Boa Anakonda © 1999

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Hamburg - Evening / Night Session
[4th July 2014

7:40pm]

Supreme Parish and Collegiate Church in Berlin
[1st July 2014

12:29pm]

Coastal Resort Binz
[30th June 2014

6:36am]

Berlin Tempelhof Airport
[26th June 2014

1:28pm]

Ai Weiwei «Evidence» in Berlin
[26th June 2014

10:26am]

Jewish Museum Berlin
[25th June 2014

11:57am]

Jewish Museum Berlin from Daniel Liebeskind Museum Map

Axis: Axis of Continuity which ends in a high stair leading to the permanent exhibition Axis of the Shoah leads in ends in Shoah Tower Axis of Exile leads out of the building in the Garden of Exile - (wikipedia.org)

Shoah Tower: A dark, cold, high commemorative space into which only by a fissure in the cover daylight penetrates. The room has only symbolic meaning and is not possibly the reproduction of a gas chamber how many visitors think. At about 2,5-metre height there is a ladder right for servicing work in the tower which leads up to cover. According to opinion of some visitors this serves as an escape route or as a symbol for the inaccessible - (wikipedia.org)

Garden of Exile: The visitor should find out the experience of exile in the garden very closely. He feels only foreign, then the walk is stamped by the garden from insecurity, because on account of the skew ground one easily gets in reeling and the concrete columns limit the view tremendously. Recently it is, how the Shoah Tower a dead end The resemblance of the Memorial to the Murdered Jews of Europe was in 1999 an occasion for plagiarism reproaches of Libeskind against the architects Peter Eisenman. The quarrel could be settled - (wikipedia.org)

«Void»: A line of Voids, empty spaces about 66 feet (20 m) tall, slices linearly through the entire building. Such voids represent «That which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes.» Daniel Liebeskind - (wikipedia.org)

«Scars»: The linear openings them the facades break through, follow a principle that of the classical architecture is not obliged any more. For this Liebeskind has moved at first connecting lines, between imaginary or honest addresses of symbolic figures of the German Judaism on a Berlin City Plan. So originated diagrammes then he has projected on the surface of the building and in this manner has created an apparently absolutely accidental pattern - (Richard (Richard Copans & Stan Neumann, arte.tv)