Daniel libeskind

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an unusual building with multiple colors on it's side in the middle of a field

measuring at a height of 25 meters, the 3-dimensional form by daniel libeskind serves as a distinctive landmark of the emilian ceramics district in italy.

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a large building that has been designed to look like an abstract piece of art on the side

Completed in 1999 in Berlin, Germany. In 1987, the Berlin government organized an anonymous competition for an expansion to the original Jewish Museum in Berlin that...

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the floor plan for an apartment building with multiple floors and two rooms, all in black and white

18 planes, 36 points, and 54 lines make up the continuous faceted metallic ribbon that folds over itself creating interstitial spaces and fragmented apertures to the rural exterior.

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a large building with an intricate design on it's front entrance and walkway in front of it

Photographer Alexandra Timpau captures the pain and juxtaposition of the new extension of Dresden's Military Museum by Studio Libeskind.

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people are walking around in front of a building with a large triangular design on it's side

Architect: Daniel Libeskind (2002 - 2007) Location: Toronto, Ontario, Canada Apparently, the original design for this structure was to be all glass, but concerns about snow melt and urban avalanches meant coming up with an alternative that would channel the snow and melt it safely.

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an architectural drawing shows the building's exterior and its surrounding area, with trees in front of it

In 1987, the Berlin government organized an anonymous competition for an expansion to the original Jewish Museum Berlin that opened in 1933. The program wished to bring a Jewish presence back to Berlin after WWII. In 1988, Daniel Libeskind was chosen as the winner among several other internationally renowned architects; his design was the only project that implemented a radical.

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two different views of the same building and one shows an aerial view of what it looks like

“The museum aims to convey the spirit of the Kurdish people, their rich culture and the future of Kurdistan,” said architect Daniel Libeskind. “The design had to navigate between two extreme emotions: sadness and tragedy, through the weight of history, and of joy and hope, as the nation looks to the future.”

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