Word: libeskind
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...nature but a hopeless ambition in landscape design, which is always a product of its time. So the Weiss/Manfredi design for the Seattle park, with its pulsing tectonics and dynamic lines, is clearly a product of late 20th--early 21st century thinking, the era of Zaha Hadid and Daniel Libeskind and their thunderbolt architecture...
When the Denver Art Museum's new Daniel Libeskind--designed addition opened in October, the architectural reviews were mixed, but none of the critics said the place made them queasy. Then the visitors came. As they climbed to the upper floors of the titanium-and-granite-clad structure, which echoes the silhouette of the Rockies, some began feeling dizzy and nauseated. The likely culprits: a plunging 100-ft. atrium and walls slanted at odd angles. "If you have walls tilting toward or away from you, that disrupts people's balance," says University of Colorado architecture professor Taisto Makela...
Although there's only one gallery in the museum with its own window, Libeskind has provided a spectacularly angled 120-ft.-high atrium that fills with light, which it communicates to any of the many galleries that have sight lines leading to it. And what light. He has positioned the atrium's windows so that it cascades in sheets or cuts oblique shafts through the air that mimic the diagonals of the walls and stairways, as though the sun itself had been recruited into his angular scheme. Architects are not known as humble souls, especially in this era of global...
...design as powerful as this can be a problem as a setting for art. The big question hanging over Libeskind's irregular galleries is whether they will overwhelm the art--the eternal accusation against the mighty rotunda of Frank Lloyd Wright's Guggenheim Museum in Manhattan. As it turns out, for a good deal of modern and contemporary art, Libeskind's careening lines provide a perfect force field, a reminder of the dynamic rethinking of space that was behind so much of modern art to begin with. Naturally, Cubist work looks right at home here. Likewise the angular channels...
Anything gentler or more sinuous may have a harder time. A multipart installation by Betty Woodman, the ceramic artist whose work is full of liquid lines, looks like somebody dropped a Matisse into The Cabinet of Dr. Caligari. And Libeskind's plunging vectors will never be the ideal resting place for Vermeer or Monet--which might explain why the Denver museum will continue to house most of its older art in the more conventional galleries of the Ponti building. Daniel Kohl, the museum's installation designer, has taken on the job of mediating between Libeskind's building...