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مشاهدة نتائج الإستطلاع: ماهو رايكم في هذه العمارة

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ماهو رايكم بهذا المتحف وهذا اللون من العمارة

  1. #11

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    انا مش كثير بلقي نفسي في فكر العمارة التفكيكية بس بعتبر انو هذا التصميم بسيط ورائع بالمقارنة مع اعمال لرواد التفكيكية اللي شفتها لاني شفت اشغال غريبة وجنونية ولا تقبل التنفيذ................

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  2. #12
    عضو فعال

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    Daniel Libeskind, B.Arch. M.A. BDA AIA is an international figure in architectural practice and urban design. He is well known for introducing a new critical discourse into architecture and for his multidisciplinary approach. His practice extends from building major cultural and commercial institutions - including museums and concert halls- to convention centers, universities, housing, hotels, shopping centers and residential work. He also designs opera sets and maintains an object design studio.

    Born in postwar Poland in 1946, Mr. Libeskind became an American citizen in 1965. He studied music in Israel (on the America-Israel Cultural Foundation Scholarship) and in New York, becoming a virtuoso performer. He left music to study architecture, receiving his professional architectural degree in 1970 from the Cooper Union for the Advancement of Science and Art in New York City. He received a postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University (England) in 1972.

    In 1989, Mr. Libeskind won the competition for the Jewish Museum Berlin, which opened to the public in September 2001 to wide public acclaim. The city museum of Osnabrück, Germany, The Felix Nussbaum Haus, opened in July 1998. In July 2002, the Imperial War Museum North in Manchester, England opened to the public. Atelier Weil, a private atelier/gallery, opened in Mallorca, Spain in September 2003. The Graduate Student Centre at the London Metropolitan University opened in March 2004, and the Danish Jewish Museum opened in Copenhagen in June 2004. Tangent, an office tower for the Hyundai Development Corporation, opened in Seoul, Korea in February 2005. Memoria e Luce, a 9/11 memorial in Padua, Italy opened on September 11, 2005, and the Wohl Centre, Bar Ilan University, Tel Aviv, Israel opened in October, 2005. Most recently, the Frederic C.Hamilton building , Extension to the Denver Art Museum, alongside the Denver Museum Residences, in Colorado, opened in October 2006 , the Extension to the Royal Ontario Museum, Canada, opened in June of 2007, and the Glass Courtyard, an extension to the Jewish Museum Berlin, which covers the original Courtyard, was completed in the Fall 2007. The Ascent at Roebling's Bridge, a residential high-rise in Covington, Kentucky will open in March 2008. The Contemporary Jewish Museum in San Francisco, California is expected to open in June 2008 and Westside, the largest shopping and wellness center in Europe will open in October 2008, in Bern, Switzerland.

    Several of Mr. Libeskind’s projects are currently under construction, including:
    the Military History Museum in Dresden, Germany; the Grand Canal performing Arts Centre and Galleria in Dublin, Irland ; City Center , a retail complex , on the Las vegas Strip in Nevada; Zlota 44 , a residential high rise in Warsaw , Poland and a grand piano design for Schimmel Piano is currently in production. Upon winning the World Trade Center design competition in February 2003, Daniel Libeskind was appointed as master plan architect for the site in New York City. Memory Foundations is now under construction.

    Mr. Libeskind has many other projects in design and planning, such as the New Center for Arts and Culture in Boston, Massachusetts; the redevelopment of the Hummingbird Centre - the L Tower, for the Performing Arts in Toronto , Canada ; the redevelopment of the historic Fiera Milano Fairgrounds in Milan, Italy, New Songdo City, in Incheon, South Korea; a waterfront, residential development, Reflexions, in keppel bay, Singapore; Rejuvenation, a center for children in the Katrina-ravaged area of Gulfport, Mississippi; Editoriale Bresciana Tower in Brescia; and Orestad Downtown Master Site Plan, in Copenhagen, Denmark, which is a 5 km development zone.

    Mr. Libeskind has taught and lectured at many universities worldwide. He has held such positions as the Frank O. Gehry Chair at the University of Toronto, Professor at the Hochschule für Gestaltung, Karlsruhe, Germany, and the Cret Chair at the University of Pennsylvania, and the Louis Kahn Chair at Yale University. He has received numerous awards, including the 2001 Hiroshima Art Prize - an award given to an artist whose work promotes international understanding and peace, never before given to an architect. He was awarded the 1999 Deutsche Architekturpreis (German Architecture Prize) for the Jewish Museum Berlin; also the 2000 Goethe Medallion for cultural contribution; in 1996 the American Academy of Arts and Letters Award for Architecture and in the same year the Berlin Cultural Prize; in 1990 a membership in the European Academy of Arts and Letters; in 1997 an Honorary Doctorate from Humboldt Universität, Berlin; also in 1999 an Honorary Doctorate from the College of Arts and Humanities, Essex University, England; in 2002 an Honorary Doctorate from the University of Edinburgh and an Honorary Doctorate from DePaul University, Chicago, and most recently in 2004, an Honorary Doctorate from the University of Toronto. Two of Mr. Libeskind’s buildings won RIBA Awards in 2004, the London Metropolitan University Graduate Centre and the Imperial War Museum North, the latter of which was also nominated for the Stirling Prize. Also in 2004, Mr. Libeskind was appointed the first Cultural Ambassador for Architecture by the U.S. Department of State, as part of the CultureConnect Program.

    Daniel Libeskind’s work has been exhibited extensively in major museums and galleries around the world and has also been the subject of numerous international publications in many languages. His buildings have appeared on the covers of Time Magazine, Newsweek, Architectural Record, and the Wall Street Journal, among others. Mr. Libeskind’s ideas have influenced a new generation of architects and those interested in the future development of cities and culture. In September, 2004, Riverhead Books (Penguin Group) published his memoir, Breaking Ground. The foreign language editions were published in January/February of 2005, encompassing more than 90 countries.

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  3. #13

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  5. #15
    عضو فعال

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    دانيال ليبسكيند

    انا اعتذر اولا لعدم قدرتي على الكتابة باللغة العربية في التعليق السابق لأنني كنت في العمل و لم اكن استخدم حاسبي الشخصي .
    لكن مشاهدة الكم الهائل من الغزل بهذا المشروع دفعني لمحاولة التعليق باي شكل كان .
    مع احترامي لجميع القائلين بانه لا وطن للعمارة او انه لا يجب ان يكون هناك علاقة بين العمارة و السياسة , الا انه برايي ان العمارة قادرة على ان تخلق اوطان و تسطر تاريخ و ربما ترسخ بعض الافكار المراد ترسيخها من قبل بعض الاطراف و في هذ ا المثال هم ( اللي ما يتسموش ) كما يقول اخواننا المصريين .
    فيما يلي تعليق لهذا المعماري على مشروعه الشهير في برلين (متحف التاريخ اليهودي ) واللذي احدث ضجة عالمية في حينه و عصفت به العديد من الأراء المتناقضة .. فالطرح كان جديدا نسبيا و الفلسفة التي تم من خلالها تقديم المشروع كانت بكل المعايير تقوم بالضرب على وتر المشاعر فلنقرأ سوية التعليق التالي لهذا المعماري ... و لنناقش .. ما بين السطور .. و هو الأسم اللذي اطلقه المعماري على تصميمه .. و هو فعلا يحتوي الكثير بين السطور ...

    Between The Lines
    The Jewish Museum is a museum which explicitly thematises and integrates, for the first time in post-war Germany, the history of the Jews in Germany and the repercussions of the Holocaust. The design of the Jewish Museum engenders a fundamental rethinking of architecture in relation to this program. The museum exhibits the social, political and cultural history of Jews in Berlin from the 4th Century to the present. The new extension is connected to the Baroque building via underground axial roads. The longest one leads to the Stair of Continuity and to the Museum itself; the second leads to the Garden of Exile and Emigration and the third axis leads to the dead end of the Holocaust Void. The displacement of the spirit is made visible through the straight line of the Void which cuts the ensemble as a whole, connecting the museum exhibition spaces to each other via bridges. The Void is the impenetrable emptiness across which the absence of Berlin's Jewish citizens is made apparent to the visitor. In the first eight weeks of the opening more than 200,000 visitors attended.
    "The discussion about a Jewish Museum in Berlin was in process for almost a quarter of a century. Many eminent experts and Holocaust survivors discussed this issue and the implications of building a Jewish Museum in Berlin. The conclusions reached were the ones formulated in a brief for the competition held in 1988-1989.

    "When I was invited by the Berlin Senate in 1988 to participate in this competition for the Jewish Museum, I felt that this was not a program I had to invent or a building I had to research, rather one in which I was implicated from the beginning, having lost most of my family in the Holocaust and myself having been born only a few hundred kilometers east of Berlin in Lodz, Poland.

    "There are three basic ideas that formed the foundation for the Jewish Museum design. First, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens 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 this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.

    "The official name of the project is the "Jewish Museum", but I have called it 'Between the Lines.' It is a project about two lines of thinking, organization and relationship. One is a straight line, but broken into many fragments; the other is a tortuous line, but continuing indefinitely.

    "The site is the new-old center of Berlin on Lindenstrasse next to the distinguished Kollegienhaus, the former Baroque Prussian courthouse. At the same time that there was this actual visible site, I felt that there was an invisible matrix of connections, a connection of relationships between figures of Germans and Jews. Even though the competition was held before the Wall fell, I felt that the one binding feature which crossed East and West was the relationship of Germans to Jews. Certain people, workers, writers, composers, artists, scientists and poets formed the link between Jewish tradition and German culture. I found this connection and I plotted an irrational matrix which would yield reference to the emblematics of a compressed and distorted star: the yellow star that was so frequently worn on this very site. This is the first aspect of the project.

    يتبع في الصفحة التالية ..

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    التعديل الأخير تم بواسطة فيتروفيوس ; 2008-03-15 الساعة 03:24 AM

  6. #16
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    دانيال ليبسكيند 2

    "I was always interested in the music of Schönberg and in particular his period in Berlin. His greatest work is the opera called 'Moses and Aaron', which could not be completed. For an important structural reason the logic of the libretto could not be completed by the musical score. At the end of the opera, Moses doesn't sing, he just speaks 'oh word, thou word', addressing the absence of the Word, and one can understand it as a 'text', because when there is no more singing, the missing word which is uttered by Moses, the call for the Word, the call for the Deed, is understood clearly. I sought to complete that opera architecturally and that is the second aspect of this project.

    "The third aspect of this project was my interest in the names of those persons who were deported from Berlin during the fatal years of the Holocaust. I asked for and received from Bonn two very large volumes called the 'Gedenkbuch'. They are incredibly impressive because all they contain are names, just lists and lists of names, dates of birth, dates of deportation and presumed places where these people were murdered. I looked for the names of the Berliners and where they had died - in Riga, in the Lodz ghetto, in the concentration camps.

    "The fourth aspect of the project is formed by Walter Benjamin's One Way Street. This aspect is incorporated into the continuous sequence of 60 sections along the zigzag, each of which represents one of the 'Stations of the Star' described in the text of Walter Benjamin.

    "To summarize this fourfold structure: The first is the invisible and irrationally connected star which shines with absent light of individual address. The second is the cutoff of Act 2 of Moses and Aaron which culminates with the notmusical fulfillment of the word. The third is the everpresent dimension of the deported and missing Berliners; the fourth is Walter Benjamin's urban apocalypse along the One Way Street.

    "In specific terms the building measures more than 15,000 square meters. The entrance is through the Baroque Kollegienhaus and then into a dramatic entry Void by a stair which descends under the existing building foundations, crisscrosses underground and materializes itself as an independent building on the outside. The existing building is tied to the extension underground, preserving the contradictory autonomy of both the old building and the new building on the surface, while binding the two together in the depth of time and space.

    "There are three underground 'roads' which programmatically have three separate stories. The first and longest 'road', leads to the main stair, to the continuation of Berlin's history, to the exhibition spaces in the Jewish Museum. The second road leads outdoors to the E.T.A. Hoffmann Garden and represents the exile and emigration of Jews from Germany. The third axis leads to the dead end - the Holocaust Void.

    "Cutting through the form of the Jewish Museum is a Void, a straight line whose impenetrability forms the central focus around which the exhibitions are organized. In order to cross from one space of the Museum to the other, the visitors traverse sixty bridges which open into the Void space; the embodiment of absence.

    "The work is conceived as a museum for all Berliners, for all citizens. Not only those of the present, but those of the future who might find their heritage and hope in this particular place. With its special emphasis on the Jewish dimension of Berlin's history, this building gives voice to a common fate - to the contradictions of the ordered and disordered, the chosen and not chosen, the vocal and silent.

    "I believe that this project joins architecture to questions that are now relevant to all humanity. To this end, I have sought to create a new Architecture for a time which would reflect an understanding of history, a new understanding of Museums and a new realization of the relationship between program and architectural space. Therefore this Museum is not only a response to a particular program, but an emblem of Hope."

    Daniel Libeskind

    و الان ربما تريدون اعادة النظر في هذا الأستفتاء من اساسه .... و ربما لا .!

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  7. #17

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    صور جميلة ورائعة .............

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