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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2009.1
- 수록면
- 47 - 78 (32page)
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The paper analyzes some characteristics of three representative Holocaust
memorial museums, comparing their process of building, form of architectural
representation, and strategies of narrative: the Jewish Museum in Berlin, Yad
Vashem Holocaust Museum in Jerusalem, and the U. S. Holocaust Memorial
Museum in Washington D. C..
In the process of building of three Holocaust memorial museum are reflected
certain political intentions of the initiators. There were controversies between
various social and political groups around the location of museum and the form
of architectural representation.
To represent the past event beyond our intellectual understanding, the
architects designed the museums in unique and spectacular ways. Daniel
Libeskind, the architect of the Jewish Museum, adapted deconstructivism to
visualize the destruction of Jewish life. Yad Vashem Holocaust Museum
designed by Moshe Safdie should be underground, with a subtle cut across the
hilltop - a narrow skylight coming up for light, a reflective knife edge across
the landscape that would disclose the museum’s space. For James Ingo Freed,
the architect of the U. S. Holocaust Memorial Museum, the new museum shouldbe a resonator of memory. To create a very unusual atmosphere, he made, for
example, a huge transition space(the Hall of Witness) which consists of red
brick walls and dark-grey steel structures.
All the three Holocaust memorial museums are story telling museums. The
Jewish Museum in Berlin emphasizes collective responsibility regarding the
murder of European Jews by Germans. The focal point of Yad Vashem
Holocaust Museum is laid upon the victims, founding of the Jewish nation-state,
and the resistance against the Nazis. The U. S. Holocaust Memorial Museum
tries to stress the meaning of the Holocaust for contemporary American society.
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