Daniel Libeskind Jeiwsh Museum Berlin – Bernhard Schneider

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pg 17 – “the task of building a Jewish Museum in Berlin demands more than a mere functional response to the program. Such a task in all its ethical depth requires the incorporation of the void of Berlin back into itself, in order to disclose how the past continuous to affect the present and to reveal how hopeful horizon can be opened through the aporias of time.”

pg 53 – The vertical hollows of the six voids extending in a straight line from front to back of the zigzag configuration evoke the gap that evolved in German and European culture and history by the destruction of Jewish lives on every floor of the museum. The museum is pervaded by this absence. All of the information presented in the exhibitions on the upper floors will be virtually linked by the void shafts to the underground floor, the museums main and entrance level, where the roots and fundamental aspects of Jewish culture and history will be spread out before the viewer as in an overture

pg 57 – The manifold interlocking and interpenetration of the buildings convolutions with straight lines of the voids is based on the idea concerning the relationship of Jewish history to that of Berlin and Germany in general. The way the buildings angles  continually change and double back upon themselves alludes visually to the vicissitudes of nevertheless continuous German history up to the present day and beyond

pg 58 – Beyond any attempt to explain what makes this museum unique, people of all ages walks of life, and cultural backgrounds appear to experience the drama and emotional force of this extraordinary spatial configuration immediately and instinctively. There is perhaps no better indication of its outstanding rank

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