep any smoke out, and will

be extra wide to allow fire-fighters to carry equipment
up and down, to avoid a repeat of the crowding on
staircases that happened on 11 September, 2001.
 SAFETY FEATURES
• FIRE ESCAPES
The building will measure 1776ft (Skidmore, Owings and Merrill)
The central section will also contain lifts, made water-proof to
prevent damage from water sprinklers, and two escape staircases,
which are joined together so if one gets blocked the other can be
used.
The stairs have four street-level exits allowing a quicker escape.

•
FIRE-PROOFING
When the planes hit the Twin Towers the fire-proofing wasn't strong
enough to stay connected to the steel frame. An expert report said
this was a big part of the collapse of the towers.
For the Freedom Tower, concrete containing strengthened fire-
proofing will be used. The building designers say it could survive a
very strong crash.
,
 SAFETY FEATURES

AIR SUPPLY
Air for the offices in Freedom Tower will be taken in from
the top of the building, where it is cleaner than on the
street. Technology will keep the air clean even if there is a
terrorist attack.
GLASS WALL
At the bottom of the building will be a wall made of three
layers of a special type of glass, behind which is a very
strong steel structure.
Building designers say these glass walls can survive and
protect against blasts, and that the special glass will not
break off into dangerous sharp pieces.
 CRITICAL ANALYSIS
• Daniel Libeskind’s works has critics charge that it reflects a
limited architectural vocabulary of jagged edges, sharp
angles and tortured geometries, that can fall into cliché, and
that it ignores location and context.
• On the same lines, the one world trade center located in a
rather difficult site which hold emotional value to many ; looks
like its built to be the tallest building and could have been
built anywhere in the world.
• Also many New Yorkers expected the building to be as tall of
the former twin towers but It abruptly stops at 1,368 feet, the
height of the former twin towers, achieving its symbolic target
number — 1,776 feet — by the Spire.
 Bibliography
• https://nyc-architecture.com/NEW/AAGAAR01.htm
• http://global.ctbuh.org/resources/papers/download/24-case-study-one-world-trade-
center.pdf
• https://en.wikipedia.org/wiki/One_World_Trade_Center#Architecture_and_design
• https://www.archdaily.com/795277/one-world-trade-center-som
• http://news.bbc.co.uk/cbbcnews/hi/newsid_5320000/newsid_5323700/5323700.stm
• https://www.archdaily.com/505040/happy-birthday-daniel-libeskind
• https://en.wikipedia.org/wiki/Daniel_Libeskind
• https://www.nytimes.com/2014/11/30/nyregion/is-one-world-trade-center-rises-in-
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