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Denver Art Museum

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Shotaro Kume

on 11 December 2013

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Transcript of Denver Art Museum

Denver Art Museum
By: Ben Johnson and Shotaro Kume
Daniel Libeskind
-Libeskind decided to use titanium cladding for the exterior with steal beams for supports
The reason why he decided to use titanium was due to several reasons.

1.) One of the major supporters of a new extension to the museum was a owner of a titanium factory

2.) Titanium exterior would be able to resist the weathers in Colorado with minimal changes in the shape and size of the claddings

3.) Titanium would reflect light from the exterior at different angles.
-Born in Poland
-Became an American citizen in 1964
-After studying music in Israel (on a scholarship), he moved to New York to perform as a virtuoso performer. He then decided to pursue a career in architecture.
-Graduated with a degree in architecture at Cooper Union 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.

The red pieces drawn above represent the steel infrastructure.
The building required around 9000 titanium panels for the exterior surface.
As seen on the transverse sections, there is a lack of vertical walls. So how does this building function as a museum?
2.) Smaller vertical individual walls are placed within the building for paintings.
3.) Some art pieces rely or are enhanced by the angled walls
Separation of Space
Orange= Special Use
Yellow=Public,Non-Exhibition Use
Green=Exhibition Use
Jewish Museum- Berlin, Germany
Tangent Facade Design For the Hyundai Development Company-Seoul South Korea
Military History Museum-Dresden Germany
Frederic C. Hamilton Building (Extension to Denver Art Museum)- Denver, Colorado
Project Analysis Part 1
-"Nexus" meaning connection of linear elements
-Two planes are intertwined to form exterior and major sections of the interior

Gio Ponti's original Denver Art Museum
Michael Graves's Denver Public Library
Site Map
Daniel Libeskind's residential project
Spacial Relation Museum-Residential
Client/Building Information
-The director (Lewis Sharp) of the pre-exsisting Denver Art Museum desired an extension to move Modern and Contemporary art collections as well as the collections of Oceanic and African Art to a new location.
-They also desired a dynamic building that would revitalize the surrounding area
-The new addition needed to function as an entrance for the surrounding area
-In a competition between Daniel Libeskind, Arata Isozaki and Thom Mayne, Libeskind won and the building began its construction in 2000, until its completion in 2006.

-Since the steel beams which run through the floors played a major factor in the structural integrity of the building, the floors of the building were fire proofed. This also assured that in the case of fire, the large cantilevers would not fall onto the urban space.
-The exterior was layered with heat transmitters in order to avoid build up of snow
3.) The angled interior walls helps to orient exhibitors
Project Analysis Part 2
Reduction-Cluster Organization
1.) This transverse reduction shows multiple angled walls inside the museum
Abitare. "Architettura." Libsekind 471 (2007): 219-33. Print.
"Architecture+Design." Rock Crystal Form 29.6 (2012): 44-50. Print.
Architecture and Urbanism. "Extension to the Denver Art Museum." Works 435(2006):12-22. Print.
Chen, Arie. "A Civic Act." Metropolis 26 (2007): 120-28. Print.
Ledes, Allison. "Current and Coming." The Magazine Antiques 170.4 (2006): 18-20. Print.
Libeskind, Daniel. "Daniel Libeskind." Studio Daniel Libeskind. Studio Daniel Libeskind, n.d. Web. 23 Oct. 2013. <http://daniel- libeskind.com/>.
Libeskind, Daniel. Breaking Ground: Adventures in Life and Architecture. London: John Murray, 2004. Print. Project, GA, ed. "Daniel Libeskind." The Eye and the Wing, Extension to the Denver Art Museum 70 (2002): 96-99. Print.
Swift, Barbara. "Libeskind and Denver- A Cultural Collision." Arcade 25.3 (2007): 6-7. Print.
Stephens, Suzanne. "Projects." Architecture Record 195 (2007): 84-91. Print.
-Crystal like shards and prisms does not allow the building to function like a museum.
- In order to resolve these challenges, Daniel Kohl, the museum's installation designer, implemented different ways for the building to function effectively.
Plan, Section, Elevation
Building Space: 146,000 square feet Exhibition Space: 30,000 square feet
Cost: $110 Million
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