To put in value a building that forms a part of the historical heritage of a city is a necessary and transcendent moment of reflection. The city like active organism demands a dynamic dialog and of permanent evolution. This event promotes the reformulation of the in force structures, with dogmatic or provocative mutations that on having re-formulated the intangible heritage, they allow irrumpir in the collective memory.
I commit an outrage against these relations, Daniel Libeskind composes an observation on the past that it demonstrates in the materialization of his offer for Dresden’s Military Museum. The building raised to lodge a military arsenal in 1876, turned out to be one of the surviving structures of the bombardments that devastated the city during the Second World war and an actor presencial of the regime Nazi, of the Russian occupation and of the divided Germany.
Libeskind’s step along the building does not turn out to be not transcendental. He thinks about this structure that was the complete representation of the violence and becomes greedy for amending his image. It defies it establishing a conclusive intrusion with the intention of stunning the authoritarian positions of the past. A challenge that overcomes the qualities of the architectural structure to restore an axiomatic point of inflexion that disturbs the semantics with a voracious forcefulness.
In this story, the architecture does not affect ignorance of the historical significance, subordinates a new grafía to beflag the longings of a company that despises the futility of the violence.
This interference takes form constructed in the figure of a three-dimensional wedge that ignores the axial disposition of the building. One declares the new entity rising from the end most removed from the later court, it perforates the core of head office of the architectural structure and begins to show on the front submitting the symmetry of the front.
This way instituted, it generates a strident dialectics where the old thing and the new thing, the opaqueness and the transparency, coexist challenging without not knowing that they are opposite parts of the history of the city.
The salient vertex of the new structure indicates the point where it began the bombardment. In his interior, a platform raised on the exhibition of warlike armaments allows to reach the vision of a city reconstructed, got over from the unloads that left her in ruins.
During the tour to the museum, the visitor finds two confronted realities: the historical structure exhibits in chronological order the military history of the country; the new reformula the approach meeting demand the demands of the social forces and he proposes a reflection on the impulses that generate the culture of the violence.
Libeskind’s statement surely provokes heterogeneous judgments with regard to his conclusive action on a historical structure. Nevertheless, it reveals an undivided point of view and promotes a valuable debate with regard to the character that must assume an intervention on structures of patrimonial value. Called the reflection that turns out to be more significant that to pass on the grafías used in this work.
Marcelo Gardinetti . architect
La Plata. october 2013