Empathetic Memorials: The Other Designs for the Berlin Holocaust Memorial 3030509311, 9783030509316

Table of contents :
Chronology of the Berlin Holocaust Memorial Competition
Acknowledgements
Contents
List of Figures
Chapter 1: Introduction
Bibliography
Chapter 2: Who Is the Memorial For?
2.1 The Two Competitions and Their Respective Guidelines
2.2 The Concept of ‘Never Again’
2.3 A West German Initiative
2.4 Vergangenheitsbewältigung (Coming to Terms with the Past)
2.5 The European Dimension and How Some Alternative Designs Referenced This Perspective
2.6 The Idea of an Aesthetically German Memorial and How Designers Responded
2.7 Normalisation
2.8 National Memory and Political Memory
2.9 The Jewish Community and the Designs by Christine Jackob-Marks and Dani Karavan
2.10 The Sinti and Roma Victims and Their Exclusion from the Berlin Memorial
2.11 Why Many of the Alternative Designs Come to Represent All Victims
2.12 A Democratic Competition?
2.13 Conclusion
Bibliography
Primary Sources
Secondary Sources
Chapter 3: Issues of Representation
3.1 Attempting to Understand the Victims’ Experience
3.2 Karol Broniatowski and Patrick Glaster’s Crematoria Tower
3.3 Cultural Memory of the Holocaust
3.4 A Memorial in Which Victims Are Not Present?
3.5 The Secondary Witnessing Process
3.6 Distinguishing Forms of Empathy
3.7 Empathising When There Is No Image of Suffering
3.8 Richard Gruber’s Ferris Wheel
3.9 Museum Cattle-Trucks: Experience and Empathy
3.10 The Holocaust Icon
3.11 The Uncanny Holocaust Memorial
3.12 Jochen Heufelder’s Projected Photographs
3.13 Peter Eisenman’s Stelenfeld
3.14 The Possibilities for Empathy Within the Immersive, Abstract Design
3.15 Simon Ungers’ Proposed Use of Concentration Camp Names
3.16 Victims’ Final Letters Exhibited in The Room of Dimensions
3.17 Identifying with the Writer of the Letter and Their Plight
3.18 Conclusion
Bibliography
Primary Sources
Secondary Sources
Chapter 4: Different Ways of Understanding Individual Victims: Names, Photographs, and the Void
4.1 The Memorial and the Museum as Contrasting, Complementing Evocations of the Past
4.2 The Museum Memorial Paradigm
4.3 The Prospect of an Information Centre for the Designs by Daniel Libeskind and Gesine Weinmiller
4.4 How Eisenman’s Design and Information Centre Complement Each Other
4.5 The Exhibiting of Family Portraits as a Primary Contrast to Eisenman’s Design
4.6 Comparing the Strategies of Jochen Heufelder’s Design with The Room of Families
4.7 Comparing the Use of Victims’ Names: The Design by Christine Jackob-Marks and The Room of Names
4.8 Secondary Witnessing in The Room of Names
4.9 The Strategy of Withholding Information in the Design by Jochen Heufelder and The Room of Names
4.10 Conclusion
Bibliography
Primary Sources
Secondary Sources
Chapter 5: Designs That Attempt to Resist the Completion of Memory
5.1 Counter-Monuments and Mnemonics
5.2 Renata Stih and Frieder Schnock’s Bus Stop!—The Non Monument
5.3 The Counter-Monument That Elicits Empathetic Identification with Victims
5.4 Michael Stephan’s Arsenicum Album
5.5 Bus Stop!: Opposing the Prospect of a Final Statement
5.6 Re-enactments, ‘Re-living’ the Past, and Empathic Unsettlement
5.7 The Viewers’ Commitment to the Process of Remembrance
5.8 The Jury’s Response to Bus Stop!
5.9 Horst Hoheisel’s Blow up the Brandenburg Gate
5.10 Invisible Memorials
5.11 Jochen Gerz’s Warum
5.12 Conclusion
Bibliography
Primary Sources
Secondary Sources
Chapter 6: Conclusion
Index