Proyectos & Arquitectos
Daniel Libeskind -- Denver Art
Museum, Denver, Colorado, USA
© Bitter Bredt
Location: Denver, Colorado, USA
Joint Venture Partner: Davis Partnership
Contractor: M.A Mortensen Co. (Colorado)
Structural Engineer: Arup (Los Angeles)
Structural Connection Design: Structural Consultants, Inc.
Civil Engineers: JF Sato and Associates
Mechanical Air: Arup-Los Angeles
Mechanical/Electrical: MKK Engineers and Arup (Los Angeles)
Structural Engineers: ARUP (Los Angeles)
Structural Connection Design: Structural Consultants, Inc.
Civil Engineers: JF Sato and Associates
Interior Designers: Studio Daniel Libeskind with Davis Partnership
Landscape Architects: Studio Daniel Libeskind with Davis Partnership
Lighting Consultant: George Sexton and Associates
Theater Consultant: Auerbach Pollock Friedlander
Acoustical Consultant: ARUP (Los Angeles)
Exterior Façade Consultant: Gordon H Smith, ARUP, BCE;
Project Area: 146,000 sq ft
Project Year: 2006
Photographs: Bitter Bredt, DAM, SDL, Michele Nastasi
The Extension to the Denver Art Museum, The Frederic C. Hamilton
Building, is an expansion and addition to the existing museum, designed
by the Italian Architect Gio Ponti. Inspired by the vitality and growth
of Denver, the addition currently houses the Modern and Contemporary
art collections as well as the collection of Oceanic and African Art.
The extension, which opened in October 2006, was a joint venture with
Davis Partnership Architects, the Architect of Record, working with M.A.
Mortensen Co.
ground floor plan
To complete the vision for the extension Studio Daniel Libeskind worked closely with the director, curators, core exhibition team, the contract architect and the Board of Trustees. Since its opening, the new building has become a major cultural landmark for Denver, attracting thousands of visitors to the museum complex.
© Bitter Bredt
© Bitter Bredt
“Nexus is conceived in close connection with the function and
aesthetic of the existing Ponti museum, as well as the entire Civic
Center and public library. The new building is a kind of city hub, tying
together downtown, the Civic Center, and forming a strong connection to
the golden triangle neighborhood. The project is not designed as a
stand alone building, but as part of a composition of public spaces,
monuments and gateways in this developing part of the city, contributing
to the synergy amongst neighbors, large and intimate.
“The materials of the building closely relate to the existing context
as well as innovative new materials (such as titanium) which together
will form spaces that connect local Denver tradition to the 21st
Century.
section 01
© Bitter Bredt
“The amazing vitality and growth of Denver — from its foundation to
the present — inspires the form of the new museum. Coupled with the
magnificent topography with its breathtaking views of the sky and the
Rocky Mountains, the dialogue between the boldness of construction and
the romanticism of the landscape creates a unique place in the world.
The bold and forward looking engagement of the public in forging its own
cultural, urban and spirited destiny is something that would strike
anyone upon touching the soil of Colorado.
© Bitter Bredt
“One of the challenges of building the Denver Art Museum was to work
closely and respond to the extraordinary range of transformations in
light, coloration, atmospheric effects, temperature and weather
conditions unique to this City. I insisted these be integrated not only
functionally and physically, but culturally and experientially for the
benefit of the visitors’ experience.
© Bitter Bredt
“The new building is not based on an idea of style or the rehashing
of ready made ideas or external shape because its architecture does not
separate the inside from the outside or provide a pretty facade behind
which a typical experience exists; rather this architecture has an
organic connection to the public at large and to those aspects of
experience that are also intellectual, emotional, and sensual. The
integration of these dimensions for the enjoyment and edification of the
public is achieved in a building that respects the hand crafted nature
of architecture and its immediate communication from the hand, to the
eye, to the mind. After all, the language of architecture beyond words
themselves is the laughter of light, proportion and materiality.”
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Daniel Libeskind (1946) es un arquitecto estadounidense de origen judío. Nació en Lodz, en la Polonia de la post-guerra. Estudió música en Israel y en Nueva York,
y llegó a ser un intérprete virtuoso. No obstante, decidió abandonar la
música y dedicarse a la arquitectura. Estudió primero en la Cooper
Union for the Advancement of Science and Art en Nueva York, y obtuvo posteriormente un título de post-graduado en la Universidad de Essex, en Inglaterra. A los 21 años Libeskind adquirió la nacionalidad norteamericana.
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