Since opening its doors in 2006, the Frederic C. Hamilton Building hasbecome one of downtown Denver’s most recognizable landmarks, drawingthousands of visitors. The project, designed by Studio Daniel Libeskindand Davis Partnership, consists of a 146,000ft² addition to theexisting Denver Art Museum, built originally in 1971, almost doublingits size. Consisting of a separate building this major expansion tied to theexisting museum through a 100ft long enclosed walkway. It hosts themain entrance to the museum complex, as well as a collection of Modernand contemporary art, a collection of Oceanic art and African Art, atheatre and a rooftop sculpture garden with views over the scenic RockyMountain range.The building stands out of its environment through a radically dynamiccomposition of sharp angular forms and slated planar walls andwell-pronounced cantilevered masses that project themselves in alldirections. It was inspired, according to the architect, by thevitality and growth of the city of Denver.The design was optimized through a close collaboration between thearchitects, the museum’s director and curator. The visitors cannot helpbut experience the interplay between the the displayed art and thesurrounding architectureAs he talks about the project, we discover the richness of the ideas behind his concepts: "The amazing vitality and growth of Denver-- from its foundation to thepresent, inspires the form of the new museum.  Coupled with themagnificent topography with its breathtaking views of the sky and theRocky Mountains, the dialogue between the boldness of construction andthe romanticism of the landscape creates a unique place in the world. The bold and forward looking engagement of the public in forging itsown cultural, urban and spirited destiny is something that would strikeanyone upon touching the soil of Colorado."One of the challenges of building the Denver Art Museum was to workclosely and respond to the extraordinary range of transformations inlight, coloration, atmospheric effects, temperature and weatherconditions unique to this City.  I insisted these be integrated notonly functionally and physically, but culturally and experientially forthe benefit of the visitors` experience.ready made ideas or external shape because its architecture does notseparate the inside from the outside or provide a pretty facade behindwhich a typical experience exists; rather this architecture has anorganic connection to the public at large and to those aspects ofexperience that are also intellectual, emotional, and sensual.  Theintegration of these dimensions for the enjoyment and edification ofthe public is achieved in a building that respects the handcraftednature of architecture and its immediate communication from the hand,to the eye, to the mind.  After all, the language of architecturebeyond words themselves is the laughter of light, proportion andmateriality."
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