jewish mueseum

8/9/2019 Jewish Mueseum

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Introduction

The competition for the Jewish Museum in Berlin was launched in 1988. Among many

architects, Daniel i!es"ind won the, it was his first pro#ect !uilt. $ndeed, while the architect

is "nown for his theoretical wor" such as Micromegas in 19%9 and &ham!er 'or"s in 198(,which raises the )uestion of the !oundaries of architecture and its conceptual domain. The

wor" of the museum too" place !etween 199( and 1998 for deli*ery in 1999. 'hile it n +there

is no collection, the museum is *isited and was a !ig success. The official opening of the

!uilding will ta"e place in --1, the !uilding housing now (--- s)uare meters of ehi!ition

retracing --- years of Jewish culture in /ermany through art, religion and e*eryday life.

About

Daniel i!es"ind+s pro#ect shows great conceptual strength at different reading le*els.0ot

only the !uilding addresses the theme of istory and Memory in its program, !ut incorporate

them into i!es"ind+s architecture. 2irstly, the pro#ect is called Between the

Lines. This e*o"es the ranges of sheet music. 2or the designer, the museum is the ( rdact of

the unfinished opera Moses and Aaron Arnold 3choen!erg, an act of silence. The other

source of direct inspiration is One way of 'alter Ben#amin. Ben#amin de*elops through his

wor" and his portraits of the concept of city li*ing s"ills. $t is a!out inducti*e method where,

for eample, you can learn a!out a city that is losing it or alongside the locals. Between the

lines can !e floating !etween the lines. 2inally, this su!title introduces the notion of in*isi!le

read !etween the lines. 'e see that the Jewish Museum is meaningful and that its architecture

is not only made of concrete !ut also emotions and thought it arouses in man. A!out thein*isi!le, i!es"ind says4

.

5 The Jewish Museum is conceived as an emblem in which the invisible and the visible are

structural elements that have been assembled in this area of Berlin and revealed in an

architecture where the unspeakable remember the names of those who have disappeared . +

6lan of the ground floor.


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The Jewish Museum is di*ided into two !uildings. 7n the one hand, there is

the Kolleienhaus , 6russia former courthouse, which houses temporary ehi!itions, loc"er

rooms and other eating places and sou*enir shop. 7n the other hand, there is the !uilding !y

Daniel i!es"ind. $t is organied in a form of lightning, which earned him the

nic"name Blit! !y Berliners. This gesture is interpreted !y Daniel i!es"ind at different

le*els. At first, it addresses the theme of randomness. $ndeed, this specific form preser*eseisting trees on the site. 7ne can imagine with another natural disposition, the museum

would ha*e ta"en another form. Then, the !uilding mo*ed to the site as an o!#ect

sculpture. This gesture is so artistic. This is reinforced !y the opening of the museum, these

"inds of faults that do not e*o"e traditional windows.The use of stainless steel fa:ade also

highlights the sculptural character. 2inally, the !ro"en line is sym!olic !ecause it e*o"es an

eploded 3tar of Da*id, which is reminiscent of Jewish history in /ermany and ;urope

during the olocaust. $n this way, the architect says he conceptualied the shape of the

!ro"en line in terms of drawing a 3tar of Da*id Berlin. This corresponds to the lin" addresses

of Berlin Jewish *ictims of the deportation and famous figures Berlin. This wor" also

continues in the design of facades and treatment of soil around the museum. 'e may add that

the choice of the lightning epress *iolence, *iolence against the Jewish people. This*iolence is also reflected in the character of the !uilding and its scuptural restricted opening

to the outside world through his wounds.

The !asement plan

'e enter the new part of the !uilding down in a concrete pit full height, which transperse the

old !uilding. ( aes occur successi*ely. the u!i)uitous !ro"en lines and intersections of lines?, the


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conditions under which the *isitor is immersed >low ceilings, walls not *ertical, artificial

light?. The *isitor is guided !y laws that uncon*entional architecture, which re)uires a

difficult #ourney to suggest the pain endured !y the Jewish people, e*en !efore they

disco*ered the museum+s collection. 2ound that shoc" 5*iolent5 that generates awareness

throughout the museum. $n this way, the emotions produced !y the architecture affect the

pu!lic much more than any words or photographs that may !e eposed. ere, architecture isitself defined. $t not only puts the *isitor in good conditions to see parts of the

collection. $nstead, it pushes the *isitor in his daily life and re)uires physical shoc", which

made him aware of the tragic eperiences of the Jewish people. This aspect of i!es"ind+s

architecture is de*eloped through powerful eperiences of the museum, such as the /arden of

;ile, the tower of the olocaust, Memory empty.

The ground floor mostly consists of empty spaces.

1st floor


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nd floor

They contain most of the museum+s collection. =espect to the direction of the *isit, he must

go to the second floor !y the main staircase down to the 1 st floor !y the stairs at the end of

the flash. 0ote the empty !lac" on the plans, concrete wells along the entire height of the

!uilding, around which the *isit ta"es place without access to it. This is trou!ling sinuous

e*en ehausting for the *isitor. $n fact, each showroom is similar and uses the same

language. There is no strong distinctions !etween the ehi!ition halls.3imilarly, the gaps that

occur successi*ely ali"e. This gi*es an impression of distortion of time and space, the

confusion caused !y the spaces we tra*el.

Design

Down !y the emptiness of the entrance, #oined the Ais of &ontinuity. $t is intersected !y theais of the ;ile leading to the garden of ;ile and the ais of the olocaust leads to the

tower of the olocaust. This notion of feeling physically ais. $n fact, they are low ceiling, lit

artificially slope. The depth of the shaft is increased as well. 3harp edges occur whether the

*isitor the intersections of lines of light from the ceiling or the walls of the aes that are not

plum!. The *isitor feels physical discomfort created !y the architecture of the museum. $t

conditions us to reflect on the condition of the Jewish people throughout history and

hardships faced. 2inally, the concept de*eloped !y Daniel i!es"ind ais shows the !uilding

as a result of eternal forces emanating from the site, that is to say, the city of Berlin which is

em!edded in Jewish history. ;*o"ing the aes, the architect eplains4

.

5 The Jewish Museum is based on the invisible fiures whose paths are the buildin eometry. The round on which the museum is built is not only that which is visible in the

district of Kreu!ber" but also one that is both above and below. 5

The museum contains concrete wells along the entire height of the !uilding, empty.They

highlight the *isit. $ndeed, one can see inside these *oids at se*eral moments of the *isit. 3i

of these *oids are the ais of the @oid. These *oids alongside the *isit without !eing

accessi!le. They em!ody no part of Jewish history. This lac" is accentuated !y the presence

of 5forums5 in the !lan". 7n the one hand, these 5!alconies5 are not a*aila!le and show the

a!sence of those who should occupy this space. 7n the other hand, the function of these

5forums5 is contemplation. Their presence thus mar"s the contemplation of emptiness that


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can not !e achie*ed. $n this way, these deserted places of contemplation em!ody the a!sence

of part of the Jewish people can not contemplate the future.

2or Daniel i!es"ind, the *oid 5 is a space that is very close to the e#hibition halls but at the

same time" still belons to the urban space. Because it basically refers to what can never

show the history of the Jews of Berlin" everythin was reduced to ashes. 5

.$n this way, they *acuumed the ur!an area of Berlin are the !ac"!one of the pro#ect.

6aradoically they are the structural elements of the !uilding. And if empty punctuate the

*isit, they are ne*er !enchmar"s. Because their repetition and their resem!lance confuse us

and distur! us. This loss is *ery sensiti*e mar"er during the *isit. Moreo*er, the importance

of *oids in the pro#ect feels. $n fact, the museum is to internalie empty. 'e percei*e !etter

inside than the outside world. The museum ta"es its sym!olic force of this parado structural,

relying on empty.

Effect on behaviour of humansThe Jewish Museum in Berlin, there+s a real implementation resonance !etween the !ody and

the mind. $t is not only awareness through ehi!its, !ut also !y the ecitement le*el

architecture and emotions generated. These eperiments directly transcri!e those of Jewish

history. $n this way, the museum+s architecture em!odies the history and memory of the

Jewish culture. The !uilding !ecame a centrepiece of the collection, which epresses eactly

the way. This is what made the success of the museum while it was de*oid of any

eposure. 3omehow, the architecture spea"s for itself.

Symbolism

$t is also through the /arden of ;ile found the natural light from the !asement. As ;ile

!rings hope of a new life, the ais of ;ile leads us to the light. The garden consists of 9

columns arranged in se*en rows of se*en elements. The architect discusses the sym!olic

choice4

.5 $% columns filled with earth from Berlin to symboli!e the creation of the &tate of 'srael in

()$% and a column filled with earth from Jerusalem that symboli!es the city of Berlin itself . +

.

After the disco*ery of outside light in the garden of eile, offers to the *isitor a mae of

pillars. This effect is accentuated !y the proportion of pillars which are *ery slender andreconciliation. To accentuate this disorientation, the soil and the pillars are tilted.This reflects

the loss of reference that accompanies the ;ile. Then it is to get used to new lands. The

*isitor eperiences the physical aspect of the change of reference ha*ing !een guided !y the

light. This effect is also achie*ed !y disorientation the change of media passing from the

inside to the outside.


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.

The empty memory

Rhythmic approach

2irstly, the Jewish Museum illustrates the sense of rhythm rhythmos . That is to say, a formal

phenomenon that can !e en#oyed in the mo*ement. $ndeed, the design of the flash is go*erned

!y forces emanating from the site. There are eisting trees, !ut also the concept of the 3tar ofDa*id eploded across Berlin. The museum is the con#unction of forces, such as a mallea!le

form at a gi*en time constraint. The architect+s design ma"es us thin" the !uilding as a

temporary form and modifia!le. $t is a form of matter in the sense of the !eauty of the gesture

of the architect, who seems to not really !e fied !ecause of its randomness and constraints

from the design.

The a!stract notion of this rhythm is percei*ed and assimilated !y the *isitor. $t is ne*er a

prisoner of strictly repetiti*e since each measurement is different !y *isiting ehi!itions and

each empty configuration. $n addition, this game is enriched throughout the *isit with the

entry into measurement of the main staircase and other elements. Moreo*er, this di*ersity

leads to confusion. The *oids and the successi*e passages through the ais they

form. owe*er, we can not locate the part of the museum where you are. This confuses the

*isitor. $ndeed, inside the museum, there is a tendency to forget this form if specific

flash. The mind is occupied eposures e*en if it feels li"e the sinuous route. The stairs to the

ais of continuity !ecomes a refuge !ecause we are accustomed and tames it. At this point,

we "now roughly where you are.

$n the last line, *oids are reported to the gap in time to *isit.


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Conclusion

2inally, the *isitor does not "now the eact rules of the game of this pace. Thus, it can foresee

or anticipate an element of pace. 'e can then address the issue of rhythmiing consciousness

de*eloped !y 0icolas A!raham. Therefore, there is creati*ity, perception anticipated !y the

*isitor, it is he who decides on the rhythmic eperience, implementation gaps, for

eample. Magic and illusion operate. This rhythmiing consciousness is possi!le in se*eral

places in the museum. 3o, there is the anticipation of *oids during the course of the

collection. This is also the case in the /arden of ;ile, we find oursel*es in the presence of

9 pillars. $t may !e no )uestion of repetition in terms of the configuration of the

space. owe*er, impro*isation is left free to the *isitor who wanders the garden as it sees

fit. =hythmiing consciousness manifests itself in the random encounter other *isitors or their

simple *iew, insofar as the *isitor has the illusion he created this game The multiplicity of

possi!le paths and narrowing of the field of *ision in the forest of pillars ma"es this illusion..

To conclude, we can say that the Jewish Museum em!odies the eperience li*ed through

rhythmic architecture. $n this way, the architecture of i!es"ind is not only made of concrete,

!ut also the emotions aroused in the *iewer. This is the architecture that !rings us into a

meditation caused !y shoc" sensiti*e feelings through physical eperiences strong. The

Jewish Museum is a wor" of art in itself that transforms the *isitor and plunges into the

sometimes tragic history of the Jewish people. 6assage through the !uilding, the eperience

literally, the *isitor feels in his !ody and in his mind. 2inally, we can consider the proposal

ahn thought the pro#ect and the formal ideality. $ndeed, for the ahn pro#ect starts in the

nonmeasura!le, then passes into the measura!le end in nonmeasura!le. The Jewish

Museum can !e illustrated when it eceeds the design museum 5classic5 to !ecome anarchitecture that produces meaning and !ecomes a wor" of art in itself. $ndeed, the Jewish

Museum ma"es us feel in*isi!le, immeasura!le in the history of the Jewish people.

Ayush 6hutela

A=& C 1--

B.A=& @th 3;M.

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