ARCH 463A: THEORIES OF REPRESENTATION

Todd Beyreuther 0437508

FINAL PAPER
9 March 06
 INTRODUCTION During initial exposure to Daniel Libeskind’s architectural drawings and models, one immediately recognizes that
his representations go beyond traditional architectural convention. It is possible that the abstract quality of the
representations create a separation from representation tradition, but there is clearly more invoking this reaction.
There exists a power to the graphics and textures that connects architecture with greater concerns, bigger ideas,
ed no and more universal forces. Deciphering the purpose of the representations can be challenging.
cess, obey
f seriality or pro
owed no logic o
sense, foll
ft ; th ey made no
ed ad ri g.” One might assume that Libeskind simply has interest in the craft of representation. In fact, the reduction of
all wander nt nothin
g s, a n d curlicues ic te d n o thing, mea
, zigs, za ing, dep his drawings and models extend beyond a notion of just craft and explores a deeper connection to his larger
l elements , added u
p to noth
d g ri d s, notationa n o sp a ce
tings an ure, const
ructed theoretical ideas. While his representations are fascinating objects in themselves, one would surely miss their
“The gra ric struct
n o es o te ter, 10)
red of Encoun
law, hono T h e Spaces power without consideration of the greater meaning that they communicate. The dynamic layering of lines,
to r,
re cura
architectu
n is , a rt critic and symbols, and text may appear irrational, however ultimately they express a powerfully rational order and meaning.
ip
(Jeffrey K

The representative elements or ‘expressions’ shift the purpose of the drawings and models from the tangible to
the theoretical. A red line in the drawing may not have a physical presence in the built work. Instead the line
represents an idea that might inform an ultimate architectural form. The deeper meaning of these ‘expressions’
used in Daniel Libeskind’s drawings and models is the focus of this investigation.

2 3
‘READING’ of the WORK Prior to winning the competition for the Jewish Museum in Berlin (1989–his first built project), the work of
Daniel Libeskind was mainly theoretical in nature. Possessing a background that touches on music, philosophy,
and even mathematics, Libeskind produced and published drawings, writings, and other artwork throughout
his years in academia. Since his transition to professional practice, his representations, especially competition
submittals, have revealed his theoretical background.

Libeskind’s work (‘work’ will refer to all forms of representation—drawings, models, collages, montages, etc.)
demands exploration and further examination. Marc Kirschbaum states in his UW architecture thesis, “[Libeskind
drawings] do not appear on a level of easy-consumable postmodern art...without the effort to get involved, one
will not get anything out of it.” by the act, the will,
intimate with architecture
”Libeskind’s drawings are
ther, the act of reading
der to name them so. Fur
and only the will of a rea
ir status as architecture,
What initially appears to be an ad-hoc layering of found materials, lines, and lettering (refer über den linden m writings, reinforces the
these works, naming the
t as graphics they could
ir having a significance tha
model on facing page), gradually reveals intent upon study. The idea driving the composition is not obvious for reading insists on the hitecture.”
y could only represent arc
not have. As graphics the
sign, 120)
at first. The observer is engaged to study and ‘read’ the work. There exists a need to search Libeskind’s (Peter Eisenman, Counter

compositions for underlying ideas. This need provides a significantly different experience than the reading of
conventional design drawings. The work transcends a mere technical graphic and communicates the design
synthesis and process.

“…his work, in wh
ich intellectual, ma
thematical, and sp
elements are interw eculative
oven and combine
d in a kind of for
hints also at a para mal chaos; it
llel to my own expe
rience of what is
tecture—a kind of called archi-
connection which
to others might ap
or mad but which pear strange
is on the contrary
one of the few conn
seems to me possi ections which
ble.”

(Aldo Rossi, Coun über den linden: model (el croquis, 16) berlin, 1990
tersign, 123)

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THE ROLE OF REPRESENTATION In an essay about Daniel Libeskind in Countersign, Peter Eisenman suggests it is an intriguing and counter
nce of
bhorre
intuitive notion that a realized building might be the representation of its drawings and models (quote below). In I ’v e h ad an a es”
cture, re offic
g a n archite l a rc hitectu
Libeskind’s work, the conventional hierarchical relationship of drawing to building reverses. The drawings exist since I
b e tion a ter, 17)
“Ever conven o f Encoun
c e s
he Spa
as more than just an efficient set of working documents to produce a built project. kind, T
a n ie l Libes
(D

“All architects are prostitutes...they’

“To insist th ll do whatever it takes for the chan
at these are draw ce to build”
ings, working (Daniel Libeskind citing Philip John
real physical documents fo son, Breaking Ground, 19)
form (wheth r
er as a three-
constructed dimensional
building, i.e., model or a
the tradition
drawing) wou al role of arch
ld disappoint itectural
us. The thre
would result e-dimensional
could at best artifact that
echo but coul
signify the co d not contain,
ntent of thes represent, or
e drawings…
”
(Peter Eisenm
an, Countersi
gn, 120)

tours centre for contemporary art: model (el croquis, 115)

6 7
 “…one is not free just to invent the lines or to treat
them as purely
LINES A consistent characteristic of a Libeskind composition is the use of lines to reveal design and thought process. independent phenomena. Even if lines were to be
graphic, they would
Libeskind creates architectural explorations of lines in his early art, especially in the axonometric explorations be an indication that in their making, there is someth
ing that precedes
of the Micromegas drawings (image on facing page). The impact of this aspect of his work is seen later is his this making and something which has already been
distorted into its
own future; a future which might remain invisib
approach to built work where the lines organize the realized architectural ideas (images below). le to those who are not
sensitive to what they are handling. … Perhaps the
invisible lines are not
solely abstract lines that you can not see. They are
inevitably the lines
Alone, the lines of his drawings and models have little or no literal meaning. The lines are only understood along which the future will move...

for their architectural substance when arranged with other lines to inform the spatial characteristics of the site.
Any architect, or any city planner who’s dealing
with the future, has
The lines serve as placeholders that represent the process of Libeskind’s thinking. Meaning is applied to the the responsibility of knowing the general trajectory,
and the ethical
arrangement of lines with texture, text, and rendering of the spaces between. responsibility for these decisive lines. They can be
devastating lines, lines
that end in total closure and demise, or lines of faith,
of hope and of spirit.”

Libeskind claims that lines are inherent to a site. They are never random. Their presence may be historical or
(Daniel Libeskind, el croquis, 13)
cultural in nature—it may speak to present uses or influences to the site or even predict future ‘trajectories’ (quote
on the facing page).

drawing…”
the mesh of signs within every
“A spatial order develops from

(Kurt W. Foster, Countersign, 121)

“micromegas—the architecture of end space”: drawing (countersign, 16)

outside line: pavilion, uozo, japan, 1997 (The Spaces of Encounter, 165) berlin jewish museum: model (Countersign, 95)

8 9
 LINES: EXAMPLE A project emphasizing the arrangements of lines is the competition submittal for the Tours Centre for
Contemporary Art (shown on this spread). In both plan drawing and model, the arrangement of lines relates to
the nine muses of Greek mythology that “preside over the arts and sciences.”1 These lines trace human action and “The urb
an schem
e dissem
define what the site should consist of, not necessarily what exists in the current site. the site a inates th
nd beyon e archite
d it thro cture acro
connecto ugh the M ss the en
rs to tim use Line tire surfa
e. These s which b ce of
Muse Lin ecome th
which re es constit e structu
The arrangement and visibility of lines in the drawings and models establish an architectural order. Libeskind invest th
e City w
ute a ma
trix of fr
ral
ith a sen acture li
se of won nes
does not always reveal if the lines directly relate to physical alignments or connections. The lines are inherently der and
relationsh
ip.”
part of the site, it is up to the designer to find and respond to these lines. (el croqu
is, 110)

In the model created for the Tours Centre for Contemporary Art it is not directly obvious how the lines relate to
the final form. Although one would typically expect certain building or site elements to align with these lines, it is
evident that they connect more with ideas and process than final form.

1 www.eliki.com

The Nine Muses:

Erato, the muse of poetry

try accompanied by the flute
Euterpe, the muse of lyric poe
try and science
Calliope, the muse of epic poe
hist ory and hist orical poetry
Clio, the muse of
pom ene , the mus e of song and tragedy
Mel mpaniment
ous song to an instrumental acco
Polyhumnia, the muse of seri
ce
Terpsichore, the muse of dan
Thalia, the muse of comedy
is,
Urania, the muse of astrono
my (el croqu
ry art: site plan
e at the 0 point, ntempora
tours centre for contempory art: model (el croquis, 111) the ‘Zero Time Muse’ the mus tre for co
Libeskind adds a tenth muse, e of mut abil ity and flexibility. tours cen
present, the mus
the muse without history, the 108)
tours centre for contemporary art: model (el croquis, 109) competition, selected for 2nd phase

10 11
 MUSIC & ARCHITECTURE Due to his strong background as a musician (he performed the accordion professionally when he first arrived to
the United States—including a performance at Carnegie Hall with Isaac Stern and Zino Franciscati), Libeskind
often connects architecture and design to music. For Libeskind, music influences not only the development
of theoretical ideas integrating the two disciplines, but also his method of physical representation. At times,
Libeskind literally includes musical graphics in drawings or model form (such as sheet music for texture) to
explicate design synthesis. Relying on the line structure of clefs, Libeskind has also used
blank music sheets for notes, sketching, or even competition entries (refer to the Berlin
Jewish Museum entry below) .

“I believe that th
e relationship be
conceptual nor sim tween these two
ply practical. If fields is neither so
immaterial, what one thinks of mu lely
could leave less of sic, what could be
On the other hand a trace in actual more
, of course, archite experience than
weight, with matte cture has always music?
r, with public activ been associated wi
led many people ity. I think that th
both in Europe an these two polariti (el croquis, 142)
about which tak d in the Orient to es have nic hall: site plan
music.”
es precedence—it
is usually a race
come to certain co
nclusions bremen philharmo
between architectu
re and

(Daniel Libeskind was very lucky to

, The Spaces of En
counter, 51) em en is an oth er project that I ion...I was
Br
“The philharmo
nic hall in musical intercept
tio n, an d th at I am pursuing as a me tap ho r— music of
win in a competi of th e cit y, an d that’s of course or to mo re con-
music s to John Cage
interested in the me taphor if one listen be co nsidered
t it is no t a ich co uld
the city—bu e can hear that wh possible, I believe
, to
ators. When on of the city…it is
temporary innov to th e ob jec ts
nnected
noise strongly co sical interception
.”
ploration of a mu
engage in the ex
counter, 54)
, The Spaces of En bremen philharmonic hall: sections/elevations (el croquis, 148) competition, first prize, 1995
(Daniel Libeskind
29)
ween the Lines,
eum: competition entry (Bet
berlin jewish mus
12 13
 MODELS Libeskind often layers his models with multiple materials. Metals or metallic finishes are common, as are clear
or translucent plastics. Cardboard and wood often have applied texture coatings or rubbings directly to their
faces to demonstrate fenestration and other details (refer to the Berlin Jewish Museum model on the facing page).
“A spatia
Some unique qualities of his models include frequent use of exposed fasteners such as screws, rivets, and nails. l order d
evelops fr
om the m
esh of sig
Texture and hatching is commonly achieved with found printed paper such as newspaper, phone books, Jewish (Kurt W. ns within
…”
Foster, C
ountersig
concentration camp prisoner lists, etc. The application of these textures and hatching is selective and normally n, 121)

expresses the areas created by the lines.

106)
io: (el croquis,
libeskind stud
bremen philharmonic hall: model (el croquis, 147) tours centre for contemporary art: model (el croquis, 109) competition, selected for 2nd phase

14 15
 DRAWINGS and MONTAGES In a similar manner as the models, Libeskind’s drawings and photo montages exhibit an expressive layered quality
utilizing hatching and dark shadow rather than texture for definition. Drawings, despite being a dimensionally
limited media, still communicate the dynamic design synthesis present in the models and montages. The
‘expressions’ (now in the form of line weight, hatching, and printed text) connect Libeskind’s urban responses to
a specific site, building plan, or section drawing. He communicates through abstract layers of applied information
that conventionally is communicated in smaller scale vicinity plans or in written design statements.

tions ‘form’,
“By dropping the designa
and engaging
‘function’, and ‘program’,
realm, which ted
in the public and political itua
t be s l
cture, the mu s tura
is synonymous with archite w ings r c h itec
dr a of a is a
dynamics of building take
on a new
s k i nd’s o n text i s s ense
Lib
e tc th n
dimension.” “… esen g in tatio
t h e pr r a win p r esen s
with
in g. D al r e es it
win liter c hiev
dra oft e n
. I t a
se o
f
Encounter, 17) and p arts he u
(Libeskind, The Spaces of rat i v e
or i t s ug h t
ry:
nar i l d ing a l thro c a bula
bu r o
of a ectu fine
dv But
chit tc.
s a s ar w e ll-de a l ls, e is
stat
u nal, rs, w f th
e ntio s , doo t i q ue o
a co
n v
dow a cr
i re. “
win g s are h i t ectu
in rc
raw in a
d ’s d w ing
esk i n r a 0)
Lib of d , 12
d i t ion t e r sign
tra oun
n, C
i s e nma
er E
(Pet

alexanderplatz project: photomontage (el croquis, 91) competition, second prize

tours centre for contemporary art:
roof plan (el croquis, 114)

16 17
 COMPETITIONS: EXAMPLE Although this investigation is a general overview of competition type work , the urbanization of the former S.S.
Barracks of Sachsenhausen, Ornienburg, Berlin, 1992, is one project that deserves special comment regarding the
power of representation. The competition called for an urbanization intervention of a former SS concentration
camp that includes 10,000 units of new housing to be built. The program proposed to reuse all of the existing
buildings.

Daniel Libeskind disagreed with the appropriateness of the specified program and therefore submitted his
alternative ideas even though he knew that he would be disqualified. Even though the first prize was given to
another architect, positive response to Libeskind’s project persuaded the city to reconsider the program.

(el croq uis, 26)
esign : site plan
At right is a photo of the model and a drawing of the site plan. The power in these representations lies in the Urban D
Sachse nhausen
“The program quite urning”,
“MoX
emphatically reject
s trivi-
capturing of the character of the evil history of the site and the successful expression of the ‘hope incision’ as a
alizing the site with
any plan for placin positive intervention to the site. These qualities are created not only with material choices, but also in the ghost
g hous-
ing on it, or otherw y
ise domesticating the xiality. M
Rather it suggests
site. rendering of the buildings that once occupied the site. Because it is a model, the depth and material change of the p ) w a s built on a
a land use that com ation cam the camp
bines an
a l S S concentr re o ri en tation of
ecological interven incision emphasizes its power as an intervention to the otherwise ravished and evil quality of the rest of the model. g in s the enti Lubeck.
tion and invention p (the ori p and tilt through
with an “The cam o f the cam w h ich goes
economic base for si te tu d e r
the city of Oranien
proposal
cuts th e
icular lati of the wa
burg. Its
a l a x is at a part a rc h . A t the end
aim is to bring peop tr eath m
le to this place, to m the cen famous d ausen bec
ause
reveal, One only needs to imagine how less effective a monotone cardboard model would be to realize the importance away fro d with an in Sachsenh
disclose, and remem ci a te fr o m
ber. At the same tim
Lubeck w
as ass o
e marched e marched
e it ri so ners wer em . They wer
must be a place for of Libeskind’s ‘expressions’. This model is another example of a representation that invokes examination and a thousand
s o f p inatin g th
e convoy
hope, a place where
those in 1945, ib il it ie s for exterm a d e it b ecause th
who are trying to reb poss ever m
uild Germany can curiosity of history and also a hope of what can come through architecture. e no more . They n
find a there wer a big ship ”
w n ed in incision’…
workplace, and em
ployment future, the L u b ec k to be d
ro
I ca ll ed the ‘hope
growth to what
of new nature, the roposed
quietude of contem bed…I p
plation, was bom
, 19)
the rehabilitation
of the physical and g Lecture
mental 5 R a o u l Wallenber
spirit: the dawn of , 199
a new Mourning… ibeskind
” (Daniel L

(Daniel Libeskind “Mourning”,

X Sachsenhausen Urban Design: model (el croquis, 24) competition, special prize
, The Spaces of Encou
nter, 91)

18 19
 “As arch
itectural
drawings
instrumen gradually
tal for act became m
ual const ore techn
distinguis ru ct io n — ical—chie
hed many they lost fly
CHANGE As with most architects, digital media is creeping into the work of Daniel Libeskind. It is harder to find published of them in an attract
ive quality
the past, that
that of ex
work of his physical models. During some early built work, photo montages (presumably some were digital ploration
(Kurt W. and fanta
Foster, C sy.”
ountersig
manipulations–refer to the ‘Drawings and Montages’ spread) were used with images from the models. Of n, 121)

recent, fully rendered 3D computer models are common, especially in his competition work. As Libeskind joins
mainstream representation culture by utilizing the computer, it is possible that his representations (refer to the
rendering of the Royal Ontario Museum and the swimming facility on the facing page) will turn away from the
unique craft qualities or the layered expressions that he has achieved in the past. Although the designs are still
recognizable as Libeskind’s work, the use of digital rendering and “photoshopped” human figures approach the
common practice of designers trying to achieve realism as opposed to the abstract communication of design ideas
or processes.

Despite the use of the computer, the layering of ‘expressions’ common to his physical models is apparent in some
current work. In a digital rendering of the World Trade Center site (below), the perspective view includes lines
and text on the ground plane communicating additional information—although rather
limited in nature compared to previous physical drawings and models.

The absence of the abstract quality in Libeskind’s recent representations raises questions.
Is this absence a result of the change in media, a change in representational strategy, or
possibly a reality inherent to the political process involved with securing large scale public
work?

ground, 123)
Don’t let the David Childses of the world win Daniel! y: digital rend ering (breaking
sw imming facilit

world trade ce royal ontario museum: digital rendering (breaking ground, 125)
nter site: digita
l rendering (bre
aking ground, 13
2)

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 BIBLIOGRAPHY
el croquis 80. Daniel Libeskind 1987-1996. el croquis, s.l., Madrid, 1996

Kirschbaum, Marc. From Theory to Architectural Gesture: A Stroll with Daniel Libeskind. University of Wash-
ington, Master of Architecture thesis, 2002.

Libeskind, Daniel. 1995 Raoul Wallenburg Lecture. The University of Michigan College of Architecture + Urban
Planning, 1995

Libeskind, Daniel. Between Zero and Infinity. Rizzoli International Publications, New York, 1981

Libeskind, Daniel. Breaking Ground. Riverhead Books, New York, 2004

Libeskind, Daniel. Chamber Works. Architectural Association, London, 1983

Libeskind, Daniel. Countersign. Academy Editions, London, 1990

Libeskind, Daniel. Jewish Museum Berlin. Prestel-Verlag, Munich, London, New York, 1999

Libeskind, Daniel. The Space of Encounter. Universe Publishing, 2000

Libeskind, Daniel & Balmond, Cecil. Unfolding. Netherlands Architecture Institute, Rotterdam, 1997

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