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DOI Artikel:Kamczycki, Artur: Muzeum Libeskinda w Berlinie: świat żydowski ukryty w architekturze
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.29066#0225
MUZEUM LIBESKINDA W BERLINIE
223
Kenem Gorbeyem, iż muzeum berlińskie jest „zmysłową budowlą para-
doksu, która mówi o destrukcji, a jednocześnie o triumfie nad nią; wska-
zuje na nieobecność, a zarazem jest przytłaczająco obecna"59.
LIBESKINDA MUSEUM IN BERLIN. THE JEWISH WORLD HIDDEN
IN ARCHITECTURE
Summary
Daniel Libeskind's design of the museum of 2000 Years of German-Jewish
History, intended to commemorate also the Holocaust, won the lirst prize in a
competition organized by the German government in 1989. The opening of that poli-
tically important federal museum was planned to coincide with the 330^ anniversa-
ry of the Jewish community in Berlin.
The architectural idea, called by Libeskind "between the lines," assumed the
division of the museum into two parts: one, the adapted baroque pałace from the
times of Friedrich Wilhelm I, and the other, a new tin structure on a "zigzag" plan
resembling a lightning, a crawling snake or a crushed star of David. The external
form of the building was to be madę of cubic segments; an irregular, edgy, tin struc-
ture with a Rat roof. This expressive building consists of three stories on which,
instead of regular museum halls, there are zigzag-shaped open spaces, while in the
walls there are long, narrow Windows.
The form and plan of the museum refer to many aspects of Jewish culture.
Having entered the building through the main entrance, i.e., the portal of the
baroque faęade, one must Rnd a "passage" to the museum proper. To reach the
JeudsA side, one should go down a staircase in the Roor to a lower level and then,
following an underground corridor, start the route. Only then begins the story of the
Jews and their heritage. Going down, below the level of the ground, symbolizes the
usual lowering of the Roors in Ashkenazi temples. This has been usually associated
with Psalm 130, "Out of the depths have I cried unto thee, O Lord." The under-
ground tunnel runs to an intersection of three corridors, called by Libeskind the axes
o/ conńnndy, nugrahon, and perddion, which symbolize the fate of Jews in the 20^
century. The horizontal projection of these corridors resembles three spread Rngers
or a reversed Hebrew letter, sAm. The same letter can be seen high on the building's
wali, outlined by three window lines, visible from the garden, i. e. the place to which
the last corridor runs. According to a popular Jewish method of notaricon, allowing
to read the meanings of words according to their abbreviated forms - Rrst letters,
consonants, and whole words - s/un means sAeAmaA (Hebr. dajedmg). Shekinah is
the presence of Jehovah and his immanence, or just his name's synonym. "The exile
59 Cytat z intemetu dotyczący muzeum Libeskinda: www.daniel-libeskind.com. Zob.
też; www.jmberlin.de
223
Kenem Gorbeyem, iż muzeum berlińskie jest „zmysłową budowlą para-
doksu, która mówi o destrukcji, a jednocześnie o triumfie nad nią; wska-
zuje na nieobecność, a zarazem jest przytłaczająco obecna"59.
LIBESKINDA MUSEUM IN BERLIN. THE JEWISH WORLD HIDDEN
IN ARCHITECTURE
Summary
Daniel Libeskind's design of the museum of 2000 Years of German-Jewish
History, intended to commemorate also the Holocaust, won the lirst prize in a
competition organized by the German government in 1989. The opening of that poli-
tically important federal museum was planned to coincide with the 330^ anniversa-
ry of the Jewish community in Berlin.
The architectural idea, called by Libeskind "between the lines," assumed the
division of the museum into two parts: one, the adapted baroque pałace from the
times of Friedrich Wilhelm I, and the other, a new tin structure on a "zigzag" plan
resembling a lightning, a crawling snake or a crushed star of David. The external
form of the building was to be madę of cubic segments; an irregular, edgy, tin struc-
ture with a Rat roof. This expressive building consists of three stories on which,
instead of regular museum halls, there are zigzag-shaped open spaces, while in the
walls there are long, narrow Windows.
The form and plan of the museum refer to many aspects of Jewish culture.
Having entered the building through the main entrance, i.e., the portal of the
baroque faęade, one must Rnd a "passage" to the museum proper. To reach the
JeudsA side, one should go down a staircase in the Roor to a lower level and then,
following an underground corridor, start the route. Only then begins the story of the
Jews and their heritage. Going down, below the level of the ground, symbolizes the
usual lowering of the Roors in Ashkenazi temples. This has been usually associated
with Psalm 130, "Out of the depths have I cried unto thee, O Lord." The under-
ground tunnel runs to an intersection of three corridors, called by Libeskind the axes
o/ conńnndy, nugrahon, and perddion, which symbolize the fate of Jews in the 20^
century. The horizontal projection of these corridors resembles three spread Rngers
or a reversed Hebrew letter, sAm. The same letter can be seen high on the building's
wali, outlined by three window lines, visible from the garden, i. e. the place to which
the last corridor runs. According to a popular Jewish method of notaricon, allowing
to read the meanings of words according to their abbreviated forms - Rrst letters,
consonants, and whole words - s/un means sAeAmaA (Hebr. dajedmg). Shekinah is
the presence of Jehovah and his immanence, or just his name's synonym. "The exile
59 Cytat z intemetu dotyczący muzeum Libeskinda: www.daniel-libeskind.com. Zob.
też; www.jmberlin.de