Building in Empty Spaces, Libeskind and the Postspatial Void The object of this critical reflection is to provide an answer to the question of how Daniel Libeskind’s extension to the Jewish Museum in Berlin illuminates and exemplifies Anthony Vidler’s idea of spatial anxiety in modern culture. Before answering this guiding question, I will develop a definition of the spatial anxiety which is specific to modern experience. I will then move on to provide an account of how Libeskind’s structure stands as a representation of the crisis-space characteristic of contemporary technological society. I will also attempt to explain why this structure provides a tentative place for a modern subject whose being, according to Vidler, “is tied to the...The end:
....., this surface forms a masterful illustration of the non-space documented by Benjamin, where the flattened image-space (of the advertisement, of the postcard) participates in actual space as much as anything else. As our culture becomes an image culture, or even an information culture, space in the conventional sense disappears. But Libeskind’s work illustrates that all is not lost. The possibility of the infinities and meanings which were once constitutive architectural elements persist in haptic experience and image-space. Works Cited Vidler, Anthony. The Architectural Uncanny: Essays in the Modern Unhomely. Cambridge, MA: MIT, 1992. Vidler, Anthony. Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, MA: MIT, 2001.