Berlin Holocaust Memorial, 1994

Explanatory Report: Participants 1112

SPACE OF REFLECTION

The initial question was: Can there even be a form that does justice to the scale of the horror, the human tragedy, and the sadistic strategies of the Holocaust? What remains is profound grief and shame—and at the same time, the challenge of creating a place that gives expression to these feelings and offers space for education so that something comparable never happens again.

Based on this consideration, the focus shifts to elementary forms. Instead of the vertical, "Gothic" gesture that dominates the memorial tradition, the principle is reversed: not the towering structure, but the negative form—a hole. In its apparent banality, it encapsulates diverse associations and becomes the central design motif.

The hole as a spatial figure inspires respect and autonomy; The deeper it goes, the stronger its pull. It demands mindfulness. For me, it is a symbol that makes visible the ambivalence of life and death and points to existential border situations. A flame burns above the depths – a sign of recognition. The place serves as a space for reflection, meditation, and a constant presence in the face of what happened.

A space that counteracts the static moments to which memorials and monuments are often subjected through habituation or forgetting. A space that offers art in all its diversity a place for changing contributions (in the gallery area of ​​the inner upper ring), accompanied by conferences and events in other areas of the building that address the topic of the Holocaust. Given the complexity of the subject and the responsibility for its appropriate communication, it seems necessary to provide additional spaces: for an archive, comprehensive documentation facilities, a media room or cinema, and a guest room with a café. Only through a dynamic interplay of remembrance, reflection, and education can this place truly unfold its potential. It is a space that, to counteract the static nature to which memorials and monuments are often subjected through habituation or forgetfulness, could offer art, in all its diversity, a platform for changing contributions (gallery area in the inner upper ring), accompanied by conferences or events in the other part of the building that address the topic of the Holocaust. Given the complexity of the subject matter and the need for appropriate and responsible communication and educational methods, I consider it essential that the space includes facilities that may house an archive; offer extensive documentation options; operate a media room/cinema; and include a café. Only through a dynamic combination of thought and education can this place truly be effective.