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In each building a word has been used to both encapsulate the specific outlook of the structure, and their spaces have been formed to enable the character of the building to be expressed and utilised. The argument presented in the 18th century that typographic architecture can make use of awkward sites, is taken up by Libeskind, since both museums were designed to fit around existing structures. The letterforms provide an architectural language to form elements distinct from the old structure, but at the same time fit within its spatial confines. The technique of designing multiple possible configurations of the letters to provide a more functional space, used by both Steingruber and Gobert, is also worked through by Libeskind, especially apparent in the many models for the Danish Jewish Museum. There are two layers to his use of text as a symbol throughout his buildings, they are in the implicit – the history of which is set out in the first section – and the explicit – as set out in the second section. These do not have to be read as one, but a full understanding of a building will naturally take them in. ”There is an enormous accumulation of intellect in the various meanings of the building. They can be taken into account - little by little - or left unheeded, according to temperament. It is not necessary to understand Freemasonry to appreciate Mozart’s Magic Flute.” 64 However the function of the spaces is affected by their meaning and vice versa, in a holistic interpretation of character.