دانيال ليبسكيند
丹尼尔·里伯斯金
דניאל ליבסקינד
ダニエル·リベスキンド
ДАНИЭЛЬ ЛИБЕСКИНД

places beyond the wall

source: libeskind

Studio Libeskind is involved in designing and realizing a diverse array of urban, cultural and commercial projects around the globe. Our Studio is a collaboration of architects and designers that believe architecture is a practice of optimism. We approach our projects with the attitude that to make great places, you must believe in the future, but also remember the past.

Studio Libeskind’s architecture emerges from the idea that a building should be expressive and reflect contemporary life. Innovation is at the core of our design process. We believe that bold design must be realized with sustainable technology and we strongly believe that the art of architecture lies in creating a maximum impact within the constraints of budgets and functionality. We know from experience that great architecture comes from working with great clients; however, architecture is a public art and we hold ourselves accountable not only to the client, but to the communities, and cities in which we build.

Daniel and his partner Nina Libeskind established Studio Daniel Libeskind in Berlin, Germany, in 1989 after winning the competition to build the Jewish Museum Berlin. In February 2003, Studio Daniel Libeskind moved its headquarters from Berlin to New York City when Daniel Libeskind was selected as the master planner for the World Trade Center redevelopment. The Studio has offices overlooking the World Trade Center site in New York, and is also located in central Milan. The Milan Studio includes a product design division, Libeskind Design.
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source: cfileonlineorg

Daniel Libeskind is turning into something of a ceramophile. Last month we covered his announcement of plans for a building in Berlin clad in a unique metal-surfaced ceramic tile. On the 14th of this month Cosentino Group, which produces and distributes innovative surfaces for architecture and design, unveiled a permanent sculpture at the Group’s headquarters in Almería, Spain by the architect and designer Libeskind. The spectacular polycentric spiral is called Beyond The Wall. A temporary version of the sculpture was first showcased in Milan’s Statale University during Milan’s Design Week 2013.

Beyond The Wall is based on the infinite possibilities of the spiral. It is not a traditional spiral, but an innovative one which opens a plurality of directions along many different trajectories, propulsively twisting. The geometry of the external material on the sculpture’s wall forms a contemporary fractal pattern related to the Golden Section. The pattern is integral to the wall structure, carrying within itself the structural logic of modulating scale and proportion.

It is the first sculpture/structure to be created using Dekton, a blend of materials used to make porcelain and glass combined with quartz and produced with SPT (sinterized particle technology). This is a high-tech process that accelerates the metamorphic change that natural stone undergoes when subjected to high temperatures and pressure over thousands of years.

The revolutionary material has zero porosity, a consequence of the sinterization and ultra-compaction. Together with an absence of micro-defects that cause tension or weak spots in some other surfacing materials, this represents a important technical breakthrough.

Libeskind’s aim was to find a similarity that never quite repeats, that fits and locks together in an open-ended logic, as a network develops. But at the end of the day, as is so often the case with architects who attempt art, we are left with the feeling of an abstracted sketch for a building, not sculpture. It is, nonetheless, a handsome presence.
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source: designboom

studio daniel libeskind has placed ‘beyond the wall’ outside the world headquarters of the cosentino group, in almeria, spain, using the company’s recently released surface material dekton®, an ultra-compact product used primarily for a façade covering. libeskind has used the dekton® to clad the sculptural installation, which represents the infinite possibilities of a spiral. the structure’s fractal pattern relates to the golden section, fitting and locking together on top a grassy mound; by not having a central axis, various trajectories are created within the piece. protruding in many directions ‘beyond the wall’ twists 8.5 meters high. the product’s whitest finish, named ‘zenith’, was the chosen for interior and exterior walls, to contrast the smooth black chroma of the ‘sirius’ finish, selected for the floors. a temporary version of this sculpture was first showcased during milan’s design week 2013, at the statale university, which designboom has previously featured.
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source: zhwikipediaorg

丹尼爾·里伯斯金在1946年5月12日出生於波蘭共和國羅茲的一個波蘭猶太人家庭，是家中的第二個孩子。他少年時曾學過手風琴，并曾于1953年在波蘭的電視台上演奏。1959年獲得美國以色列文化基金會獎學金。 他在波蘭生活了13年，因此通曉波蘭語

1959年夏移民到美國紐約市，住在布朗克斯區北部，於布朗克斯科技高中讀書。里伯斯金親年目睹了1960年代最早的世貿中心的建成。1965年成為美國公民，此外他也是以色列公民。 1966年在紐約上州夏令營時遇到了未來的妻子兼商業夥伴妮娜·路易斯（Nina Lewis）。數年之後結婚，蜜月期間周遊美國參觀弗兰克·劳埃德·赖特的建築。

1968年，里伯斯金曾在理查德·邁耶手下當過一段時間的學徒，但很快就離開了。1970年獲得柯柏聯盟學院頒發的建築學學士學位，1972年自埃塞克斯大學獲得碩士學位。同年受僱于彼得·艾森曼的建築和都市研究學院（The Institute for Architecture and Urban Studies），但隨即就辭職走人。 在這之後他曾在美國、加拿大、意大利、德國等各國工作， 并在肯塔基大學、耶魯大學、賓夕法尼亞大學輪流執教。 2007年成為德國呂訥堡大學的訪問教授。

他與妻子育有三個孩子，即列弗（Lev）、諾曼（Noam）和雷切爾（Rachel）.
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source: noticiasarqcommx

El arquitecto, y a veces diseñador industrial, Daniel Libeskind ha diseñado una extravagante escultura permanente para la sede de Cosentino Group en Almería, España. La escultura “Beyond the Wall” está basada en las posibilidades infinitas de la espiral.

Libeskind ha inaugurado recientemente en la sede central de la multinacional Cosentino, ubicada en Cantoria (Almería), la nueva escultura creada a partir del nuevo material ultracompacto inventado por la firma para generar superficies domésticas y exteriores innovadoras.

“No se trata de una espiral tradicional con un centro y eje únicos, sino de una espiral contemporánea que abre una multiplicidad de direcciones en muchas trayectorias distintas”, describió Cosentino en un comunicado de prensa. “En definitiva, una espiral policéntrica que se proyecta con energía hasta un cénit dramático”.

“La geometría del material externo de la pared, forma un patrón fractal contemporáneo relacionado con la sección áurea. El patrón está integrado en la estructura de la pared, e incorpora la lógica estructural de la escala de modulación y la proporción en una superficie infinitamente fascinante. Una especie de escalofrío recorrería la forma: una superposición de patrones que rompería la escala y disolvería la fuerza del ascenso, retorciendo los planos de las paredes. Es un mosaico matemático, una red móvil que discurre y se desintegra sin repetirse: un concepto absolutamente moderno de tabla, un “fractil”. El objetivo es encontrar una semejanza que nunca se repite del todo, y para ello la superficie debe ser aperiódica. Encaja y converge en una lógica abierta, a medida que se extiende una red. El revestimiento de tablas debe crecer proyectando extrañas ramificaciones.”