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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#0227
MUZEUM LIBESKINDA W BERLINIE
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that "Jehovah is not literally present in the tempie, but rather his presence is an
aspect of omnipresence. He does not dwell in his sanctuary in the literał, human
sense ... but puts there his name (sAeAmuA), i.e. his essence, naturę. In such a con-
text, the architectural idea of emptiness refers also to the thought of Emmanuel
Levinas, according to whom the self-revelation of existence is embodied, e. g., in the
impersonal form of the verb be (^Aere is) or its French equivalent ii y a and Ger-
man es gibh According to Levinas, this most common of all common expressions
should be associated with irreducible being conceived as is. 7s is impersonal and
given; it is neither external or internal. 7s, Levinas says, is the pure fact of being.
Seeking proper forms to describe the Holocaust, Franklin Ankersmit opposes
metonymy to metaphor. In his opinion, the latter is the method of writing history
and representing historical facts. Metonymy is memory, and its use allows one to
point at movement toward the event and its surroundings. In other words, the dis-
course of historians should be replaced by the discourse of memory, sińce memory, as
a form of nostalgia, gives us the difhcult awareness of distance from the object of our
nostalgie longing. Memory and nostalgia make us realize the unattainablity of the
historical object. In Ankersmifs view, the best method of communication is an
aesthetic category, sińce the "experience of the work will never be that of reality,
which is given to us always as an experience of something." It is the aesthetic appeal
which is inscribed into the design of the Berlin architectural sanctuary. Similarly as
in the structures designed by other deconstructionists - Kurt Foster, Richard Meier,
Peter Eisenman, and others - the visitors are expected to have an aesthetic ex-
perience in contact with the architecture itself. Even before the museum was
officially opened, it could be visited as a site, just to see its controversial form in
shhu fmscgnćA. The perception of form triggers emotional commitment, and the
spectator's senses are attracted by architecture itself and the elements of its spatial
arrangement. Vast spaces, empty corridors, broken axes and the play of light make
one not only meditate, but also try to decipher hidden meanings. It is not the ex-
position, but the architecture as such which is a document of the Jewish past and
tradition, as well as a projection of their We^anscAcum^g.
225
that "Jehovah is not literally present in the tempie, but rather his presence is an
aspect of omnipresence. He does not dwell in his sanctuary in the literał, human
sense ... but puts there his name (sAeAmuA), i.e. his essence, naturę. In such a con-
text, the architectural idea of emptiness refers also to the thought of Emmanuel
Levinas, according to whom the self-revelation of existence is embodied, e. g., in the
impersonal form of the verb be (^Aere is) or its French equivalent ii y a and Ger-
man es gibh According to Levinas, this most common of all common expressions
should be associated with irreducible being conceived as is. 7s is impersonal and
given; it is neither external or internal. 7s, Levinas says, is the pure fact of being.
Seeking proper forms to describe the Holocaust, Franklin Ankersmit opposes
metonymy to metaphor. In his opinion, the latter is the method of writing history
and representing historical facts. Metonymy is memory, and its use allows one to
point at movement toward the event and its surroundings. In other words, the dis-
course of historians should be replaced by the discourse of memory, sińce memory, as
a form of nostalgia, gives us the difhcult awareness of distance from the object of our
nostalgie longing. Memory and nostalgia make us realize the unattainablity of the
historical object. In Ankersmifs view, the best method of communication is an
aesthetic category, sińce the "experience of the work will never be that of reality,
which is given to us always as an experience of something." It is the aesthetic appeal
which is inscribed into the design of the Berlin architectural sanctuary. Similarly as
in the structures designed by other deconstructionists - Kurt Foster, Richard Meier,
Peter Eisenman, and others - the visitors are expected to have an aesthetic ex-
perience in contact with the architecture itself. Even before the museum was
officially opened, it could be visited as a site, just to see its controversial form in
shhu fmscgnćA. The perception of form triggers emotional commitment, and the
spectator's senses are attracted by architecture itself and the elements of its spatial
arrangement. Vast spaces, empty corridors, broken axes and the play of light make
one not only meditate, but also try to decipher hidden meanings. It is not the ex-
position, but the architecture as such which is a document of the Jewish past and
tradition, as well as a projection of their We^anscAcum^g.