Jewish Museum Berlin Thesis

7/24/2019 Jewish Museum Berlin Thesis

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Trauma, Museum

and Tourism:

Case of Jewish

Museum Berlin

CHO LING

School of Architecture and the Built

Environment

University of Newcastle, Callaghan

University Drive, Callaghan, NSW

2308, Australia


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Trauma, Museum and Tourism: Case of Jewish

Museum Berlin

CHO LING

School of Architecture and the Built Environment

University of Newcastle, Callaghan

University Drive, Callaghan, NSW 2308, Australia

ABSTRACT

This paper analyses the intention of a memorial museum in expressing the history of an atrocity

nature. There has been a strong link between the domains of Architecture, trauma, memory, and the

impacts of those factors interplayed as a part of a museum. The case study of the Jewish Museum

Berlin is used to analyse Architects intent with the tensions to both provocatively and respectfully

consider representing the Jewish history, heritage and Holocaust experience and related memories.A series of literary works of a similar thematic agenda are considered in order to contextualise the

research and to further demonstrate the critique proposing a new form of Tourism.

Keywords: memorial, atrocity, trauma, memory, Architecture, Jewish Museum Berlin, Holocaust,

tourism


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TABLE OF CONTENTS

ABSTRACT

LIST OF FIGURES

LIST OF TABLES

1 INTRODUCTION

1.1 BACKGROUND 4-5

1.2 RESEARCH GAP AND QUESTION 5

1.3 RESEARCH AIM 6

1.4 RESEARCH OBJECTIVES 6

2 LITERATURE REVIEW

2.1 INTRODUCTION 7

2.2 ROLE OF MUSEUM, ARCHITECTURE AND CONTEMPORARY MUSEUM 7-8

2.3 MUSEUM, MEMORY AND TRAUMA 8

2.4 MUSEUMS AS A FORM OF TOURISM 9

2.5 CONCLUSION 9

3 METHODOLOGY

3.1 INTRODUCTION 10

3.2 RESEARCH APPROACH 10-11

3.3 APPLICATION OF METHODOLOGY 11

4 DISCUSSION

4.1 INTRODUCTION 12

4.2 CASE STUDY: JEWISH MUSEUM BERLIN 13-15

4.3 INTENTION OF THE ARCHITECT 15-17

4.4 IDENTITY, MEMORY AND TRAUMA 18-21

4.5 JEWISH MUSEUM BERLIN AND DARK TOURISM 22-254.6 CONCLUSION 25

5 CONCLUSION

5.1 OBJECTIVE 1- IDENTITY, MEMORY AND TRAUMA 26

5.2 OBJECTIVE 2- JEWISH MUSEUM BERLIN AND DARK TOURISM 26

5.3 SCOPE FOR FURTHER RESEARCH 27

BIBLIOGRAPHY 28-29


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LIST OF FIGURES

COVER PAGE Daniel Libeskind,Jewish Museum Berlin, 1999

FIGURE 1 Aerial view of the Jewish Museum Berlin. Libeskind Building, Old Building, Garden of

Exile, Holocaust Tower and Museum Garden.

FIGURE 2 Plan of Jewish Museum Berlin. Counterpoint Daniel Libeskind

FIGURE 3 Exterior View of the Jewish Museum Berlin. The Star of David.

FIGURE 4 The Holocaust Tower

FIGURE 5 Shalechet (Fallen Leaves) by Menashe Kadishman

FIGURE 6 Andres Serrano,Piss Christ, 1987

FIGURE 7 Damien Hirst, Mother and Child Divided, 1993

FIGURE 8 Museum of Garden. Jewish Museum Berlin

FIGURE 9 Museum of Garden. Jewish Museum Berlin

LIST OF TABLES

TABLE 1 Principles of Heterotopia


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1 INTRODUCTION

1.1 BACKGROUND

This paper provides an overview and insight into the relationship between museum, trauma and

eo. These topis ae otetualised i a oade ie as Meoial useus. The folloig

writing will provide an overview of the background to which the study is founded on, and the

relationship between history and memory as an intertwining field. In order to construct a clear idea

of how the topic emerged from the discourse, the relevant topic of how the field of trauma came

into the interest as being represented in a museum is explore. Along with the understudy of what

trauma is defined by. The research follows with the interpretation of some literary readings giving

stance to trauma memory and its position within the history and museum discourse.

The notion of what is considered important memory of our history has shifted dramatically over

tie. The histoial eo oe etold the elatio of a ouit o a atio to its past1. The

merging of past into present creates a very different way of distinguishing temporal boundaries2.

The current debate regarding history and memory has been a challenging topic that Huyssen3has

provoked. He states that the understanding of memory is to be understood as a personal concept,

and history, as a manifest of social, culture and public life. The argument is based upon deciding

whether this is good or bad. However, it is not the intention of the research to imply whether history

and memory museum is either, instead, this paper attempts to position the study as part of the

whole contribution and outline key debates to explore the neglected permutations of the research.

The importance of outlining the relations between history an memory and

The sedutio of the ahie ad its toe of stories of human achievement and suffering

hae ee ee geate4

In attempt to conjure a popular and authentic sense of the experiential, the discourse of

contemporary memory, concerned with the phenomenon of

remembering and forgetting, seeing and not seeing, transparency and occlusion,

epeiee ad its asee i epetitio5

was negotiated into the narrow definition of memory associated with conflict, violation, pain,

suffering, loss and turmoil. Although this negotiated understanding of memory appeals to the

domains of this research paper and agenda, the discourse of memory, as stated before, is only a

narrow definition and may also be associated with other means of interpretation. With the term

trauma being more defined in respect to the research alignment, the discussion of how the idea of

trauma became a fundamental approach for memorial museums will be evident.

1Huyssen, A. 2003. Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford: Stanford University Press.

2The temporal boundaries referring to the spatial dimension (place) combined with temporal dimension

(time).3

Huyssen, A. 2003. Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford: Stanford University Press4Ibid. p.

5Ibid.p.8


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The perspective of trauma in the discourse of memory often focuses on the personal aspect and

occasional public occurrence where human relevance applies, however the reference to trauma in a

historical sense is being stipulated as a means of relating the whole world to an event. This functions

as a means of historical commemorative trauma to which forms an opening for the challenge of

museums to represent and pervade.

1.2 RESEARCH GAP AND QUESTION

Radical changes made in the cultural and social domains of the world, leads to the evolving nature of

predetermined theory, ideas and architectural building types. It is from these revolutionary shifts in

history, that the museums require alternate means of representing those events of the past. The

knowledge gained from the displays of event, objects or slices of time

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are important for the growthof society. It is imperative to study those specific moments of our history to transform the body of

knowledge into a domain which carries human relevance and in the case of this research, a greater

means of reaching and educating society with that history.

The paper proposes that the museum building should be able to exhibit the history and architectural

expression as part of the appeal for showing collections and exhibitions within the museum itself.

The architecture of the institution should be an integral part of the agenda the museum is pushing to

communicate. The discussion leads to the question, which pays particular attention to the genre of

trauma-memory based museums, and not just to those with an emphasis on art or singular-themed

collection focus. The emphasis of the research is on memorial museums that display dissolved socialhistory, which solidifies the point of interest with using architecture as an apparatus to represent the

unpresentable. The question of the paper is to analyse the relationship and investigate what

architecture design methods are used to re-present a traumatic memory as a historical memoir in

the form of a museum building type. The question leads onto debate what the outcomes of the

memorial architecture generate.

6

Fouault, M, . Of Othe paes. Othe paes. The Affai of the Heteotopia. Ed. itte, olad. & Kalle-Vlay,Bernd. Austria: HAD Dokumente zur Architektur


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1.3 RESEARCH AIM

The paper aims to address how the Design and Architecture of a Museum is now becoming an

important part of informing and displaying a piece of History. By using architecture with a building

type such as a museum, the institution is able to represent itself as a sculptural piece along with

eig a itegal pat of the useus ageda eig ouiated.

The paper also aims to educate the reader on how the nature of museum has transformed over the

years, with specific focus on the trauma-history and how that has been applied in the way of an

architectural-museum. The paper also proposes that museums have potentially opened up an

avenue of continued research as the institution becomes a gateway into a new form of Tourism.

1.4 RESEARCH OBJECTIVES

The objective of the research is:

To observe contemporary roles and agendas for museums that have focus on social and

cultural significance

To gain a greater insight into the relationship between the Jewish Museum Berlin and its

intended role as a museum

Understand that a museum is a form of Architectural sculpture piece that can further inform

a visitor on the agenda the museum is representing


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2 LITERATURE REVIEW

2.1 INTRODUCTION

The museum and the relationship it has with identity, empowerment and representation, has been a

fuelled agendas for many years in the discourse of Architecture and its related fields. It continues to

be a large domain in theory and practice of Architecture, being discussed alongside with key

concerns such as the desig of the uildig ad ho it a aptue a slie of tie. The major issues

that are fundamental in contextualising this research are the Role of Museum, Architecture and

Contemporary Museum; Museum, Memory and Trauma; and theMuseum andTourism.

2.2 ROLE, ARCHITECTURE AND CONTEMPORARY MUSEUM

The field of museology has been addressing the role of a museum as an educational vehicle

articulating natural, science, social, and political agendas for centuries. The museum, as a public

institution, as Bennett describes, is a istuet fo iilisig the oals and manners of the

populatio7. The museum is established as a place that is not just informative with the ordering of

objects and knowledge, but acts as a way of organising social routine and regulation8.

The role of the museum has been deemed a platform where individuals are able to debate openly to

different perspectives of displayed objects and knowledge, according to Knell, MacLeod and

Watson9. The critiques suggest that a museum should adhere to set standards of organisation, for

consistent evaluative purposes. Janes also confirms with this stance, by pointing out that the

institution of the museum has the social responsibility to uphold10. Whilst we can consider how

museums can set policies of reform, perhaps the role of a museum is more likely to be discussed

along-side with the intentionof a museum instead. As a building type intended for the educational

and informative purposes of society, each museum argues for a different function, which is defined

by what Agenda they are communicating.

The contemporary shift of museums is identified mainly through the intention of the institution, and

the ways in which the museum represents its intention, forming the topic of address for many

critiques. It defines how the revolutionary nature of Museums is transforming so dramatically. Due

to the rapidly changing intentions of contemporary museum and exhibitions today, questions about

the what the focus of the institutions are pushing for, is becoming a critical debate. Understanding

that there are critical moments being created in history that are becoming more challenging to

communicate in a form of an exhibition, Architects, and professionals relevant to the field of

7Bennett, T. 1995. The Birth of the Museum: History, Theory, Politics. London: Routledge.

8Beett, T. . The Ehiitioa Cople, New Formations 4: 73-102.

9Knell, MacLeod, Watson (eds).2007. Museum Revolution: How Museums Change and are Changed.London & New York:

Routledge.10

Abram, R.J. 2005. Histor is as Histor Does: The Eolutio of a Missio-Drie Museuin R.R. Janes & G.T. Conaty (eds)Looking Reality in the Eye: Museums and Social Responsibility. Calgary, Alberta: University of Calgary Press, pp.19-42.

Also in Janes, R.R. 2009. Museums in a Troubled World: Renewal, Irrelevance or Collapse? Abingdon: Routledge.


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Museum design, need to re-evaluate how to capture these services in a way that holds social

interest and relevance to the public11

.

The classification of the museum as an institution that holds a higher power in educating and acting

as a medium to which the general society gains knowledge from, offers a critical debate on what

topics a museum can teach to society12. The potetial fo a useu to futio as a fotie to

promote social and political agendas, or topics to promote truth, injustice or act as an icon for

empowerment, are all interpretations to what a contemporary museum can communicate13

. The

methods in which a museum adopt to display the knowledge, can also determine the degree of

inspiration, stimulation and emotional experiences of the individual14

.

Key literary works of Golding and Watson, elaborate on the need for museums to be representatives

of key social issues, and as a key role in the community, are expected function in a specific way.

2.3 MUSEUM, MEMORY AND TRAUMA

The necessity to study and hold onto specific moments of our history, is observed by Pierre Nora,

stating the ipeatie of ou epohis to pesee ee idiato of eo15

, and as the

useus oditio, it osides the site of eo parexcellence. The relationship between an

object, place, or event in history displayed in a museum, can trigger a memory that contains human

relevance and interest16

. The way in which these elements are represented and communicated can

register the genre of Museum, rather than based on what it displays. Architecture and museum has

always been a collaborative field, with many examples of museums using the tool of Architecture as

a way to express the design of the building or organise the interior of museum space. However, forsome critiques, such as Hornstein, architecture has the ability to create beyond what is the physical

site itself, a state of iagiatio, aifested ito a phsial plae to pooke a etal spatialised

isual of epeiees. This sheds light oto hat is eessa to displa i a useu i ode to

provoke an emotional response or trigger a memory of the past. The writings of Hornstein reiterate

that materials and Architecture can create spaces and or forms to make an individual remember and

hold memory beyond what is the physical site itself. Since the shift in contemporary media,

museums face challenges of reaching the desensitised interest of the viewer to value the experience

and knowledge provided within a traditional building. Instead, museum designs and intentions are

drifting toward phenomena, and recent interest in capturing the memory of events framed as

unspeakable, traumatic and violent histories 17 . The relationships with how a museum can

commemorate trauma history has been, at large a social interest that has been contextualised with

the phenomena of memorial museums18

.

11Hooper- Greenhill, E. 1994. Museus ad their Visitors. Lodo: outledge

12Watson, Sheila E.R, 2007, Museums and their communities, Psychology Press

13Golding, V. 2009. Learning at the Museum Frontiers: Identity, Race and Power. Farnham: Ashgate.

14Hooper- Greenhill, E. 1994. Museus ad their Visitors. Lodo: outledge

15Noa, P. . Betee Meo & History: Lieux de Mmoire, Representations 26(1): 7-25.

16Hornstein, S. 2011. Losig ite: Arhiteture, Meor ad Plae. Canada: Ashgate Studies in Architecture

17

Williams, P. 2007. Memorial Museums: The Global Rush to Commemorate Atrocities. Oxford: Beg. Chapte : TheSurviving Object: Presence and Absence in Memorial Museums, pp.25-50)18

Ibid.


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2.4 MUSEUM AND TOURISM

During the last decade, museums have been continually re-inventing themselves19

and shifting what

use to be a focus on scholarly and cultural based exhibitions to a higher level of creativity. By

displaying the collections of history in a new light, the museum is attempting to meet the public

expectations. The act of visiting a museum, in the contemporary sense, can interpreted as a form of

time and culture travel, where an individual may encounter various sites representing the

experience of that time or place. It eales a idiidual to gai a sap-shot ad iagiatie

experience. A journey through history, where the result is the visitor feeling empowered with

knowledge and engagement. The museum, as an institution of education, has taken the

fundamental ways of transferring knowledge and produced a method to allow the visitor to learn

using their own perspectives and debates to question what is, and what is left ambiguously un-

answered. In a way, a museum and a theme park have very similar qualities, in that they are both

sites that are visited to re-live the experience of history20

. The qualities of tourism that the museum

is linked to, is in reference to the recreational and leisurely activity that draws attention to thatparticular place, bringing social, cultural and economic opportunity. This form of tourism is a self-

directed activity that appears to be freely organised and accessible. However, as an architectural

building type, there comes a system of logic and spatial organisation. Although it may not appear so,

spaces within and surrounding museums, are arranged in such a way, as to gain maximum attention

and flow of people, allowing the best possible experiential learning21

. The intentions of the museum

are to gain public interest and are of the utmost importance, whilst creating experimental displays

for museum agendas. All these conditions will support the level of popular interest, and will provide

economic opportunity. As much as the museum is a facet of education, it couples alongside with the

motive to gain iconic popularity and appeal to society in a popular culture sense, rather than the

connotations of an education institute, similar to that of a school.

2.5 CONCLUSION

In summation, the literature review has illuminated the intention of the museum, whilst directly

influencing the representation of knowledge, objects and collections. To a small degree, the motive

for the museum can influence the architectural form and sources of the institution itself. The

museum, as a place of interest for individuals and societies to enlighten themselves with the agenda

of the museum, are becoming obsolete, as a recreation place. This led to part reasoning for therevolutionary shifts in the way of contemporary museums conduct, organise and exhibit the

knowledge. The quest to capture and preserve the experience of a place or time has been the

forefront of contemporary design intent, and will continue to challenge the social and culture

agendas to generate popularity and public interest.

19Message, K. 2006. New Museums and the Making of Culture . Oxford: Berg.

20

Ostwald, Michael J. 1996, "Understanding Cyberspace: Learning from Luna Park,"Architecture Australia Volume 85, no. 221Grenier, R.S, Sheckley, B. 2008. Out on the Floor: Experiential learning and the implications for the preparation of

Docents. The Journal of Museum Education. Vol. 33. No. 1. Adult Learning in Museums. Left Coast Press. P.79-93


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3 METHODOLOGY

3.1 INTRODUCTION

The dissemination of theoretical developments posits the origin of the focus in memorial-trauma-

emphasised museum, contributing to the body of understanding, as necessary information to begin

with. Due to the evolutionary state of museums and the role architecture plays in developing it, the

theory that supports each field must coincide with various other domains of study in order to create

new and extended avenues of research. By looking at social and cultural domains that project

knowledge from art and literature, society is able to study more specific permutations as a result. It

is crucial for the knowledge gained from the projections of cultural insights to hold human relevance

and contributes to the overall body of knowledge in the discourse of architecture.

3.2 RESEARCH APPROACH

The pia seletio ad sigifiae fo stud speulates the ok of Daiel Lieskids Jeish

Museum Berlin project and its exemplary condition in describing the key arguments of historical

representation by architectural means, to provoke an experience highlighting a socially abominable

history.

The use of a qualitative research paradigm22

allows for discovery and insight using the interpretation

of featured literature with visual aid of the project. This process of data collection and analysis will

provide a large body of work for exploration. Similar use of research approach will be applied to the

field of museology, providing a foundation of study used to create a supporting framework.

Secondary data sources collated through the essential texts of key writers of the field alongside with

peer reviewed literature sources for the assurance of credibility form the bulk of the research.

Through dismantling the project of the Jewish Museum Berlin, the strategy of the Case Study is

adopted. In selecting the research approach, the next section of this paper will outline another

research approach, which was a not used. It outlines a brief reason as to why the case study has

been selected as the most appropriate for the research paper and not the alternate.

By concentrating on the main literature of Holocaust museum critique, the descriptive explanation

of Lieskids desig itetios, ad the hose stae of Hoope-Greenhill23

, the study is grounded

through theoretical underpinnings to support the analysis. The literary readings of Hornstein24,

Holtschneider25

and Golding26

, all present as prime methods of approach in developing the study for

Atrocity Memorial Museums. By engaging in the exploration of the highlighted texts, a new

interpretation of the evolving nature of the museum may be scrutinised. These readings invite the

22Creswell. J. 2002. Research Design: Qualitative, Quantative, and Mixed Methods Approaches. Boston:SAGE

23Hooper-Greenhill, E. (ed.) 1999. Museum, Media, Message. London: Routledge.

24Hornstein, S. 2011. Losig ite: Arhiteture, Meor ad Plae. Canada: Ashgate Studies in Architecture

25

Holtschneider, H. 2011. The Holocaust and Representations of Jews: History and Identity in the Museum. London:Routledge.26

Golding, V. 2009. Learning at the Museum Frontiers: Identity, Race and Power. Farnham: Ashgate.


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reader to develop ideas that lead to evidently show the shift the museum has as a motive toward a

new form of Tourism27

.

The selection of this research strategy is based on the understanding of various other methodologies

first outlined by Groat and Wang, 200228

. The similarities of the methodologies explained as a key

literary source for the methodology of this research depicts how multiple approaches may beadopted. In the case of this paper, a combination of strategies will be used; Qualitative, Case Study

and the use of Grounded Theory.

3.4 APPLICATION OF METHODOLOGY

This chapter will outline the various phases to which the research methodologies were conducted.

PHASE 1:

Analysed the key texts using literary readings and visual analysis.

Approach method of Grounded theory29

to establish firstly the key issues common in the

literature and sources, grouping of key concepts to form a series of argument and

discussions and the collation of explanations to explore the research topic.

Identify nature of museum Role, Intention and the transformation via the Literature Review.

PHASE 2:

Analyse the relationship of Trauma, Memory and Museum relating to the Background

information supporting the rationale of Memorial Museums. Relate case Study analysis with the impact of memorial museum Design and Identify

intentions to create Deviance and a new form of Representation.

Qualitatively describe30

the intention for a new avenue of research to pursue; Memorial

Museums, in particular the case of the Jewish Museum Berlin, may open toward a new form

of Tourism.

PHASE 3:

Discuss the outcomes of the analysis, with respect to the major arguments discussed as part

of the Literature Review.

Draw conclusively a stance and suggest any further research potentials.

27Lennon, J.J. & Foley, M. (eds) 2000. Dark Tourism. Andover: Cengage Learning EMEA.

28

Groat, L, Wang, D. 2002. Architectural Research Methods. New York: John Wiley and Sons29Glaser, B, Strauss, A. 1967. The Discovery of Grounded Theory: Strategies for qualitative research. Chicago: Aldine

30Walliman, N. 2010. Research Methods: The Basics. New York: Routeledge


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4 DISCUSSION

4.1 INTRODUCTION

The following chapter looks at the techniques used in Architectural design and practice though the

oks of Daiel LieskidsJewish Museum Berlin. Studying the complexities of architectural intent

required of the commissioned museum, the examination will involve firstly investigating the

descriptions from the Architect on how the project was designed, as well as a visual analysis of

photographic material to support the literary descriptions. The discussion is able to fuel the

integration of further study into how the architecture represented the traumatic event of the

Holocaust. This enables the reader to explore more developed ideas into the most critical

assessment of unconventional depictions of trauma, in order to re-create and present an identity.

Ironically, the museum representing the unpresentable draws critical judgement in its ability to

empower a nation and unification of Berlin City. The Jewish Museum Berlin themes of combining

Deconstructivism and socially contested history into a heterotopic site is the complex phenomenon

that re-invents this new built environment.

The dismantling of themes such as memory, identity, trauma and its ability to transform the

institution into a new understanding of social complexity, are explored through prolific key texts.

Furthermore, an investigation into the concept of a new form of tourism and an uncanny form of

popular culture is embraced as an extension of unconventional memorial museum design.


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4.2 CASE STUDY: JEWISH MUSEUM BERLIN

Figure 1. Aerial view of the Jewish Museum Berlin. Libeskind Building, Old Building, Garden of Exile, Holocaust

Tower and Museum Garden. Photograph from Official Website.

The arguments put forth in the paper are supported and illustrated by the case study analysis of the

Jewish Museum in Berlin, where the selected museum displays a controversial illustration of social-

history. The design of the institution uses aesthetic means to engage the participant in the history of

Genocide and systematic Anti-Semitism31

.

The Jewish Museum Berlin presents and incorporates the social and cultural history Post-war

Germany, exposing the damaging effects of the Holocaust. It was announced accessible to the public

in 2001, where the design integrated three key concepts; the inability to comprehend the historicalagendas of Berlin without the understanding of the cultural, intellectual and economic contribution

that was made by the Jewish people of Berlin. The next concept, being the capturing of the physical

and spiritual journey linked to the experience of the Holocaust and its repercussions on the society

of Jews and non-Jews as well as ingraining the disturbance into the memory of Berlin. The final

foundation of the design sought to make amends by the acknowledgment, erasure and the

integration of voids, through which, can the future of Berlin move on, but with a humane existence.

31Systematic Anti-Semitism denotes to the hostility toward Jewish people, coined in 1879, the theory behind the

derogatory word stemmed from the Anti-Jewish agitation, believed to have been used with biblical reference with beingegaded as the killes of Jesus Chist. Late ad ost ope usage of the od ae fo the ea of Natioal oialis-

Nazism.


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According to architect,

the new extension is conceived as an emblem was the not visible has made itself

apparet as a oid, a iisilethe idea is er siple: to uild the useu aroud

a oid that rus through it, a oid that is to e eperieed the puli.32

At the opening of the museum, the building was empty; the building existed alone without

any displays or exhibits. The provocation of the building drew attention to 350000 people

during that time, despite not functioning as a means of educating, or acting in any

informative role. It then suggests that the act of the museum being built, gave rise to the

active commemoration of the Jewish History, invigorating a new light into the

demonstration of its History.

For the significance of discussion, the generated attention from the opening of an

architectural building depicting historical significance solidifies the idea of an architectural

form such as a museum, having the capability to be iconic as a mode of representation of ahistory, without the conditions of displays and exhibits. In light, the building form becomes

the exhibit itself, representing a symbol of commemorative behaviour amongst the visitors.

This form of symbolism, gives way to a new form of empowerment for the citizens of Berlin,

both Jewish and non-Jewish, as it becomes a world-wide statement expressing the

ipotae of Jeish ad Holoaust histo ad the eed fo its the itizes eoiliatio,

despite past events.

As stated in the literature review 2.2 Role, Architecture and Contemporary Museum, the

museums of the contemporary time, must capture the interest of the visitors using other

eas of epesetatio ad aketig i ode to eate populait ad attetio to theMuseum. The Jewish Museum Berlin achieved this, through its radical Architectural form.

Viv Golding, 2009, in Learning at the Museum Frontiers, explains how museums have the

ability, as a reputable and creditable institution of education and promoting truths, to be

portrayed as a frontierto take on injustice, challenge social dilemmas such as exclusions in

the form of racism, and social exclusive behaviours, as well as becoming a beacon for

promoting truths to society that may be considered contested33

. This particular text, along

with the literary work of Sheila, E. R, Watson, Museums and their communities, 2007,

eaies the uet deate egadig the ole of the ifoes the JMBs ole to

empower and make the most of being an influential power to not ignore the communities,but to empower the community through the means of representation, identity of the

useu ad efletig the eoial sigifiae of the peoples ahieeets i ode to

preserve that identity.

Both literary texts justify the same critique given to the institution of the JMB, signifying the

architectural form as a testament to the challenging of social exclusion of the Jewish people,

since before the events of the Holocaust to the present day. The museum promotes the

32

Daiel Lieskid, Betee the Lies, i Daniel Libeskind:Erweiterung des Berlin Museums mitAbteilung JdischesMuseum, Kristin Feireiss, ed. (Berlin, 1992), 63.33



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truths about the contributions the Jewish people have made, in the forms of economic,

social and culture attributes, which many acts have gone un-noticed.

4.3 INTENTION OF THE ARCHITECT

American Architect, Daniel Libeskind, born in 1946 to a Polish-Jewish family, survivors of the

decimation of the Holocaust, was one of many selected architects invited to propose a solution for

the competition of an integral design for a Jewish Department within a larger museum in the city34

.

Libeskind studied under the influential teachings of Peter Eisenman and John Hejduk, founders of

Deostutiist Ahitetue35

. Lieskids desig suissio leal efleted the ahitetual

ethos toward the solution, with his primary concern for the design being the process to which the

uildig is alas o the ege of Beoig- no longer suggestive of a final solutio

36

. Theolletio of daigs that eeged fo the opetitio ee regarded as masterpieces of process

art as well as architectural design37

Afte the ofiatio of Lieskids ok to e oissioed,

the first action from the inspiring Arhitet, as to hage the ae of the pojet to Betee the

Lies, statig:

I all it [Betee the Lies] eause it is a projet aout to lies of thikig,

organization, and relationship. One is a straight line, but broken into many

fragments; the other is a tortuous line, but continuing indefinitely. These two lines

develop architecturally and programmatically through a limited but definite

dialogue. They also fall apart, become disengaged, and are seen as separated. In this

way, they expose a void that runs through this museum and through architecture, a

disotiuous oid.38

34Counterpoint Daiel Lieskid, Daiel Lieskid i Coesatio ith Paul Goldege, p. , Bikhause Pulishe,

200835

Jaes E. Youg, Visual Cultue ad the Holoaust, Daiel Lieskids Jeish Museu i Beli: The Ua Ats of

Meoial Ahitetue, p. -19736

tated Kut Foste i Atho Vidle, The Ahitetual Ua, p. 37

Jaes E. Youg, Visual Cultue ad the Holoaust, Daiel Lieskids Jeish Museu i Beli: The Ua Ats ofMemorialAhitetue, p. -19738

Ibid


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Figure 2. Plan of Jewish Museum Berlin. Counterpoint Daniel Libeskind.

The museum is located as an adjoining part of the Old Berlin Museum which has an

uoetioal zig-zag pla, hee the aessile etae poit is fo the udegoud

alka though the Beli Museus aoue igas seen in figure 1. and Figure 2. for

the layout of each element of design, including the Garden of Exile, the Holocaust Tower and

the Museum Garden. The zinc faade of the JMB are slashed with lines representing the Star

of David. The positioning of the incised windows is the connecting link symbolising the

Jewish tradition and German Culture, and plotting the location of the citizens on a map of

pre-war Berlin via the representation of a mapping system. See Figure 3.

Without having to enter the building, already the sense of experiential effect is playing a

large role in informing a passer-by and non-visitor through visual representation of the

architectural form.

The maze like entrance into the museum depicts the disorder and confusion ingrained in a

logial laithie passage. The itetio of Lieskids fageted passage as, eate a

physical journey to which the viewer experiences their own spatial orientation and

perspective on the Holocaust experience.

Libeskind uses means of Deconstructivism as a key approach in designing, as he explains; it is

more a process than a logical spatial organisation within the museum that makes it what it

is.


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Figure 3. Exterior View of the Jewish Museum Berlin. Zinc Cladding with the Star of David.


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4.4 IDENTITY, MEMORY AND TRAUMA

The question for architecture intent of designing a museum based on the prolific socially abominable

events such as a Genocide of the Holocaust, evokes numerous debates regarding the impact

architecture must make as a physical, mental and emotively provoking space. It questions the

relationship between the architecture and how that relates to the memorial significance of the

genocide, and to what degree does the architect enable the representation of those scenes of the

past. The sae theati deates ee spaked the autho helle Hostei, , Losig ite,

as she addresses and explores what ways architecture captures and triggers memory in an

individual. For Hornstein, an object of materiality is able to register itself as a token of place that as

an individual, have come to remember and hold a visual image of what that physical site might be in

real life. In this case of the JMB, Libeskind has captured this identity of Jewish heritage and history

through an iconic form of the building, to which passer-bys may remember, and always associate

that form, or photo, as being in response to that moment in history.

This form of memory bank, is a vital part of this discussion,

as Libeskind utilises this human characteristic as a major

element to the interpretation of representations. The

journey through to the Holocaust tower, with a singular

light source in the form of a slit, narrow and high off the

ground evokes an experience of contemplation, and a

prolonged passage, in order to give to the visitor the time

to identify themselves as insignicant and finding

theseles i a uoetioal oido. See Figure.4

Figure 4. The Holocaust Tower

The importance of memory relies on two dimensions, the

first is the way in which the memory is remembered,

either through a physical means or through a symbolic

representation. It is often the in visual place that allow the

memory to crystalise and discharge itself.

As expressed by Rhetrorica ad Herrinium, one of the

oldest Latin based texts regarding rhetoric and persuasion,

translated by Harry Caplan (Loeb, 1954)

The artificial memory includes backgrounds and images. By backgrounds I mean

such scenes as are naturally or artificially set off on a small scale, complete and

conspicuous, so that we can grasp and embrace them easily by the natural

memory for example, a house, an intercolumnar space, a recess, an arch, or

the like. An image is, as it were, a figure, mark, or portrait of the object we wish

to remember; for example, if we wish to recall a horse, a lion, or an eagle, we

ust plae its iage i a defiite akgroud.39

39Rhetrorica ad Herrinium. See http://www.utexas.edu/research/memoria/Ad_Herennium_Passages.html


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The museum accomplishes the capture and trigger of memory through the installation of art in the

void of the building, Shalechet (Fallen Leaves) by Menashe Kadishman. Made of very heavy weighted

circular disks, are ingrained screaming faces. The eerie and ghostly appeal creates a frantic visage,

similar to the memory of The Scream, 1893. The sheer number of screaming faced disks cover the

entire floor, making the visitor uneasy when walking through. The experience of walkingover the art

pieces creates a metaphorical symbol for the emotional trauma. The hebrew word Shalechet, name

of the exhibition, means fallen or dead leaves, which resonates the tragic calamity of the powerless

victims40

. See Figure 4.

Figure. 5 Shalechet (Fallen Leaves) by Menashe Kadishman

The notion of trauma as a theme represented in many memorial museums is a highly contestedcategory of discussion. As part of the argument that the Libeskind Museum has penetrated this

theme, requires first an importance to understand the rationale behind wanting to display

controversial and radical events, objects and displays. A selected few images have been selected to

express this background. The selected images are of highly extreme content to express the radical

forms of representation as a method in pushing boundaries to inform in alternate ways.

There have been various extreme controversial situations of museums depicting a deviance of

agendas and or artworks, some of which are only exhibited in specific genres of museum

40http://www.kadishman.com/works/shalechet/Articles/Arturo_Schwartz/


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institutions, and even then, it has caused an eruption of disagreeing viewers. Take as an example the

controversial depiction of eaos Piss Chist.

Depicting a small plastic crucifix submerged in a glass of the artist's urine. The piece was a winner of

the Southeastern Center for Contemporary Art's "Awards in the Visual Arts" competition, which was

sponsored in part by the National Endowment for the Arts, a United States Government agency that

offers support ad fudig for artisti projets.41

Figure 6. Piss Christ (1987)Andres Serrano

Used to suggest ambiguity, the artist and photographer had not attached any form of anti-religious

overtones or means to offend, instead stating that it alludes to a perceived commercializing or

cheapening of Christian icons in Contemporary Culture42

.

The intentions of these exhibitions are examined using the Labeling theory, which examinessuultues ut shifts attetio aa fo the ule-breaking act to the societal reaction to rule

eakig aodig to Talo, Walto ad Youg, 43

. A theoretical outlook that examines the

reaction of people toward an act of deviance is stated by Becker, 196344

. This argument and

framework suggests that the intention of the museum may call for a controversial shift in opinion,

ut aodig to Bekes theo of eatio, it can determine the degree of shock and deviance.

41http://en.wikipedia.org/wiki/Piss_Christ

42

Ibid.43Taylor, L., Walton, P., & Young, J. 1973. The New Criminology: For a Social Theory of Deviance. Routledge.

44Becker, H., S. 1963. Outsiders: A Study in the Sociology of Deviance. Glencoe Free Press.


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As an extreme case of deviance, this visual paradigm does explain in the shift of contemporary

museum displays and the evidence to suggest the shifting nature of museum intention.

Figure 7. Damien Hirst, Mother and Child Divided, 1993

The displa depitig Hists, Mothe ad Child, epesses the iage of a othe ad hild ith

reference to religious Mother and Child, but is represented in alterative means. This form of

representation deviates from the convention of normality.

In an interview with Hirst,

The cows are removed from nature, both through their unorthodox presence within

a galler settig, ad death. The artist eplais, I a a, ou uderstad ore

about livingpeople dealig ith dead people. Its sad ut ou feel ore ...

cows cut up in formaldehyde have more personality than any cows walking about in

fields.45

Hists stateet, In a way, you understand more about living people by dealing with dead people.

Its sad ut ou feel ore ..., resonates a connection to the work of the JMB in the way of

representing a difficult situation in an unconventional way and the effect it has on the person.

45Daie Hist ited i A Iteie ith Daie Hist, Stuart Morgan, No ese of Asolute Couptio Gagosian

Gallery, 1996),18-19.


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4.5 JEWISH MUSEUM BERLIN AND DARK TOURISM

As a popular destination for travel, and a highlighted place for recreational activity, the Jewish

Museum Berlin, uses the tragic history of the Jewish people as a means of informing and

entertaining visitors. However the Jewish Museum is also a result of the contested history being afactor of a dark-side of tourism. Without conscious intent of such, the museum has created a site,

ade up of petified histoi spaes. Usig to tets of peedetial ateial, Fouaults heteotopia

ad Phillip toes isightful itig on Dark Tourism, Heterotopias and Post-Apocalyptic Places: The

Case of Chernobyl, the exploration of dark tourism as a new framework branching from sites

displaying contested history will be examined.

The Cheol ase stud is a eepla luepit that offers a detailed discussion on how, for

one, heterotopia framework is presented.

Fouaults litea tet, Of Othe spaes, , desies, liteall of othe plaes. Essetiall, it is

the study of places and spaces that are neither here nor there. They are described as a physical site,to which they prescribe a place of another. The dichotomy of the term heterotopia, is Utopia, which

an idea or an image that is not real but represents a perfected version of society 46

Conversely, heterotopia is a physical representation of a utopia or a contrasted space to make a real

utopian tangible. The Jewish Museum is a heterotopia site.

The explanation of this will use the theoretical underpinnings and principles Foucault has described

in his literary works.

Foucault defines a heterotopia site under the concepts of six principles, each one, a condition of the

site. They are described briefly below along with an example to which that principle most applies to.

See Table 1.

Principle Example.Cisis Heteotopia- (Separate space) Boarding School, Motels, Nursing Homes

.Heteotopias futio a hage oe tie- Cemetery

.Heteotopia a e a sigle eal plae that

jutaposes seeal spaes

A garden, Cinema, Theatres

4.'Heterotopias liked to slies of tie Museums, Libraries, festivals, Showgrounds

5.'Heterotopias of opeig ad losig Saunas, Prisons

6.'Heterotopias have a function in relation to all

of the eaiig spaes

Brothels

Table 1. Principles of Heterotopia

46Fouault, M. . Of Othe paes. Taslated Jay Miskowiec.


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The first principle, to which Foucault describes, is the heterotopia of crisis, where he explains they

are specific places for those that have undergone a crisis, with which the crisis may have been under

the influence of cultural social or political agendas.

For the Jewish Museu Beli, ad its epesetatio of a dead zoe47

, meaning a place where the

living visit the remnant objects and memorial symbols of the deceased, is a forbidden place that

illustrates a time of crisis and trauma. The event of the Holocaust and Anti-Semitism presents an

upheaval and separation in the continuation order of the everyday life.

Similarly to the Chernobyl ase stud, itiall aalsed i toes ok, the former state of the city

of berlin and the world with the chaos of the Holocaust, genocide and Jewish heritage, now provide

eats of the old old hih poides a fo of poeful idetit, ehoig the failigs ad

pediaets of soiet i a slie of tie.

The museum thus, presents itself as a place of tourism, illustrating a world where contemporary

visitors are transformed into the world of social, cultural and historical significance. Hornstein statesthat the etal o iagied spae, usig the tehiue of spatialised isualisatio is the poess to

which an individual is able to connect to the site of heterotopia. The revealing nature of crisis to the

visitor may provide multiple meanings of contemplation, one, which emphasises that of the past,

and the other, which provokes the future. The heterotopic site of the JMB is in fact a site of

deviance, on describing crisis.

The next principle of Foucault, states that the site assumed must have a specific function in society.

As the istitutio it is soiall esposile to ifo the ouit ad geate soiet tofound

knowledge, the museum permits itself to confirm this principle. As an extension of this argument,

the ok of Fouault uses the eaple of the eete as a saed spae of the dead, hih

resonates into the similarities with which a cemetery has with the JMB. Cemeteries use to be argued

to e the ell of the it, istead, is o pushed to the oute suus. Ulike the foe

constitution for the cemetery, the JMB is a focal point for the city of Berlin, where, although does

not house the physial odies of the dead, still is a spiitual ete hee as desied Fouault,

ad eiteated toe, is a plae hee the liig go to isit the eo of loed oes.

Like, the precedent Chernobyl, it too, has become a place where the living goes to connect with the

dead.

The third principle of heterotopia is the ability for the site to juxtapose itself in a single site amongst

several other spaces, which ideally appear incompatible. The JMB houses multiple spaces that

juxtapose one another. They include the garden of exile, the holocaust tower and the museum

garden. The contemporary usage for the museum also includes dinner functions and

concerts/seminars. The experience of each space would celebrate the third principle of heterotopia.

See Figure 7.

47Stone, P.R (2013) Dark Tourism, Heterotopias and Post-Apocalyptic Places: The Case of Chernobyl. In L.White & E.Frew

(Eds) Dark Tourism and Place Identity. Melbourne: Routledge.


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Figure 8. Garden of Exile. Jewish Museum Berlin.

Figure 9. Museum of Garden. Jewish Museum Berlin


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The fouth piiple of heteotopia is the eakig of taditio tie slies of tie, tpiall

associated with that of a museum, the JMB, and is exemplary of this paradigm. The journey and

relationship between temporal boundaries, as in the relationship between place and time offer the

visitor the accumulation of time of the visual and mental journey along with over a real lapse of time

of the tour.

The fifth principle supposes that of an opening and closing system where the site becomes isolated

and at the same time, is still penetrable. Although this principle does not demonstrate itself as

strongly as the other principles, the opening and closing system may be claimed through the

entrance of the museum itself, having to pass through the administrative area, before seeing the

whole exhibition. The administrative framework of any recreational place, gestures the rituals of

tourism, and gaiig tepoa aesses. I this sese, the JMB does suppose the fifth piiple of

heterotopia.

The last principle of heterotopia explains the way a site may create an illusion which attempts to re-

eate that of the eal old. The puh lie toFouaults theoetial faeokof heterotopia, is

essentially the illustatig a plae of Otherness. The contrast of the real and not real sites creates a

surreal environment to which the visitor for the JMB is consumed within. Whilst the individual is

exposed to the traumas of the holocaust and the related experiences, the experience of the

subliminal nature can give way to a triggering of uneasiness and inherently anxious. This feeling

reflects itself as a way to respond to the awareness of being in a fragile framework of ruins and the

representations in the museum enhance the understanding of the way a traumatic and memorial

museum inform its visitors.

As a response to the Tourist debate, the JMB has become a mode of a darker emphasis of tourism,

as it echoes the ruins that are witnessed through the representations of the architecture, the

memorial museum is a testament to the past to teach society fundamentally, on how to build for the

future. The social exclusion and radical social situations, such as the Anti-Semitism movement, all

indicative of a society that need to be educated to promote truth, reconciliation and ultimately to

trigger the memory to commemorate what has gone wrong.

4.6 CONCLUSION

By extracting a large collection of thematic studies aligned with the research of memorial museum

and its intentions, a wide range of theoretical an explanatory cases have been illuminated. The

Jewish Museum Berlin and its technique and approaches in projecting the social history of Berlin are

a liberating significance of memorial museum. The JMB has been dismantled to be studies against

the oks of Mihel Fouaults heteotopia faeok, hih has otiuted to the oeall od of

knowledge to the discourse of Architecture.


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5

CONCLUSION

5.1 IDENTITY, MEMORY AND TRAUMA

The objectives for the first part of the study were to identify the changing intentions of museum

designs, particularly focused on the memorial museums. The study was to identify the ways in which

aesthetic representation and architectural form was a method to illustrating a social history, other

than that of the museum exhibitions within the building. It was also a key address to explain that the

architectural form of the memorial museum was also a means to emphasise an iconic nature and

representative of identity for a city. A landmark, that promoted liberal views such as promoting

truths and the problems society is facing and have faced in the past with racism, and social

exclusion. This objective has addressed the process of research by means of the literature review

and the methodology approach. The issues explained in the literature review gave insight into the

shifting rationale for wanting to propose a museum and explore the contested histories of the past.It also highlighted the rationale for significance of memory and what that means for the intentions of

a museum exhibit. The exploration of prior knowledge to trauma was identified as a relationship

with the depiction of memory. It was identified that there key features that are necessary in

triggering memory.

5.2 JEWISH MUSEUM BERLIN AND DARK TOURISM

The second objective of the research paper was to discuss the case study framework of the Jewish

Museum along with an architectural concept of Heterotopia. By means of qualitative description, as

stated in the methodology of the paper, the theory was disseminated to further discuss its relevance

to the case study of the Jewish Museum Berlin. The results of the relationships established, also gave

way to the integrated discussion of a e fo of touis. It idetified the atue i hih

traumatic sites such as the precedent, was able to provide a place where society was able to

preserve the memory of ruins and of a past time. The strength of comparing the precedent with the

case study for the research paper, exemplified how historical memories may be articulated as a form

other than that of a memorial representation. It may also be classified under the study of an

architectural debated discourse of heterotopia. The discussion concludes with the impact of

memorial museum being a positive stance, where although the result of the discussion alludes to themuseum being of a darker-tourist nature, it also displays how through these provoking

representations, the society may be able to further educate and emphasise more powerfully the

social difficulties of society.


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5.3 SCOPE FOR FURTHER RESEARCH

The study paper had an emphasis on one case study, using a singular example of a memorial

museum and thereby, giving way to further research as well as suggesting a means of a new

methodology, perhaps by comparative case study. Due to the limitations of time-frame and

resources, this research could have been furthered with the approach and means of a more

thorough research strategy. It may have been approached, if possible, by the way of primary

sourcing. By visiting the actual site of the Jewish Museum Berlin, a first-hand account experience the

prolific representations of history could have been explored. The suggested approach would change

the outcome and potentially the direction of the research altogether.

The paper also did not focus on the art- exhibit side of museum design, where critique upon the

works of other museums could have benefited to the contribution of knowledge. As dissertation

explored memorial histories, the benefit of broadening the scheme of examples would impact the

account of study. By means of broadening the scheme, that is meant to imply different types of

museums, different time frames, and different locations-other than that of a Western history

approach.


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