Dresden’s Military History Museum / Daniel Libeskind

Oct 2011

Uploaded by Christopher Henry — Filed under: Featured ,Museums and Libraries ,Selected , Daniel Libeskind, Dresden, Germany

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Daniel Libeskind’s Military History Museum opens today in Dresden. “I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal …” – Daniel Libeskind, 2011

“It was not my intention to preserve the museum’s facade and just add an invisible extension in the back. I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal and create a new experience. The architecture will engage the public in the deepest issue of how organized violence and how military history and the fate of the city are intertwined.”—Daniel Libeskind

Architect: Daniel Libeskind
Location: Dresden, Germany
Text: Provided by Studio Daniel Libeskind
Project Year: 2011
Photographs: Bitter Bredt, Courtesy of Holzer Kobler Architekturen, Courtesy of Studio Daniel Libeskind

A decade after Daniel Libeskind’s iconic Jewish Museum opened in Berlin another Libeskind-designed German museum will open – Dresden’s Military History Museum. The projects are more alike than they appear.

Both juxtapose aggressively avant-garde design and decidedly pre-modernist structures. Both demand a renewed emotional and intellectual focus on history. Both attempt to make sense of the seemingly senseless – of war, violence, destruction and hatred. Says Libeskind, “The destruction of Europe and European cities by the Nazis is part of the story of the destruction of Dresden. One cannot separate the Shoah and the museums that deal with memories from the history of Germany and Dresden.”

model © Studio Daniel Libeskind

Libeskind’s extension to Dresden’s Military History Museum dramatically interrupts the building’s symmetry, its massive, five-story 200-ton wedge of glass, concrete and steel slicing through the center of the 135-year-old original structure. The new façade’s openness and transparency pushes through the opacity and rigidity of the existing building just as German democracy pushed aside the country’s authoritarian past.

©Bitter Bredt Courtesy of Holzer Kobler Architekturen

The museum’s redesign creates the setting for a reconsideration of that past in a city annihilated by allied bombing at the end of WWII. Inside the wedge a 99 foot viewing platform provides breathtaking views of the city as it is today while the wedge itself points in the opposite direction, toward the source of the bombs, creating a dramatic space for reflection. Says Libeskind, “Dresden is a city that has been fundamentally altered. The events of the past are not just a footnote; they are central to the transformation of the city today.” Inside, in the original, columned part of the building, German’s military history is presented in chronological order. But now it is complemented, in the new wide-open spaces of the five-story wedge, by a new thematic consideration of the societal forces and human impulses that create a culture of violence.

The redesigned Dresden Museum of Military History is now the official central museum of the German Armed Forces. It will house an exhibition area of roughly 21,000 square feet, making it Germany’s largest museum.

OVERVIEW
Since its 1897 founding, the Dresden Museum of Military History has been a Saxon armory and museum, a Nazi museum, a Soviet museum and an East German museum. Today it is the military history museum of a unified and democratic Germany, its location outside the historic center of Dresden having allowed the building to survive the allied bombing campaign at the end of World War II.

elevation © Studio Daniel Libeskind

In 1989, unsure how the museum would fit into a newly unified German state, the government decided to shut it down. By 2001 feelings had shifted and an architectural competition was held for an extension that would facilitate a reconsideration of the way we think about war.

Daniel Libeskind’s winning design boldly interrupts the original building’s symmetry. The extension, a massive, five-story 200-ton wedge of glass, concrete and steel, cuts through the 135-year-old former arsenal’s structural order. A 99-foot high viewing platform provides breathtaking views of modern Dresden while pointing in the opposite direction toward the source of the fire-bombs, creating a dramatic space for reflection.

The new façade’s openness and transparency contrasts with the opacity and rigidity of the existing building. The latter represents the severity of the authoritarian past while the former reflects the openness of the democratic society in which it has been reimagined. The interplay between these perspectives forms the character of the new Military History Museum.

“The dramatic extension is a symbol of the resurrection of Dresden from its ashes. It is about the juxtaposition of tradition and innovation, of the new and the old. Dresden is a city that has been fundamentally altered; the events of the past are not just a footnote; they are central to the transformation of the city today.”- Daniel Libeskind

KEY MESSAGES
1. Changing Perspective – The MHM offers different perspectives on German military history. The architecture, the new thematic exhibition and the redesigned permanent (chronological) exhibition represent both traditional and new forms of perception and expression. The juxtaposition of tradition and innovation, of old and new interpretations of military history, is the cornerstone of the new approach.

2. Cultural History of Violence – The MHM offers visitors a history of the German military. But it goes beyond uniforms and weapons in its investigation state-controlled violence, offering new ways of assessing that history and the culture of violence that gave rise to it.

3. The Central Theme is the Human Being – The central theme of the MHM’s architecture and exhibition design is an anthropological consideration of the nature of violence. The museum closely examines the fears, hopes, passions, memories, motivations and instances of courage, rationality and aggression that have precipitated violence and, all too often, war.

4. Museum as Forum – In addition to presenting current and historical topics in special exhibitions and events, the MHM will host screenings, lectures and international symposia.

model © Studio Daniel Libeskind

5. A New Museum District – Once a prosperous and heavily visited area, Dresden’s Albertstodt district, in which the museum is located, has been deserted for some time. The new MHM will be the catalyst that turns the district into an international destination, a cultural center and a museum district. Made add’l change

Text provided by Studio Daniel Libeskind.

rendering © Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Studio Daniel Libeskind

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: © Bitter Bredt Courtesy of Holzer Kobler Architekturen

: model © Studio Daniel Libeskind

: model © Studio Daniel Libeskind

: plan © Studio Daniel Libeskind

: rendering © Studio Daniel Libeskind

: rendering © Studio Daniel Libeskind

: elevation © Studio Daniel Libeskind

Cite:
Henry , Christopher . "Dresden’s Military History Museum / Daniel Libeskind" 14 Oct 2011. ArchDaily. Accessed 24 May 2012. <http://www.archdaily.com/172407>

Comments (44)
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Links to this entry (5)

Dustin says:

Daniel Libeskind: License to Kill buildings.

# October 14, 2011 at 09:13

i2h says:

a shard. wow. that’s so unlike libeskinds usual forms.

# October 14, 2011 at 09:28

joel mexico says:

looks like a very very graphic killing of ancient building… how could someone let him project and build something like this???

# October 14, 2011 at 09:47

Not Joel says:

Dresden’s history consists of very graphic killings of “ancient” buildings. That’s the point.

# October 14, 2011 at 20:18

JIm says:

Thank GOD he didnt get his hands on Neuss Museum in Berlin as origionally intended!

# October 14, 2011 at 09:49

Rizky says:

it would be another holocaust museum if he did that in Berlin. I think he should stick his design to a trauma-related memorial/building.

# October 18, 2011 at 04:05

Jenson G says:

It’s nice to see that Libeskind was able to leave the tired and repetitive triangulated crystal motif behind and respond in an an original and creative way for a change.

# October 14, 2011 at 09:53

AB says:

It is doubtful that a thing (a work of architecture) can be claimed to be original (rather than unique until it has been copied.

# October 18, 2011 at 05:00

brad says:

Your all just jealous.

# October 14, 2011 at 13:16

A.T. says:

I’ve often wondered if Libeskind can get much worse, less thoughtful or more arrogant. This project confirms he has gotten much, much worse, much less thoughtful and way more arrogant. I find him and his dumbed down rhetoric to be laughable. He’s become a pathetic parody of an architect, a one-like joke kidding himself and the clowns who work for him that they are doing something relevant. Very sad …

# October 14, 2011 at 13:36

-1

nn says:

it’s sad really – the way i see it, when an architect makes his grandest project, all the new commissions he gets probably sound like this: “make us (insert the name of great project) too!”

# October 14, 2011 at 15:18

James says:

Liebeskind is doing some of the most important work out there right now.

He’s the only architect who’s consistently found a way to aggressively interact with historical architecture via radical intervention, thereby questioning the injustices that subsidized it and the real meaning built into it.

Those who refuse to give credit to Liebeskind for doing exactly as he promised in his theoretical work are entirely oblivious in my opinion.

# October 14, 2011 at 15:29

adriana says:

Dear James,
Hitler also did exactly as he promised in his written works… I do not have enough words to describe how wrong and catastrophic can be Liebeskind’s architectural work. It is absolutely hideos and out of any esthetic sense and you don’t need any knowledge of architectural theory to figure this out. This person had a very sad childhood!!!!

# October 18, 2011 at 02:16

Allan says:

I would like a smoother response on the historical building. The new “wing” is too aggressive and although we know it’s a military museum it doesn’t have to boost a warlike emotion, because war is a rather negative phenomenon. Right???

The architects courage is of course on the screen.

# October 14, 2011 at 16:10

Valod says:

Architecture as a brand. How unfortunate.

# October 14, 2011 at 16:41

bLogHouse says:

In this case it’s a museum franchise called “McLibeskind”

# October 16, 2011 at 07:04

MARK says:

Are any of you familiar with Dresden’s history? I presume most of you are not.

I find the architecture to be appropriate when thought of in the context of the firebombings. It evokes the history of the hundreds of destroyed “historical” buildings. It’s a simple, expressive, yet very Liebeskind move.

Go read Slaughterhouse IV – or anything other than architecture related texts.

# October 14, 2011 at 20:16

andrew emmet says:

if by “evokes” the history of ‘archiclasm’ you mean repeats it, then yes.

# October 17, 2011 at 20:21

vahid torabi says:

now ,its a military history museum..
The invasive form is a beautiful metaphor..great work

# October 15, 2011 at 07:09

Ben Miller says:

Congratulations Daniel, you came up with another pseudo-explanation for your design that you clearly construed afterwards. When will you realize that you can’t just get away with building random triangle shapes EVERY SINGLE TIME?

# October 15, 2011 at 11:16

Kyle says:

Why can’t ppl just leave historic buildings historic. If u want to build a shard find a empty lot somewhere. By building shards over historic buildings your destroying the beauty the original architect created.

# October 15, 2011 at 12:43

Bertrand Portier says:

We all must destroy academic architectures! We must hate academic architectures; for the most, they just are Greek and Roman pastiches architecture.

# October 15, 2011 at 14:35

Giovanni says:

With this latest project, Libeskind’s historical position as the world’s worst, most over-rated architect is now secure.

# October 16, 2011 at 09:46

Arturo says:

It’s the architectural equivalent of inserting a guitar solo in a Mozart symphony, of mixing junk food with caviar, of putting gasoline in the champagne. Yes, it gets attention by providing cheap contrast, but dissonance, disharmony and chaos are not the same as good design. Libeskind’s cheap effects merely emphasise what an amateur hack he really is.

# October 16, 2011 at 22:15

Leo H says:

For over a decade, Libeskind has been peddling hokum of the lowest intellectual caliber. Given how predictable and superficial he and his portfilio of wedges and shards has become, you have to wonder at the level of gullibility of anyone who still takes him seriously.

# October 17, 2011 at 13:48

TA says:

piece of junk

# October 17, 2011 at 19:15

Archit says:

yes typical Libeskind. I usually hate and agree with all of the above comments. But I must say that for once this actuially makes sense. I like the jaring distructive comment on the military establisnment. Actually I think there should have been more. Maybe one that was more transparent. Actually I think Libeskind should do an addition to the US federal reserve building.

# October 18, 2011 at 10:16

Caleb W says:

Dear Mr. Libeskind, please, for the love of God. Stop sticking your pointy-bits into nice old buildings, they deserve better!

# October 18, 2011 at 13:11

CBBK says:

On the plus side, Libeskind’s design …. oh wait, there is no plus side.

# October 18, 2011 at 13:29

Mel says:

It seems a tumor

# October 18, 2011 at 13:50

Darren says:

The worst thing you could say about any architectural design would be to describe it as “Libeskindesque”. It would be a term of revulsion.

# October 18, 2011 at 17:16

MHP says:

Same old crystal form, just a different excuse from Libeskind. Could he be any more bereft of ideas?

# October 18, 2011 at 22:55

7oda says:

too Bad Idea

# October 19, 2011 at 12:09

Randall says:

In his book “Fishing From The Pavement” Libeskind revealed his hatred of Christians, Muslims and other peoples. So I’m not surprised this racist has also turned his hatred towards this building. His architecture is just another expression of his deranged views about society and cultural advancement. He cannot seen to design a house or a museum without his hostility and agression towards the world coming out in the destructive forms he forces on the project.

# October 19, 2011 at 19:37

CB2 says:

No real architect was involved in this amateurish mess. It must be something “designed” by Nina, or maybe by the janitor in Libeskind’s office. It’s too crude for anyone with an eye for aesthetics.

# October 19, 2011 at 23:28

Soup says:

You see one Libeskind building, you’ve seen them all….

# October 20, 2011 at 19:14

Malika-Zaynah Grant says:

I know people are getting tired of libeskinds designs because it’s so predictable, but I actually like this one. It’s outrageous but in a refreshing way.

# October 22, 2011 at 05:42

ASTI says:

There is much more to architecture than merely trying to be outrageous. Being outrageous, just for the sake of it, seems like a cop out for people like Libeskind who are unable to do good designs like Zumthor or Piano or Scarpa.

# November 4, 2011 at 12:56

Debra says:

The only way Libeskind can get attention is by being contrary and oppositional. It’s the same way an immature child behaves. The egocentric and antisocial Libeskind never learned how to engage in a real way with other people. Not having reached intellectual adulthood, Libeskind has no alternative but to throw the architectural equivalent of a temper tantrum made manifest in hostile (but ultimately childish) gestures.

# October 22, 2011 at 08:58

Nick says:

Have any of you served in a military? This is a military museum and Libeskind’s design of it demonstrates that in a brutal way. War isn’t pretty, nor should it be celebrated.

# October 27, 2011 at 14:09

I got tired of Libeskind’s boring work about 8 years ago. Now his repetitive wedges and droning explanations just put me to sleep. Yawn!!

# October 28, 2011 at 07:26

SB says:

Libeskind’s projects always look like they go straight from the napkin sketch to construction documents in a collaborator’s office. They never have the refinement of the concept or the detailing you expect of great architecture. The first thing that pops into his head gets built. Too bad for Dresden.

# October 29, 2011 at 12:00

maisam says: