Located in once the bombarded Berlin, a new language of architecture emerged. It appears with multiple contradictions, yet not confliction, from itself to the surroundings and within its own construction. That is the Berlin Jewish Museum, submitted by the young Daniel Libeskind in a competition to provoke the unsavory history of Berlin very soon after the fall of the Berlin Wall in 1989. The Western tradition in building museum is twisted by its expressionistic form, not merely to house the remains, the relics, the display of art, it stands by itself naked, untreated to house the ghost of German Judaism, a rare opportunity to visit an empty building for its such high profile budget. The challenge is to excavate the memory that was already there but suppressed by the medium of contemporary architecture, uncanny. This essay is to analyze the capturing of a spiritual existence from a part of the bygone Berlin, and the museum’s capacity to address one of the most profoundly tragic events of the twentieth century, the Holocaust, in the use of light, material, and structural methods of construction. Moreover, this study is an attempt to evaluate the Libeskind’s response to the concept to reveal the implication in its shape, and its spatial quality. This project is also a chance to examine the interdisciplinary character of architecture in combining social-cultural relationship, psychology, history, theory, music, material methodology, vision, etc. To be able to do that, the architect’s background and his operations of process to the problem will be shortly studied, then his solution in dealing with the res...
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...f structure, a museum. The one contradiction in the contemporary design theory that Libeskind dares to fight is that to work in the upcoming century means to work with reduced means. His works pose optimism in the sense that architecture, if filled with a satisfactory amount of reasoning, and justification with the help of the advancement in material technology, and the foremost, creativity, will be able to address the profound of any project seeking for poetic embodiment. While modern architects have tried hard to eradicate the traces of history from the forms, postmodern architects like Liberskind would embody the traces of history in between the forms. In Lisbeskind’s Jewish Museum, the invisibility, the implication, and the embodiment come first, then the advancement of material methodology assists the build of the visibility, and the physical infrastructure.
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