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

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

TABLE OF CONTENTS
ABSTRACT
LIST OF FIGURES
LIST OF TABLES
1

INTRODUCTION

1.1
1.2
1.3
1.4

BACKGROUND
RESEARCH GAP AND QUESTION
RESEARCH AIM
RESEARCH OBJECTIVES

LITERATURE REVIEW

2.1
2.2
2.3
2.4
2.5

INTRODUCTION
ROLE OF MUSEUM, ARCHITECTURE AND CONTEMPORARY MUSEUM
MUSEUM, MEMORY AND TRAUMA
MUSEUMS AS A FORM OF TOURISM
CONCLUSION

METHODOLOGY

3.1
3.2
3.3

INTRODUCTION
RESEARCH APPROACH
APPLICATION OF METHODOLOGY

DISCUSSION

4.1
4.2
4.3
4.4
4.5
4.6

INTRODUCTION
CASE STUDY: JEWISH MUSEUM BERLIN
INTENTION OF THE ARCHITECT
IDENTITY, MEMORY AND TRAUMA
JEWISH MUSEUM BERLIN AND DARK TOURISM
CONCLUSION

CONCLUSION

5.1
5.2
5.3

OBJECTIVE 1- IDENTITY, MEMORY AND TRAUMA

OBJECTIVE 2- JEWISH MUSEUM BERLIN AND DARK TOURISM
SCOPE FOR FURTHER RESEARCH

BIBLIOGRAPHY

4-5
5
6
6

7
7-8
8
9
9

10
10-11
11

12
13-15
15-17
18-21
22-25
25

26
26
27

28-29
2

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

INTRODUCTION

1.1

BACKGROUND

This paper provides an overview and insight into the relationship between museum, trauma and
e o . These topi s a e o te tualised i a oade ie as Me o ial useu s . The follo i g
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
ti e. The histo i al e o o e etold the elatio of a o
u it o a atio to its past 1. 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 Huyssen3 has
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 sedu tio of the a hi e a d its t o e of stories of human achievement and suffering
ha e e e ee g eate 4
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,
e pe ie e a d its a se e i epetitio 5
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.

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

The 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 Press

Ibid. p.
5
Ibid.p.8

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 time6 are important for the growth
of 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 social
history, 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.

Fou ault, M,
. Of Othe pa es. Othe pa es. The Affai of the Hete otopia . Ed. itte , ola d. & K alle -Vlay,
Bernd. Austria: HAD Dokumente zur Architektur

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
ei g a i teg al pa t of the useu s age da ei g o
u i ated.
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

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 uildi g a d ho it a aptu e a sli e of ti e . The major issues
that are fundamental in contextualising this research are the Role of Museum, Architecture and
Contemporary Museum; Museum, Memory and Trauma; and the Museum and Tourism.

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 i st u e t fo i ilisi g the o als and manners of the
populatio 7. 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 intention of 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

Bennett, T. 1995. The Birth of the Museum: History, Theory, Politics. London: Routledge.
Be ett, T.
. The E hi itio a Co ple , New Formations 4: 73-102.
9
Knell, 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 E olutio of a Missio -Dri e Museu in 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.

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 pote tial fo a useu to fu tio as a f o tie 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 i pe ati e of ou epo his to p ese e e e i di ato of e o 15, and as the
useu s o ditio , it o side s the site of e o par excellence. 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, for
some critiques, such as Hornstein, architecture has the ability to create beyond what is the physical
site itself, a state of i agi atio , a ifested i to a ph si al pla e to p o oke a
e tal spatialised
isual of e pe ie es . This sheds light o to hat is e essa to displa i a useu i o de 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.

11

Hooper- Greenhill, E. 1994. Museu s a d their Visitors . Lo do : outledge

Watson, Sheila E.R, 2007, Museums and their communities, Psychology Press
13
Golding, V. 2009. Learning at the Museum Frontiers: Identity, Race and Power. Farnham: Ashgate.
14
Hooper- Greenhill, E. 1994. Museu s a d their Visitors . Lo do : outledge
15
No a, P.
. Bet ee Me o & History: Lieux de Mmoire , Representations 26(1): 7-25.
16
Hornstein, S. 2011. Losi g ite: Ar hite ture, Me or a d Pla e . Canada: Ashgate Studies in Architecture
17
Williams, P. 2007. Memorial Museums: The Global Rush to Commemorate Atrocities. Oxford: Be g. Chapte
Surviving Object: Presence and Absence in Memorial Museums, pp.25-50)
18
Ibid.

12

: The

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 e a les a i di idual to gai a s ap-shot a d i agi ati e
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 unanswered. 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 that
particular place, bringing social, cultural and economic opportunity. This form of tourism is a selfdirected 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 the
revolutionary 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.

19

Message, K. 2006. New Museums and the Making of Culture. Oxford: Berg.
Ostwald, Michael J. 1996, "Understanding Cyberspace: Learning from Luna Park," Architecture Australia Volume 85, no. 2
21
Grenier, 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

20

METHODOLOGY

3.1

INTRODUCTION

The dissemination of theoretical developments posits the origin of the focus in memorial-traumaemphasised 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 p i a sele tio a d sig ifi a e fo

stud spe ulates the o k of Da iel Li eski d s Je ish
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 Li eski d s desig i te tio s, a d the hose sta e 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

22

Creswell. J. 2002. Research Design: Qualitative, Quantative, and Mixed Methods Approaches. Boston:SAGE
Hooper-Greenhill, E. (ed.) 1999. Museum, Media, Message. London: Routledge.
24
Hornstein, S. 2011. Losi g ite: Ar hite ture, Me or a d Pla e . 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.
23

10

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 be
adopted. 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.

27

Lennon, J.J. & Foley, M. (eds) 2000. Dark Tourism. Andover: Cengage Learning EMEA.
Groat, L, Wang, D. 2002. Architectural Research Methods. New York: John Wiley and Sons
29
Glaser, B, Strauss, A. 1967. The Discovery of Grounded Theory: Strategies for qualitative research. Chicago: Aldine
30
Walliman, N. 2010. Research Methods: The Basics. New York: Routeledge
28

11

DISCUSSION

4.1

INTRODUCTION

The following chapter looks at the techniques used in Architectural design and practice though the
o ks of Da iel Li eski d s Jewish 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.

12

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 socialhistory. 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 historical
agendas 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.

31

Systematic 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 being
ega ded as the kille s of Jesus Ch ist . Late a d ost ope usage of the o d a e f o the e a of Natio al o ialis Nazism.

13

According to architect,
the new extension is conceived as an emblem was the not visible has made itself
appare t as a oid, a i isi lethe idea is er si ple: to uild the useu arou d
a oid that ru s through it, a oid that is to e e perie ed the pu li .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 a
history, 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
i po ta e of Je ish a d Holo aust histo a d the eed fo it s the itize s e o iliatio ,
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
ea s of ep ese tatio a d a keti g i o de to eate popula it a d atte tio to the
Museum. 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 frontier to 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,
e a i es the u e t de ate ega di g the ole of the i fo e s the JMB s 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 a d efle ti g the e o ial sig ifi a e of the people s a hie e e ts i o de 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

Da iel Li eski d, Bet ee the Li es, i Daniel Libeskind: Erweiterung des Berlin Museums mit Abteilung Jdisches
Museum, Kristin Feireiss, ed. (Berlin, 1992), 63.
33
Golding, V. 2009. Learning at the Museum Frontiers: Identity, Race and Power. Farnham: Ashgate.

14

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
De o st u ti ist A hite tu e 35. Li eski d s desig su issio lea l efle ted the a hite tu al
ethos toward the solution, with his primary concern for the design being the process to which the
uildi g is al a s o the e ge of Be o i g- no longer suggestive of a final solutio 36. The
olle tio of d a i gs that e e ged fo the o petitio
e e regarded as masterpieces of process
37
art as well as architectural design Afte the o fi atio of Li eski d s o k to e o
issio ed,
the first action from the inspiring Ar hite t, as to ha ge the a e of the p oje t to Bet ee the
Li es , stati g:

I all it [Bet ee the Li es] e ause it is a proje t a out t o li es of thi ki g,

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
dis o ti uous oid .38

34

Counterpoint Da iel Li eski d, Da iel Li eski d i Co e satio ith Paul Gold e ge , p. , Bi khause Pu lishe ,
2008
35
Ja es E. You g, Visual Cultu e a d the Holo aust, Da iel Li eski d s Je ish Museu i Be li : The U a
A ts of
Me o ial A hite tu e , p.
-197
36
tated Ku t Foste i A tho Vidle , The A hite tu al U a
, p.
37
Ja es E. You g, Visual Cultu e a d the Holo aust, Da iel Li eski d s Je ish Museu i Be li : The U a
A ts of
Memorial A hite tu e , p.
-197
38
Ibid

15

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
u o e tio al zig-zag pla , he e the a essi le e t a e poi t is f o the u de g ou d
alk a th ough the Be li Museu s a o ue i g as 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
logi al la i thi e passage. The i te tio of Li eski d s f ag e ted passage a s, 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.

16

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

17

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 sa e the ati de ates e e spa ked
the autho helle Ho stei ,
, Losi g 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
the sel es i a u o e tio al o ido . 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 pla e its i age i a defi ite a kgrou d. 39
39

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

18

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 contested
category 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

40

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

19

institutions, and even then, it has caused an eruption of disagreeing viewers. Take as an example the
controversial depiction of e a o s
Piss Ch ist .
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 a d fu di g for artisti proje ts. 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 examines
su ultu es ut shifts atte tio a a f o the ule-breaking act to the societal reaction to rule
43
eaki g a o di g to Ta lo , Walto a d You g,
. 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 a o di g to Be ke s theo of ea tio , it can determine the degree of shock and deviance.

41

http://en.wikipedia.org/wiki/Piss_Christ
Ibid.
43
Taylor, L., Walton, P., & Young, J. 1973. The New Criminology: For a Social Theory of Deviance. Routledge.
44
Becker, H., S. 1963. Outsiders: A Study in the Sociology of Deviance. Glencoe Free Press.
42

20

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 depi ti g Hi st s, Mothe a d Child, e p esses the i age of a othe a d 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 setti g, a d death. The artist e plai s, I a a , ou u dersta d ore
about living people deali g ith dead people. It s sad ut ou feel ore ...
cows cut up in formaldehyde have more personality than any cows walking about in
fields. 45
Hi st s state e t, In a way, you understand more about living people by dealing with dead people.
It s 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.

45

Da ie Hi st ited i
Gallery, 1996),18-19.

A I te ie

ith Da ie Hi st , Stuart Morgan, No e se of A solute Co uptio

Gagosian

21

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 a
factor of a dark-side of tourism. Without conscious intent of such, the museum has created a site,
ade up of pet ified histo i spa es. Usi g t o te ts of p e ede tial ate ial, Fou ault s hete otopia
a d Phillip to e s i sightful iti g 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 Che o l ase stud is a e e pla
luep i t that offers a detailed discussion on how, for
one, heterotopia framework is presented.
Fou ault s lite a te t, Of Othe spa es ,
, des i es, lite all of othe pla es . Esse tiall , 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

. C isis Hete otopia - (Separate space)

Boarding School, Motels, Nursing Homes

. Hete otopias fu tio

Cemetery

. Hete otopia a

ha ge o e ti e -

e a si gle eal pla e that

A garden, Cinema, Theatres

ju taposes se e al spa es
4.'Heterotopias li ked to sli es of ti e

Museums, Libraries, festivals, Showgrounds

5.'Heterotopias of ope i g a d losi g

Saunas, Prisons

6.'Heterotopias have a function in relation to all

Brothels

of the e ai i g spa es

Table 1. Principles of Heterotopia

46

Fou ault, M.

. Of Othe pa es . T a slated

Jay Miskowiec.

22

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 Be li , a d its ep ese tatio of a dead zo e 47, 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 , iti all a al sed i to e s o k, the former state of the city
of berlin and the world with the chaos of the Holocaust, genocide and Jewish heritage, now provide
e a ts of the old o ld hi h p o ides a fo of po e ful ide tit , e hoi g the faili gs a d
p edi a e ts of so iet i a sli e of ti e .
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 states
that the e tal o i agi ed spa e, usi g the te h i ue of spatialised isualisatio is the p o ess 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 i stitutio it is so iall espo si le to i fo the o
u it a d g eate so iet to found
knowledge, the museum permits itself to confirm this principle. As an extension of this argument,
the o k of Fou ault uses the e a ple of the e ete as a sa ed spa e of the dead , hi h
resonates into the similarities with which a cemetery has with the JMB. Cemeteries use to be argued
to e the ell of the it , i stead, is o pushed to the oute su u s. U like the fo e
constitution for the cemetery, the JMB is a focal point for the city of Berlin, where, although does
not house the physi al odies of the dead, still is a spi itual e t e he e as des i ed Fou ault,
a d eite ated to e, is a pla e he e the li i g go to isit the e o of lo ed o es .
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.

47

Stone, 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.

23

Figure 8. Garden of Exile. Jewish Museum Berlin.

Figure 9. Museum of Garden. Jewish Museum Berlin

24

The fou th p i iple of hete otopia is the eaki g of t aditio ti e sli es of ti e , t pi all
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 gai i g te po a a esses. I this se se, the JMB does suppose the fifth p i iple of
heterotopia.

The last principle of heterotopia explains the way a site may create an illusion which attempts to reeate that of the eal o ld. The pu h li e to Fou ault s theo eti al f a e o k of heterotopia, is
essentially the illust ati g a pla e 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 o ks of Mi hel Fou ault s hete otopia f a e o k, hi h has o t i uted to the o e all od of
knowledge to the discourse of Architecture.

25

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 tou is . It ide tified the atu e i hi h
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 the
museum 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.

26

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.

27

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