Group+1+-+National+Museum+Projects

toc = = =Jewish Museum Berlin =
 * National Museums**

The Jewish Museum Berlin resides in Kreuzberg in central Berlin and is comprised of three main parts known as the Old Building, New Building, and the Glass Courtyard. The Jewish Museum Berlin has various special exhibits that change every three months describing in different ways and focuses German-Jewish history as well as a permanent exhibit titled “A Journey through Two Millennia of German Jewish History.” The exhibits contain pictures, documents, objects, and forms of media that illuminate the history of Jews in Germany. There is also an interactive exhibit for children to discover Jewish history on the computer in the Rafael Roth Learning Center (“Jewish Museum Berlin”). Every Jewish and Holocaust museum has different exhibits that contain art and historical information Jewish history but what makes the Jewish Museum Berlin unique is the intricate shape of the building that enhanced the interior art designed by American architect Daniel Libeskind.

=//DESIGN INSPIRATION AND OLD BUILDING DESIGN //= Daniel Libeskind had many sources that he used as inspiration for the design of the Jewish Museum Berlin. They included concrete forms of art like the opera //Moses and Aaron// by Arnold Schonberg and “One-Way Street” by Walter Benjamin. His primary focus was the victims of the Holocaust and preserving their memory for the generations of the future (Libeskind, 63). Libeskind repeated refers to the name of his design concept as “Between the Lines” because physically the structure consists of various lines but also because of the hidden information of Jewish History (Sachs, 79). The museum pathway starts at the Old Building which serves as the entrance to the Jewish Museum Berlin because there is no designated exterior entrance to the New Building. The Old Building use to be the Court of Justice’s Collegienhaus during the 18th and 19thcenturies. The two-story building surrounds a courtyard in a U-shape with its three wings. The Old Building is connected to the New Building through the basement and is accessed through a staircase made of black slate in the Old Building (“Jewish Museum Berlin”).

= = =//NEW BUILDING DESIGN //= The New Building was designed by American architect Daniel Libeskind who also remodeled the outside of the Old Building as it is today. The building is described as a zigzag shaped structure with a zinc façade which will eventually rust because of exposure to the natural elements. Libeskind formed the intricate shape of the building and placement of windows by marking on a pre-war map of Berlin, the addresses of Jewish and German citizens and connecting the dots. The lines of the building created five voids throughout the structure which are not decorated and have no regulation of temperature or lighting (“Jewish Museum Berlin”). The voids represent those who were forced to emigrate and therefore left a vacant space physically and spiritually in history (Sachs, 79). Upon entering the New Building, there are three paths visitors can travel also known as axes. The three axes are named Axis of Continuity, Axis of Emigration, and Axis of the Holocaust. The Axis of the Continuity is another name for the pathway that connects the Old Building to the New Building. The axis continues to the exhibition levels by ascending the Sackler Staircase. The Axis of Continuity receives its name because it is meant to represent Berlin’s continuing history. The Axis of Emigration is another pathway that leads to the Garden of Exile through a large, heavy door. The floor of the pathway is irregular and on a slope while the walls are skewed and become narrower along the path. The Garden of Exile is a large square made of forty nine concrete columns on a twelve degree gradient covered in Russian willow oak. The purpose of the Garden of Exile to make the visitors feel like those who were confused and disoriented when forced out of Germany. The last axis is known as the Axis of the Holocaust which leads to the Holocaust Tower which is also a road block. Articles of those who were killed in the Holocaust cover the merging, dark walls of the axis. The intersection of the three axes represents link of the three historical aspect of the life of German Jews. Libeskind also upgraded the courtyard surrounded by the Old Building. The inspiration for the Glass Courtyard is a tree and the Hebrew word for thatched booth, “Sukkah.” The class courtyard is made of intricate steel design structure to resemble a tree on the roof which is supported by four steel pillars and covered in windows. The Glass Courtyard serves up to five hundred people as an event location for the museum (“Jewish Museum Berlin”) There is also a Paul Celan Courtyard that represents the Night of Broken Glass and was design by Celan’s wife, Gisèle Celan-Lestrange, as requested by Libeskind ("The Uncanny Jewish Museum Berlin”).\ = = =//MUSEUM ADDITIONS //= There have also been three permanent additions added since the original design of the Jewish Museum Berlin. The three add-ons are called Fallen Leaves, Gallery of the Missing, and Unsaid. Fallen Leaves was implemented by artist Menashe Kadishman and consists of ten thousand iron circles with faces covering the floor of the Memory Void. The Fallen Leaves serve as a memorial for those who were killed during the Holocaust. The Gallery of the Missing are black glass sculptures located randomly throughout the museum and were designed by Via Lewandowsky who wanted to convey the things “that no longer exist.” The final addition is called Unsaid created by Arnold Dreyblatt and consists of articles from various places during the Holocaust such as the concentration camps and ghettos (“Jewish Museum Berlin”). = = =//PURPOSE AND REVIEWS //= There have many reviews produced about the Jewish Museum Berlin since it has opened in 2001 and even prior to its official opening. People were so intrigued by the whole establishment that the empty building was explored by three hundred and fifty thousand people before it opened in 2001. Since it opened, about 7 million people have visited the Jewish Museum Berlin ( Bartlick ). People have referred to the design as resembling a lightning bolt (Sachs, 79) or a destroyed Star of David (Mueller). The museum has been believed to physically represent German-Jewish history in Germany ( Bartlick ) and transform the view of the city of Berlin (Mueller). It has been perceived that the museum is way for the city of Berlin to pronounce its regret and memorialize those who were lost during a horrific time but at the same time not viewing the museum as an object for atonement of the German’s wrong doings (Mueller) or “bridge an open wound without mending it” as believed by Libeskind (Libeskind, 49). = = = USHMM-United States Holocaust Memorial Museum = The United States Holocaust Memorial Museum is located in Washington D.C. and was opened to the public April 26th, 1993. The museum stands as America’s national institution for the documentation, study, and interpretation of Holocaust history. It serves as our country’s memorial to the millions who suffered during this tragedy and also encourages visitors to question and respond to current and future events of genocide around the world. This museum continues to “make memory manifest” in a powerful language that is set apart from traditional museums (//Facing History,1//). Its mission is threefold: to educate, preserve memory, and provoke visitors to be more deeply and ethically engaged in their world(//Greenfield//). The Museum houses permanent and temporary exhibition spaces, a research library and archives, two theaters, an interactive computer learning center, classrooms, a memorial space, and areas for impromptu discussion. What makes the USHMM unique is the architectural brilliance of jewish architect and holocaust survivor James Ingo Freed.

=//ARCHITECTURE and ART //= The architecture of the museum is provoking on a subconscious level. It is both multifaceted and multilayered. The architect, James Ingo Freed of Pei Cobb Freed & Partners created a harmonious relationship between the architecture of the Museum building,four commissioned site specific works of art; Gravity, Loss and regeneration,consequence, and Memorial, and the exhibitions within (USHMM).To inform his design, he visited a number of Holocaust sites, including camps and ghettos, to examine structures and materials. In Freed's words, There are no literal references to particular places or occurrences from the historic event. Instead, the architectural form is open-ended so the Museum becomes a resonator of memory. Architectural allusions to the Holocaust are not specific. Visitors make their own interpretations. The subtle metaphors and symbolic reminiscences of history are vehicles for thought and introspection. Freed's creation continues to allow each visitor to experience the Museum building "viscerally"(//Greenfield//). Just as the Holocaust defies understanding, the building is not meant to be intellectually understood. Its architecture of sensibility is intended to engage the visitor and stir the emotions, allow for horror and sadness, ultimately to disturb. As Freed says, “It must take you in its grip.” He did not want the museum to only dwell on the morose and depressing, he ultimately wanted it to be a representation of hope and resolution (//Giovanni//). As the architecture of the building draws much of its power from the history of the Holocaust, the four works of art displayed in and outside the building, evoke emotion and reinforce the memorial function of the museum.

<span style="font-family: 'Times New Roman',Times,serif;">// MUSEUM EXPERIENCE //
<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The main limestone and brick entrance melds the building into its federal environment. The arched portico is a light-filled facade that opens to the sky. Visitors must pass through the limestone partition to enter the concrete world was Freed’s written intent. This antiseptic “facade” represents the Nazis efforts to hide the crimes they were committing. The real entrance is past the granite portals (//Giovanni)//.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Once inside, the main entrance evokes hardened industrialism known as the “Hall of Witness” (//Greenfield//). Visitors encounter the steel plates, bolted metal, rivets, and off-center existence of Europe from 60 years ago. The skylight illuminates the dark metal. This architectural “language” is an ironic criticism of the ideals of reason and order that were perverted to build the factories of death. Freed Glass and steel walkways overhead symbolize the constant scrutiny that prisoners endured.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Walking up the stark and steep stone staircase visitors enter the “Hall of Remembrance,” a six-sided marble chamber where an eternal flame is kept burning. There are slit-like windows along the hinges of the walls. One can spy through to see the plaza along Raoul Wallenberg Place below where //Loss and Regeneration// by Joel Shapiro is installed.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The rooftop from this avenue evokes prison patrol towers. The building design is a multi-dimensional collection of abstract forms. On this same floor is the visitor’s center where there is an informative orientation film about the museum, //The Wexner Learning Center//, and //The Meed Survivor’s Registry// that encourages all who lived under the Nazi regime to record their history. For more in-depth research, visitors use the museum’s library, archives, and photo archives on the fifth floor.

**//<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">EXHIBITS //**
<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The exhibits contained at this museum encourage the visitor to reflect upon one’s own responsibilities as citizens of a democracy.The Museum building contains permanent and temporary exhibition spaces an extensive research library and archives; two theaters; the Center for Advanced Holocaust Studies; a Children's Tile Wall; an interactive computer learning center; classrooms; the Hall of Witness; a memorial space, the Hall of Remembrance; and an education center. The Permanent Exhibition: **The Holocaust** spans three floors of the Museum building, and through historical documents, artifacts, photographs, film footage, historical and personal photographs, oral and video histories. It presents the history of the Holocaust in three distinct sections: "Nazi Assault," "Final Solution," and "Last Chapter." //<span style="font-family: 'Times New Roman',Times,serif;">**Remember the Children: Daniel’s Story** //<span style="font-family: 'Times New Roman',Times,serif;">is an exhibition for children that presents the history of the Holocaust in ways that children can understand. His story is based on the diary accounts of many children who recorded their experiences and impressions of life during the Holocaust (USHMM "Traveling Exhibitions")<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">. It is the main program for elementary and middle school children at the Museum. Museum and classroom educators and interpreters participated in the creation of the exhibition. //**A Dangerous Lie: The Protocols of the Elders of Zion**// explores the continuing impact of the most widely distributed antisemitic publication of modern times. Despite countless exposures of the Protocols as a fraud, the myth of a Jewish world conspiracy has retained incredible power for Nazis and others who seek to spread hatred of Jews. //**State of Deception: The Power of Nazi Propaganda**// reveals how the Nazi Party used modern techniques as well as new technologies and carefully crafted messages to sway millions with its vision for a new Germany (//Greenfield//). This exhibition presents rare posters, photographs, artifacts, and film documenting the pivotal role of propaganda in the Nazi effort to achieve and consolidate power and drive the world into a war that cost sue 55 million lives, including six million jews in the Holocaust. In the //**WEXNER CENTER**// there are three segments. //**From Memory to Action: Meeting the Challenge of Genocide**// uses innovative technology and compelling eyewitness testimony to introduce visitors to genocide today and ask them to respond to the question, What will you do to meet the challenge of genocide? //**The Nuremberg Trials: What is Justice?**// This segments urges visitors to question, How do you prosecute unprecedented crimes? //**Genocide Emergency – Darfur, Sudan: Who Will Survive Today?**// Consists of a display of photographs and extensive resource materials documenting the 2003-2005 genocide in the Darfur region of Sudan. Lastly, //**Meed Survivors Registry**// consists of touch screen monitors that provide access to the Museum’s database of nearly 200,000 survivors and their families from 49 states and 59 countries.The Museum also has traveling exhibitions and public programs that have extended the reach of the institution's resources to dozens of communities across the United States(//USHMM//).

=<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Yad Vashem = =//<span style="font-family: 'Times New Roman',Times,serif; font-size: 90%;">HISTORY and PURPOSE //= <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Yad Vashem is Israel’s living memorial to the Holocaust and the Holocaust’s Jewish victims. It was established in 1953 and is located on the Mount of Remembrance in Jerusalem. The idea for establishing this museum in the Jewish homeland was thought of during World War II. Yad Vashem houses many memorial sites and museums dedicated to the remembrance of the Jews who were a part of the Holocaust. These include, but are not limited to: the Holocaust History Museum, Children’s Memorial, Hall of Remembrance, The Museum of Holocaust Art, The Hall of Names, and many more sculptures and memorials. Yad Vashem is a 45 acre complex, making it the largest Holocaust museum in the world. It received more than one million visitors each year and is the second largest tourist attraction in Israel. Yad Vashem gets its name from a verse in the book of Isaiah, Yad meaning place and Vashem meaning name, the verse reads “Even unto them will I give in mine house and within my walls a place and a name. I will give them an everlasting name that shall not be cut off.” Yad Vashem continues to expand, adding stories from survivors as well as books and memorials throughout the years of its existence (Halkin, B16).

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">There are four pillars of remembrance to which Yad Vashem is committed: Commemoration, Documentation, Research, and Education. Commemorating the lives of the six million Jews murdered along with the Jewish communities that were destroyed is a goal of Yad Vasham. It is the only museum in the world to recognize and commemorate non-Jews who risked their lives to save Jews lives during the Holocaust, recognizing 22,000 people from 30 countries around the world. Documentation in Yad Vashem is something on which the museum focuses. This museum has the largest collection of art and artifacts in the world including over 10,500 works of art and over 25,000 artifacts found throughout the museum, library, archives and many more exhibits. Yad Vashem recognizes that there is still research to be done as many topics of the Holocaust have been left uncovered. As they unveil new information, Yad Vashem continues to produce publications which are important for future generations. Finally, Education is focused on throughout Yad Vasham within every aspect of the museum. They also have many links on their website through which people can learn more about the Holocaust (About Yad Vashem).

=//<span style="font-family: 'Times New Roman',Times,serif; font-size: 90%;">ARCHITECTURE //= <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Yad Vashem is 180 meters long. It is a linear structure in the form of a spike which cuts through the mountain. The uppermost edge of the structure is a skylight. The museum protrudes from the mountain ridge. The exit comes out of the mountainside where you can see the valley below. Within the building there are galleries of art and memorials dedicated to the remembrance of the Jews who perished during the Holocaust (Caplan). A new Holocaust History Museum was built and opened in March 2005. This museum was four times the size of the old museum and covers more than 4200 square meters most of which was underground (Halkin).

=//<span style="font-family: 'Times New Roman',Times,serif; font-size: 90%;">EXHIBITS //=

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Yad Vashem houses many exhibits including the Holocaust History Museum, the Museum of Holocaust Art, Exhibitions Pavillion, and the Synagogue, but two of the most visited and memorable exhibits are the Hall of Remembrance and the Hall of Names (About Yad Vashem).

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The Hall of Remembrance was completed in 1961. This was the first commemoration site established at Yad Vashem on the Mount of Remembrance. This particular exhibit has a mosaic floor which is engraved with twenty-two of the most infamous Nazi murder sites which, in this exhibit, symbolize all of the extermination camps, killing sites, and concentration camps throughout Europe. This is where the Eternal Flame is housed which is a burning flame that is never extinguished. Its smoke leaves the building through an opening at the highest point of the building. Sitting before the Eternal Flame is a stone crypt which holds the ashes of Holocaust victims brought from extermination camps to Yad Vashem. The Hall of Remembrance is the main site where memorial ceremonies are held (The Hall of Remembrance).

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The Hall of Names is the Jewish People's memorial to every Jew who <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">perished in the Holocaust. Upon entrance, there is a hall <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">where there is a collection of short biographies, known as the Pages of Testimony, for each Holocaust victim. There are more than 2 million pages stored in the circular repository which surrounds the outer edge although there is room for 6 million biographies to be placed here. The cone-shaped ceiling displays 600 photographs and small fragments from the biographies. This is used to represent a small number of the 6 million Jews, men, women, and children, who were killed by the Nazis. The portraits are reflected in water at the base of the ceiling which is carved out of the mountain. At the end of the hall is a glass screen onto which each of the biographies are projected in turn (The Hall of Names).

=//<span style="font-family: 'Times New Roman',Times,serif; font-size: 90%;">EXPERIENCES and RECENT EVENTS //= <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Yad Vashem and the people who work with the museum have been awarded many honors. Yad Vashem received The Award for Concord in September of 2007 which is given to the person or institution whose work has made an outstanding contribution to mutual understanding and peaceful coexistence among men. Workers have won awards for their work on behalf of the worldwide remembrance of the Holocaust worldwide. Yad Vashem was also awarded the Israel Prize in 2003, for lifetime achievement and contribution to society (Caplan).

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Many of the people who have been to Yad Vashem talk about the unique education it has provided for them. The many exhibits and the design of the museum have provided information about the Holocaust that many have never experienced before. Yad Vashem continually prides itself on its ability to educate the public, whether it be in person as a result of touring the museum or online as a result of researching their website and taking a virtual tour (Fein).

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The tour of Yad Vashem has been a part of the itinerary for foreign dignitaries that visit Israel for many years. Recently, Israel’s Foreign Office has spoken of dropping the visit from the itinerary. Many Jews, especially American Jews, feel that this is the wrong decision as this visit sets the tone for the dignitary's entire stay in Israel. Many Jews feel that the importance of remembering the Holocaust especially daily in the Jewish homeland is something that should not be taken out of the tour for many of the important people who visit Israel (Fein).

=<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; text-decoration: none;">Comparison = <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; text-decoration: none;">With these three museums being in three very different parts of the world, they all obviously focus on different aspects of the Holocaust and different ideas. The American museum, USHMM, in Washington DC was done in the perspective of “images of death and destruction as witnessed by American soldiers during the liberation of Nazi concentration camps in 1945” (USHMM website) in the perminant exhibition “The Holocaust”. The Jewish Museum Berlin on the other hand focuses more on the past and present of Germany through Jewish eyes, and tries to “present common facts through a different view” (Jewish Museum Website). This museum focuses on Jewish or German audiences. Then there is Yad Vashem museum. This museum was actually created by Jewish people, and its goal is that it “safeguards the memory of the past and imparts its meaning for future generations” (Vad Vashem website). The different audiences and creators of the museums has an obvious effect on the outcome of the museum. Although the three museums are all about the same topic, they all have a different goal in mind. The museums all do have one structural thing in common: much of their focus is on architecture rather than what is inside. The way that the museums are designed is thoroughly thought out, down to ever angle, color, and the placement of every object. Every part of the architecture means something significant.

=<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; text-decoration: none;">Relationship to In-Class Ideas = <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; text-decoration: none;">In Huyssen's article, “Present Pasts: Media, Politics, Amnesia”, a few of the things that he focused on were modernization, globalization, and musealization. All of these things are evident in these Holocaust museums. Modernization is a big part of the success of these three museums. So much of the powerful and memorable effects of these museums are caused by how they are built, not what is inside. The modern architecture and intricate displays put visitors in another place, far out of their comfort zone, which could not have been done without the modernization of these events. Second of all, the globalization of the museums help spread their message. The websites are available in many different languages to make them accessible to people all over the world. Also, between the three museums, the view points of Germans, Jews, and Americans (or any outsiders of the war) are covered, giving different groups of people the ability to learn from any aspect of the war. Lastly, musealization is an important aspect. There are many authentic documents and objects used in the museums, and put on display for visitors. Even the names of victims are on display for added effect, to make everything seem more real to the people who view the museum. Putting all of this on display contributes to the musealization of the whole thing. All together, the aspects of memory culture in Huyssen's article are very obviously on display these three museums.

= References = <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">//About Yad Vashem//. Yad Vashem, 2011. Web. 27 Nov. 2011. <http://www1.yadvashem.org/yv/en/about/index.asp>.

<span style="color: #000000; font-family: 'Times New Roman','serif'; font-size: 16px;">include component="page" wikiName="iah231b" page="HTML_p_hang" Bartlick, Silke. "Berlin's Jewish Museum Exceeded Expectations | Art & Architecture | Deutsche Welle | 24.10.2011." //Home | Deutsche Welle//. 24 Oct. 2011. Web. 2 Nov. 2011. <http://www.dw-world.de/dw/article/0,,15482906,00.html>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Caplan, Richelle B. "Teaching History." //Teaching History// 104 Sept. (2001): 24-27. //ProQuest//. Web. 27 Nov. 2011.

<span style="font-family: 'Times New Roman','serif'; font-size: 16px;">"Explore Berlin Travel." //Places To See//. Web. 20 Nov. 2011. <http://places-to-see.net/Berlin/>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">//Facing History and Ourselves - Professional Development - Seminars//. Web. 14 Nov. 2011. <http://www2.facinghistory.org/Campus/Memorials.nsf/0/E9EDFC0510E8382285256ECF006FB5F0>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Fein, Leonard. "Is Yad Vashem Optional?" //Baltimore// //Jewish Times// 3 Feb. 1995: 10. //ProQuest//. Web. 27 Nov. 2011.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Greenfield, Lisa. "The United States Holocaust Memorial Museum : FullBleed."//FullBleed - A Web Magazine Published by Art Directors Club of Metropolitan Washington//. Web. 12 Nov. 2011. <http://fullbleed.adcmw.org/articles/the-united-states-holocaust-memorial-museum/>. <span style="font-family: 'Times New Roman',Times,serif;"> <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Giovanni, Joseph. "The Architecture Of Death : To Design The U.s. Holocaust Museum, James Freed Had To Challenge The Values That Had Guided His Work--and Confront Old Horrors. - Los Angeles Times." //Featured Articles From The Los Angeles Times//. 18 Apr. 1993. Web. 20 Nov. 2011. <http://articles.latimes.com/1993-04-18/magazine/tm-24163_1_holocaust-museum>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Halkin, Hillel. "Memory and redemption coexist as Yad Vashem expands." //The Chronicle of Higher Education// 47.66 Oct. (2000): B16-17. //ProQuest//. Web. 27 Nov. 2011.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">//The Hall of Names//. Yad Vashem, 2011. Web. 27 Nov. 2011. <http://www1.yadvashem.org/yv/en/museum/hall_of_names.asp>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">//The Hall of Remembrance//. Yad Vashem, 2011. Web. 27 Nov. 2011. <http://www1.yadvashem.org/yv/en/remembrance/hall_of_remembrance.asp>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">"Traveling Exhibitions." //United States Holocaust Memorial Museum//. Web. 25 Nov. 2011. <http://www.ushmm.org/museum/exhibit/traveling/details/index.php?type=past>

<span style="color: #000000; font-family: 'Times New Roman','serif'; font-size: 16px;">"Jewish Museum Berlin." //Jüdisches Museum Berlin//. Stiftung Jüdisches Museum Berlin. Web. 2 Nov. 2011. <http://www.jmberlin.de/main/EN/homepage-EN.php>. <span style="color: #000000; font-family: 'Times New Roman','serif'; font-size: 16px;">include component="page" wikiName="iah231b" page="HTML_p_hang" <span style="font-family: 'Times New Roman','serif'; font-size: 16px;">Libeskind, Daniel, Connie Wolf, Mitchell Schwarzer, and James Edward. Young. //Daniel Libeskind and the Contemporary Jewish Museum: New Jewish Architecture from Berlin to San Francisco//. San Francisco: Contemporary Jewish Museum, 2008. Print.

<span style="color: #000000; font-family: 'Times New Roman','serif'; font-size: 16px;">Mueller, Tom. "Jewish Museum Berlin | Arts & Culture | Smithsonian Magazine." //History, Travel, Arts, Science, People, Places | Smithsonian Magazine//. 1 June 2006. Web. 15 Nov. 2011. <http://www.smithsonianmag.com/arts-culture/museumberlin.html>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">"Museum | Art and Architecture." //United States Holocaust Memorial Museum//. Web. 21 Nov. 2011. <http://www.ushmm.org/museum/a_and_a/>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">"Museum | Exhibitions." //United States Holocaust Memorial Museum//. Web. 21 Nov. 2011. <http://www.ushmm.org/museum/exhibit/exhibit/>.

<span style="font-family: 'Times New Roman','serif'; font-size: 16px;">Sachs, Angeli, Edward Van. Voolen, and Samuel Gruber. //Jewish Identity in Contemporary Architecture//. München: Prestel, 2004. Print.

<span style="font-family: 'Times New Roman','serif'; font-size: 16px;">"The Uncanny Jewish Museum Berlin." //Secondary Witness//. Web. 20 Nov. 2011. <http://secondarywitness.blogspot.com/2010/03/uncanny-jewish-museum-berlin.html>.

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">//Yad Vashem//. The American-Israeli Cooperative Enterprise, 2011. Web. 27 Nov. 2011. <http://www.jewishvirtuallibrary.org/jsource/Holocaust/Vashem.html>.