One of the hardest things to accomplish must be marketing a museum. However, Calatrava's willingness to push architectural technology to previously unimagined limits, along with Gehry's boldness and Libeskind's designs, can be a good incentive for thousands of people to visit museums—not because of the art within, but because of the amazing artwork that encapsulates the entire concept of a museum. As a result, we are gradually witnessing the adoption of striking and captivating shapes for museums worldwide; yet, this is only evidence of how much architectural forms have evolved into attractions. The extension of the Denver Art Museum by architect Daniel Libeskind is one such building, opening up the whole city to visitors in large numbers never thought of; unintentionally, the building’s architecture has become the strongest marketing for the Denver Art Museum.
It was Studio Libeskind’s first building to reach completion in the United States, possibly because Libeskind’s architectural forms are never easy to build. They take years and sometimes overrun budgets. Maybe the price to pay for bold designs like this one.
The architects created an extension with a steeply angled cantilevered part that protrudes over the street, pointing towards the existing Denver Art Museum, which was created in 1971 by Milan-based Italian architect Gio Ponti and was inspired by the peaks and valleys of the nearby Rocky Mountains.
The 13,564 square meter collection of Oceanic and African art in the new museum is covered in 9,000 titanium panels that resemble the Colorado landscape. In order to create a building that would serve as a public area, a monument, and a gateway in a burgeoning area of the city that would connect downtown and the Civic Center while also creating a strong bond with the Golden Triangle neighborhood, the architect used geometric volumes in this design.
The architect claims that he did not want to reuse prefabricated concepts that would have resulted in a structure that divided the interior and exterior or a lovely façade concealing a common experience. The goal was to combine the two, resulting in a design that would blend in naturally with the surrounding environment while providing a physical, emotional, and intellectual experience.
The design's primary elements were materiality, lightness, and proportion. A handcrafted nature of architecture approach needs to be used in order to integrate these dimensions for the public's enjoyment, linking the spaces to the hands, eyes, and thoughts of the visitors.
The interiors were designed to complement the existing Ponti museum's style and functionality. Responding to the remarkable variety of changes in light, colors, atmospheric effects, temperature, and weather conditions that are exclusive to the city of Denver was one of the difficulties the architect stated. In order for visitors to get the most out of their time within the building, he urged that all of these elements be included into it, not only in terms of functionality and physicality but also in terms of culture and experience.
The museum's "front yard," the Acoma Plaza of the Arts, is adorned with public artwork and serves as a venue for public gatherings. Since it was finished and unveiled in October 2006, the consequences of this extension have become evident. In addition to the building drawing tourists from all over the world who come to admire its architecture, the neighborhood has benefited from the addition of additional museums and housing projects that complement Libeskind's design for this breathtaking setting.
Project information
Architects:
Studio Libeskind
Lead Architect:
Daniel Libeskind
Location:
Denver, USA
Area: 13,564 sqm
Photography: Studio Libeskind
