Temples of Trauma: Reconciling and Rationalising Trauma Through The Memorial Interiors of Berlin
Noah James Sunderland
Bachelor of Interior Architecture Final Year Dissertation
THE UNIVERSITY OF NEW SOUTH WALES Built Environment
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Abstract:
This dissertation serves to interrogate the dialogue between person and place in an attempt to enlighten our understanding of the way in which trauma effects the interior architecture of a city, with Berlin as a case study. This dialogue between person and place can be identified in memorial architecture throughout the city and is imbued with the potential to rationalize and reconcile with the events of the Twentieth Century that have shaped the city physically and psychologically. The capacity of memorials to facilitate this places them in a unique position, capable of creating transformative experiences that realign the individual and collective consciousness of a city via censorial techniques. This notion will be explored through the lens of critical theory and philosophy pertaining to the process of memory and identity, and the way in which history and more specifically historical trauma effects ones experience of place. A connection that has been fractured for Berliners throughout the Twentieth Century and continues to be fragmented in the Twenty First.
Acknowledgments: I would like to acknowledge Laurence Kimmel for her ongoing assistance and support throughout .
Illustrations: fig. 1. Waterman J 1961, The Brandenburg Gate in The Cold War, NPR, accessed 15th October 2019 from < https://www. npr.org/templates/story/story.php?storyId=120243522 > fig. 2 Kunstverlag D 1936, Die Neue Wache als Ehrendenkmal fĂźr die Gefallenen des Weltkrieges, accessed 22nd October 2019 from < http://laits.utexas.edu/berlin/pdf/scholarship/Pickford.pdf> fig. 3 Titzenthaler W 1931, LAB II 3968, accessed 2nd November 2019 from < https://www.protokoll-inland.de/ Webs/PI/EN/state-symbols/new-guardhouse/new-guardhouse-node.html> fig. 4 Sassenroth P & Reitermann R 1998, Axial Plan of the Chapel of Reconcilliation, accessed 2nd November 2019 from < https://www-tandfonline-com.wwwproxy1.library. unsw.edu.au/doi/pdf/10.1080/13602365.2010.507528?needAccess=true> fig. 5 LINEAIRE 2019, Chapel of Reconcilliation Facade, accessed 2nd November 2019 from < https://www.instagram. com/lineaire.official/> fig. 6 Hoelscher. S 2007, The Neue Wache Interior, accessed 4th November 2019 from <https://www.researchgate.net/figure/Interior-of-the-Neue-Wache-Berlin-Photograph-C-by-Steven-Hoelscher_fig5_229634515>
Table of Contents: 1, Introduction 3, Chapter 01: A Divided City 8, Chapter 02: Transcending Space 14, Chapter 03: Reconciling Space 19, Conclusion 21, Bibliography
fig. 6
Berlin stands as a testament to the trauma it has endured throughout the Twentieth Century and into the Twenty First, its suffering as a city is evident it itsâ&#x20AC;&#x2122; architecture, most notably in the memorial typology, which act as parallel gestures, representative of the psyche that crafted them. The capacity of these interior spaces to facilitate a dialogue between person and place is palpable and is achieved through the use of architectonics which act upon the experiences of the occupant, creating a phenomenological journey. The effect of this alchemy often is to grant a means of reconciling and rationalising the memory of trauma for Berliners by traversing the threshold between the conscious and the unconscious. It is the intent of this dissertation too interrogate that relationship and evoke an understanding of the potential of interior environment as a device capable of curating memory and identity. This will be achieved through the the analysis of context that contributes to the creation of these species as well as the architectonic devices that are employed any their architects with particular reference to two Berlin case studies, the Neue Wache (1818) and the Chapel of Reconciliation (1999). In doing so, The Jewish-German theorist and philosopher, Walter Benjamin will be referenced heavily in particular to regard to his theory surrounding the archaeology of time and memory which are integral to the process of reconciling trauma, and the consequential experience of memorial interiors, this will be supported by additional critical theory which aims to imbue an enhanced understanding of how the processes of memory and trauma effects individuals experiences of architecture and vice versa in the localised context of Berlin (Ladd 2008).
Berlin assumes the unique position within the Twentieth Century of being at the centre of global politics across a number of decades as a result of a number of contextual events, most notably World War One and Two, The Cold War and subsequent unification. As a result, the city has undergone a number of critical shifts in identity which have come to shape the psyche of the city and consequently the architectural landscape, notably in its memorial interiors. This parallel between the psychology and the physical has acted to perpetuate shifting narratives that coincide with dominant ideologies of their times and is evidenced in the memorial architecture of the city, which act as prisms of agenda driven collective memory. This notion is perpetuated by George Mosse, another Jewish-German theorist whom aligns the idea of memorials being symbols of constructed memory rather than spaces intent on creating consciousness (Mosse 1990, p.7). This idea is evidenced most notably in the Neue Wache which throughout the century has undergone a number of rededication's and renovations in order to align with the narratives of Governments in power, particular in its alignment with nationalistic politics throughout the first fifty years of the century ( Moss . This demonstrates the significance of the the correlation between symbolism and the memorial typology, and the potential of the interior to be hold political significance, this manipulation of the interior as a didactic tool can be seen throughout Berlinsâ&#x20AC;&#x2122; architectural landscape, acting as a record of the shifting political momentums over time and their 1.
associated mythologies (Forner 2002, p.514). Both case studies are representative of their associated ideologies and attitudes, acting as microcosms of the shifting attitudes in the German political landscape across the Twentieth Century and into the Twenty First, as well as becoming reflective of international expectations throughout the occupation of Berlin and into the current context of a global society.
The sedimentation of time and memory is evidenced in each memorial interior through differing mechanisms, they do not depict a linear narrative, rather presenting an assemblage that tells of the context and collective memory through the layering of materiality and form. The ability of each of these interiors to convey this assemblage is part of their success, yet they achieve though differing techniques and thus differing experiences transpire, while still existing as what Pierre Nora refers to as “artifices of transformation and renewal” (1989, p.25). The ability of memorial interiors to impart phenomenological experiences through the manipulation of material, form, threshold and many other techniques is key to their transformative capacity and is evidenced in both of case studies contained within this dissertation. The manipulation architectonics in both case studies act to formulate these experiences, contributing inherently to the experience of the inhabitant despite the radical differences in appearances of both spaces, and it is the sensory exchange between person and place that dictates the significance of experience. The centrality of this experience for the Chapel of Reconciliation and the Neue Wache will be explored further in order to gain an understanding of how they facilitate the potential to journey from the unconscious to consciousness and in doing so traverse a threshold that perpetuates a renewed collective consciousness, a notion that is salient throughout Benjamins critical theory with particular regard to his ‘flaneur’ (Benjamin 1986). It will be argued that it is this transformation which facilitates the reconciliation and rationalisation of trauma, both collective and individual, and the salience of the memorial typology as a conduit for Berliners in overcoming the events of the Twentieth Century and the ongoing effects of these events detailed throughout chapter one of this dissertation.
2.
Chapter 01: A Divided City.
The physical and psychological division of Berlin is evoked in city’s interior architecture, these environments stand to represent the evolving nature of trauma in Berlin throughout the Twentieth Century and into the Twenty First. Consequently they create a dialogue between person and place, which through experience and effect is capable of rationalising and reconciling collective and personal trauma. This dialogue is centred around Berlins’ memorial typology acts as the medium between memory and architecture, informing consciousness through phenomenological experiences (Ladd 2008). This chapter intends to interrogate the dialogue between person and place by exploring the historical context that has birthed Berlins memorial architecture with direct reference to relevant critical theory, notably that of JewishGerman philosopher Walter Benjamin. In doing so, Berlin must be understood as a vessel that has endured extended and localised trauma throughout the Twentieth and Twenty First Centuries, which in turn has resulted in eras of a distinctly despondent city. This trauma has resulted due to the perpetuation of agenda and mythology driven by government interests, which have accelerated a division in both identity and landscape (Mosse 1990). This identity has long been yoked to the national identity of Germany, enduring a paralleled shifting sense of self due to wavering political stability according to Brian Ladd (2008, p.11) and consequently has been cemented into the cities memorial architecture as a physical record of German trauma. These sites, notably the Neue Wache and The Chapel of Reconciliation are emblematic evidence of shifting attitudes of Berliners towards memory and evidence of the potential of architecture to bridge the threshold between the conscious and the unconscious.
Chronologically, Berlin underwent a paradigm shift following the downfall of the Hohenzollern monarchy alongside a defeat in World War One, which resulted in a distinct cultural schism and leaving a beguiled nation which no longer held its affinity with the proud Prussian tradition of the 1900’s. Compounding this fact, the demise of German monarchy had created a power vacuum which would promote the rise in political extremism manifesting the Communist Uprising in 1919 and the later Kapp Putsch in 1920 which evidenced the German struggle for national identity with Berlin as a microcosm of this struggle. The rise in influence of political extremes demonstrated a clear division in national identity and in part resulted early stages of a nationalistic mythology that would be cultivated in years to come according to Bromhead, Eichengreen and O’Rourke (2012) becoming emblematic of a renewed national identity. The turmoil of Germany following the huge human loss of WW1 and political instability was not beyond recent memory and the resulting the instability provided a proving ground for a nation seeking out a new identity, yet burdened by divisive economic and social trauma. Notably, Berlins’ search for identity was accelerated by the effect of becoming an established modern 3.
metropolitan city, which for a time saw it flourish throughout the Weimar years (1919-1933) despite being continually burdened by the aforementioned rise in nationalism, symptomatic of a city with a divided identity (Bromhead, Eichengreen and O’Rourke 2012, p.12). This swirling political rift across the first quarter of The Twentieth Century had in turn created a city that was significantly burdened by the trauma of its past and grappling with a collective memory that had arisen as a result of the losses experienced in World War One, which would be commemorated in the rededication and reconstruction of the Neue Wache by Heinrich Tessenow in 1924. This action symbolised a microcosm of the the Hohenzollern monarchy according to Brian Ladd (2008)
shift away from the
who also recognises the shift in
political centre of Berlin in 1918 from the Berliner Schloss, Berlins Royal Palace to The Reichstag as a key shift in national identity evident in the landscape of the city and its associated symbols (Ladd 2008, p.88).
The Weimar Republic as a result would come to be a nostalgic memory and symbol of optimism, through its affinity with creative culture and social growth in light of the underlying instability of political extremism that swirled beneath the surface including the growing support of The National Socialist Party. The optimism of this time embodies the shift in national identity that arose through shared experience and memory can best be summarised by JewishGerman theorist and philosopher Walter Benjamin (1892-1940) who states “Memory is not an instrument for surveying the past but its theatre. It is the medium of past experience” (Benjamin 1986). This passage reveals Benjamins’ recognition of the past as a vehicle of reconciliation rather than recreation and the inherent ability of place to enhance experiences of memories in facilitating a shift towards consciousness. It is at the intersection between place and memory that memorial architecture exists and provides a means of conveying certain narratives that detail a representation of the memory assigned to them by their inhabitants but unfortunately often act as symbols of government agenda in fostering a journey towards what Benjamin dubs ‘truths’. Benjamin laments in ‘The Storyteller’ (1936, p.83) upon the discord between truthful experiences and manufactured mythology “It teaches us that the art of storytelling is coming to an end…It is as if something that seemed inalienable to us, the securest among our possessions, were taken from us: the ability to exchange experiences.”. This passage demonstrates the way in which memorial interiors exist as assemblies of curated memory either of their designers or of the political agenda of their time and how the sanctity of individual and shared experience is being undermined by this fact. Perhaps this concept of the manipulation of memory to rationalise a select agenda is not more relevant than in the eventual pervasiveness of nationalism and support of The National Socialist Party, which made use of alternative historical mythology to curate collective memory, standing as another schism in the German identity. The National Socialists’ Aryan-Germanic mythology was perpetuated by their 4.
leader Adolf Hitler (1889-1945) and was embellished with a distillation of Greek and Roman mythos to support this alternate narrative particularly through the use of architecture which aligned with this narrative through its use of symbols and association. The National Socialists’ regard for the built form to act as a vehicle in perpetuating the myth of The Third Reich that was cirtical to their success and their ability to formulate a new national identity which post rationalised German history through the appropriation of ancient mythology, and is evidenced in the architecture of Albert Speer (1905-1981). Nazi associated architecture became reflective of ‘the great civilisations’ (Ladd 2008), a neo-classism of sorts which were analogous with the Reich of antiquity (Ladd 2008). This is illustrated precedent study of the Neue Wache which had existed prior to its rededication as a Prussian guard house was redeemed as a site for national mourning of the losses of WW1 and the prevalence of nationalistic symbols within the memorial alongside neo-classic façade assumed an identity as a site for Nazi ceremony (Ladd 2008, p.79). This shift identity meant no longer was the metropolis a symbol of mourning but rather one of morale for Berliners and Germans as a whole, and a paralleled shift in national identity was transpiring across both the physical and psyche of Berlin. This is coupled with the neglect of the cultural rise of the Weimar Republic as well as the systemeatic oppression of minority and pariah groups in order to perpetuate a Germanic centred narrative and demonstrates a shift away from a collective consciousness and rather towards unconscious mythology (Bromhead, Eichengreen and O’Rourke 2012). This revisionist history
results in the destruction of experience which is underpinned by
experiences, rather celebrating narratives to demolish symbols of cultural significance and toward idol ‘truths’. This notion is be affirmed by Ladd who illuminates the significance of creating a mythology through geastures such as the intent a new capital entirely devoid of the culture of the Germany of yesteryear, renaming the city ‘Germania’, a symbol onto itself of the prowess of the National Socialists complete with an architectural landscape that pushes the Nazi narrative (Ladd 2008, p.135). The narrative transcends the psychological and transpires as a physical representation of an identity of stringent nationalism and alignment with the Germanic mythos through architecture which can be seen perhaps most notably in the construction of civil centres such as Berlins’ New Reich Chancellery (Carl Friedrich Richter 1939) which adopt neoclassical symbols along with Nazi affiliated emblems. This ideology imparted onto the Neue Wache creates a spatial experience that is inherently linked with a government agenda, in the form of a quasi-religious space, elevating this agenda to a spiritual belief (Till 1993, p. 252). The result of this interior summons nationalism through its associated symbols
rather than
empathises and reconciling the traumas of the city and the nation (Pickford 2005, p. 135) in the form it existed in prior to WW2. 5.
The dialogue surrounding the curation of a national identity through a distilled memory of place was no more relevant than post World War Two and resulting due to the the Allied Occupation and the acceleration of The Cold War, Berlin was now becoming its most divided form. The city following its fall to the Allied Forces in the dubbed ‘zero hour’ had immediately become a series of blockades, the allied forces establishing Berlin as a microcosm of the division that divided Germany as a whole. The Berlin of pre-war was barely recognisable and the scarred landscape became a memorial onto itself of the German defeat, yet this division would only become more distinct with the acceleration of The Cold War. The resulting separation of Berlin between East and West, creating a scar ran through the centre of its landscape that became increasingly intent on maintaining clear division in both ideology and the physical landscape (Till 1993). Both the East and the West worked quickly to formulate their own identity behind the iron curtain, the Easts Stalinallee became a symbol of Soviet ideals, its architecture being distinctly monumental, a rejection of the Modernist ideals that were being explored in the Hansa Quarter in an attempt to articulate its democratic aspirations (Ladd 2008 188). The physical division of East and West following the construction of the Berlin Wall in 1961 was emblematic of the psychological division and a lack of collective identity that Berliners suffered, alongside a detachment from a collective memory. Despite this division both East and West were aligned in their affinity to reject the ideology and attitudes of The Nazi Party and many residents unable to reconcile with the trauma of being connected to the German war effort or ashamed of the associated stigma (Pickford 2005). Consequently, the debate surrounding the collective and individual memory evolved to be centred around “how strategies can reconstitute cultural identity in post-war Germany” as proposed by author Eric Santner (1993). This notion of reformulating a collective identity and memory is integral in understanding the trauma endured by Berliners and the desire for the German society to move forward in alignment with Eastern and Western government agenda. This ideology is evidenced in the architectural landscape of the post-war era which dismisses the architectural narrative of The Nazi party, electing for the most part to not restore any damaged Nazi architecture that resulted from the conflict in the Battle of Berlin (1945), a physical gesture of the rejection of the National Socialist ideology (Ladd 2008, 218). It is in these times that the memorial typology assumes significance and the GDR rededication of the Neue Wache is evidence of this fact. The memorial is intrinsically interwoven with memory and identity, they act as mediators of the unconscious and the conscious and means of overcoming trauma, notably that of the tyranny of war and persecution.
6.
This process of reconciliation and rationalisation is inherently held in the threshold between person and place , notably that of memorial interiors like that of the Neue Wache and later The Chapel of Reconciliation (2000) and the people of Berlin. These interiors possess a didactical ability and host a dialogue with the collective memory, what historian Pierre Nora regards as “the tradition of memory” (Nora 1989, pp. 7-25). The memorial has the ability to reveal a sedimented history of “tyranny, barbarism and suffering” (Gilloch 1996, p.92) an archaeology of memory , which “de-ritualises the world by maintaining artifices of transformation and renewal …one that inherently values the new over the ancient, the young over the old, the future over the past…” according to Nora (1989, pp. 7-25). This notion of an archeological past is supported by Benjamin “For while the relation of the present to the past is a purely temporal, continuous one, the relation of what-has-been to the now is dialectical: is not progression but image, suddenly emergent. – Only dialectical images are genuine images” (Benjamin, 1981 Arcades, 462; n2a, 3) “the historical object, by virtue of its monadological structure, discovers within itself its own [dialectical] pre-history and posthistory”(Benjamin 1981, N 10, 3 in Penksy 2004, p.177 ). This critical regard for the memorial demonstrates the intrinsic link between the memory metropolis and how Berlin stands as a symbol of the potential of memorial interiors to expedite the rationalising and reconciling of trauma through sensory experiences. The following chapter will further explore this notion through the critical analysis of a Berlin President, the Neue Wache and how discourse postulates the effect of these spaces in transcending the physical experience.
Fig.1 7.
Chapter 02: Transcending Space. Illustrations of Berlins division as a city and its scattered past are no more evident than in its architecture. Form can be representative of context, creating cultural artefacts which hold a certain resonance for those who inhabit them. This is especially the case for memorial interiors that integrate experience of memory and place (Ward 2016, pp.83-84).The interior is central to this experience, as it bears the traces of past experiences of the inhabitant, a notion which Benjamin details “This interior unites all times, all parts of the globe, and all phenomena of contemporary society, and their availability in one moment or glance intoxicates the flaneur so that his inner life begins to tick like a clock, signifying a physical internalisation of the world of object” (Benjamin 1986). In the memorial, symbol and mythology envelops the audience, evoking a response either imparted symbolically by their designers or perhaps borne purely of the context in which they exist. This develops on the critical theory outlined in Chapter One, developing the notion that it is German collective identity which influences the sensorial effect of memorials, their sensorial nature justified by Theodor Adorno (1903-1963), a contemporary of Benjamins’, writing that art and architecture are “at once a social fact, fully determined by society, and an autonomous practice, obeying its own technical principles” (Adorno in Heynen 1992, p. 84). This phenomenological effect of memorial interiors is notably demonstrated in two Berlin precedents, The Chapel of Reconciliation (2000 - Peter Sassenroth, Rudolf Reitermann) and the Neue Wache (1818 Schinkel). This chapter seeks to excavate the latter in order to gain an understanding of how the interiority of the site has influenced the rationalising and reconciling the effects of the trauma of Berliners “the capital of memorials” (Webber 2008). The Neue Wache parallels shifting social ideologies and identity of Berlin, the site itself undergoing an array of rededication's
and reconstructions throughout its life. Its first
incarnation completed in 1818 by Karl Friedrich Schninkel (1781-1841) stood a symbol of the Hohenzollern Monarchy and Prussian prowess pre 1900 reflective of Roman military architecture and programatically followed same suit, housing those guards assigned to protect the Hohenzollern King (Ladd 2008, 218). The interior throughout this time existed as a reflection of programatic requirement remaining unadorned and functional. Yet following the downfall of the monarchy as a result of the events of World War One meant The Neue Wache would lose its intended function, and was left unoccupied throughout the years following the war which would be the provocation for debate surrounding its future use (Kattago 1998, p.86). The vacant once recognised symbol of military has been transformed under The Weimar Government in 1924 to a site memorialising the destructive potential of military engagement, dedicating the structure as a commemoration to World War One. Heinrich Tessenow (1876-1950) was employed to curate an interior environment emblematic of the sacrifice made 8.
by Germans for their nation (Kattago 1998, pp.86-104). The austere renovation completed in 1931 resembled a conservative attempt through form, fenestration and materiality to create a sensorial experience that attempts to rationalise and reconcile the collective trauma of the war developing on the potential of architecture to create…”a physical internalisation of the world of object” (Benjamin in Lauster 2007, p.142). Tessenow creates articulates sensorial and transformative potential, most through the use of chiaroscuro light within the space, through the addition of an oculus which would penetrate the ceiling of the structure, creating a consistent beam of light downward toward the central granite alter, creating a quasi-religious image that George Mosse regards as “the myth of the war experience” (1990, p.7). The effect of curating such a “myth” perhaps rationalises the devastation of war by transcending memorials into religious experiences symbolic of martyrdom pushing the agenda of a “civic religion of nationalism” (Mosse 1990 in Forner 2002, p.515) Perhaps the quasi-sanctity of the space allows the Neue Wache to become for a time a site of bereavement of failed nationalistic pursuit rather than the mourning of loss that it would become in the future. This notion is supported by Jay Winter who argued that forms of commemoration, especially in the immediate postwar period, must be understood in the context of universality of bereavement and the subsequent contradictory meanings of being German (Winter 1995, p.93) (Till 1993, p.252). Tessenow also employs materiality that evoke further feelings of mourning in its inhabitants via the use of stone as the dominant material within the interior which is similarly reflective of religious structures as illustrated in figure 1. The effect of using stone in such an enveloping fashion creates a weightiness to the space that intends to confront the its audience, its elemental nature being integrally connected to the human experience, its tone and texture symbolic of time, it is praised by Benjamin “we who have felt heat, filth, and the edges of the stone beneath our naked soles, and have never scrutinised the uneven placement of the paving stones” (Benjamin in McCracken 2002, p.153). Tessenows’ use of stone to choreograph temperature, reverberance and tactility creates an intentionally immersive experience, one that in effect is confronting, pushing inhabitants to rationalise the sacrifices individuals made for a nation, forcing their hand in reconciling a nationalistic memory.
Fig.2
9.
It is perhaps not the intent of Tessenows’ reconstruction of the Neue Wache to become a symbol of nationalism and bereavement although it is that allowed the space to remain relatively unaltered by the National Socialist Party throughout their rise to power and the duration of The Third Reich. This fact illustrates the fate of memorials often becoming methods of constructing political agenda and predetermined “official memories” that suit the narrative of political parties rather than candids of collective consciousness (Forner 2002, p.547). This notion is reflective of the fore mentioned symbolism and myth as formulated by National Socialists in creating a sense of renewed sense of national identity and supports Benjamins position on symbols as methods of conveying narratives that sell an absolute. “The symbolic presentation of a natural or mythical object was supposed to be a rendering present of the absolute form or Platonic idea in which the individual qobject participated; more than a sign, it would be part of the transcendent absolute and would offer to the perceiver participation in that absolute and an intuitive knowledge of it” (Benjamin in Cowan 1981, p.111) This symbolism of nationalism is contained further through the use of materials notably in the use of oak for the dedication wreath, the subtlety of this symbol does not go unnoticed in the unadorned space as a means argued by Karen Till in her article ‘Staging the Past’. Till recognises the use of the material as a representation of nature itself serving to act as a living memorial of German nationalism and for act as a symbol of strength in a material considered a “German Tree” and representative of the strength of the nation, evident in the way oak trees had been used to celebrate nationalistic strength in memorials throughout the nation (Till 1993, p.256-258). In addition to the use of oak, Tessenow also manipulated the nationalistic secular symbol of the boulder in his construction of the Christianesque alter that resided below the oculus, entertaining the fore mentioned religious notions that were perpetuated by Hitler in the mythology of The Third Reich as a successor to the Holy Roman Empire. It is through these common symbols the manipulated mythology and rhetoric of The Third Reich that the Neue Wache was able to remain integral to the collective German consciousness throughout the 1930’s that allowed the memorial to remain unchanged (Ladd 2008, p.218). This fact is illustrated no better than in the renaming of the site by the Reich, renamed ‘Ehrenmal’ and this becoming a memorial of honour, “the Neue Wache became a place of honour, rather than strictly of commemoration” and became the site for many Nazi celebrations moving forward (Ecumene 1999, p.6).
10.
As a result of the events of World War Two and the Soviet occupation of the East of Berlin, the Neue Wache was heavily damaged and vandalised, no longer standing as a symbol of nationalistic pride and the war memorial it had previously whilst it existed under the German Democratic Republic (GDR). The site fared better than most other symbols of the Hohenzollern Monarchy which under the Soviets were often destroyed to make way for modernistic buildings that rejected any sense of the German national identity such as the former Royal Palace which was demolished following the war (Till 1993, p.260). From 1951 onwards till its renovation in 1957, the Neue Wache would be repaired under GDR control, this would form the basis for the third reincarnation of the Neue Wache, which featured the rededication “Mahnmal für die Opfer des Faschismus und ” - Memorial for The Victims of Fascism and Militarism, a stark contrast to the nationalistic identity the Neue Wache had come to assume. The interior of the site would remain relatively untouched from Tessenows’ original design yet all symbols associated with German Nationalism including the wreath were removed in an attempt to convey the futility of the mythological nationalistic spirit that was perpetuated by the National Socialists, perhaps most emblematic of this message was the decision to leave the alter in place which was now heavily fire damaged and disfigured, potentially serving stronger purpose than if the alter remained (Till 1993, p.262). The hesitance of the Soviets to destroy the structure like they had done to others in Berlins royal precinct perhaps can be justified as a result of the modernist approach that Karl Friedrich Tessenow employed when creating the first renovation, its reserved form and materiality signifying the simplicity of the soviet notions of design that were being constructed throughout east Berlin irrespective of the Neue Waches’ neo-classicist facade that was held connotations of the Hohenzollern Monarchy of old (Ladd 2008). This clash of ideology and history in places, such as the Neue Wache relates to the notions of collective memory and consciousness that Benjamin so famously regards in Arcades Project “We ... are less on the trail of the psyche than on the track of things. We seek the totemic tree of objects within the thicket of prehistory” (Benjamin 1983, I1;3) creating these shared collective spaces where consciousness and the unconscious, past and present meet, according to Scott McCracken (McCracken 2002, p.150). Irrespectively, the site would only go on to operate in the post war form for another twelve years and following the escalation of The Cold War the the Neue Wache would undergo yet another renovation in 1969 which would be emblematic of the Soviet shift in attitude, and the shifting psyche of collective consciousness to distance themselves from the atrocities committed by relatives and citizens in the strategic genocide of fellow citizens (Ladd 2008). The ideologies that informed the rededication and renovation of 1969 would be evidenced in the new interior environment, which would contain a new centrepiece that took form in the construction of a glass prism that housed an eternal flame symbolic of the commemorative memory of the enduring trauma of tyranny, a binary to the nationalistic symbolism of the pre-World War Two 11.
interior. Alongside the crystalline glass structure that imbued the space with a renewed lightness unlike its predecessor, and the incorporation of two stones placed into the floor entombed the bodies of an Unknown Soldier and an Unknown Resistance Fighter as well as encased earth from concentration camps and battlefields throughout Europe. The symbol of burial beneath stone is comments on the fore mentioned properties of stone, and is supported by Juhani Pallasmaa (1996). Pallasmaa in his rejection of ocular-centric architectural traditions, remarking “all senses are extensions of the tactile sense” giving insight into how an environment so delicately dedicated can still encapsulate the trauma of the victims of the tyranny of Germanys past (1996 p.10). Though it is through this transition away from the quasi-religious and starkness that perhaps reconciliation is possible as as opposed to the rationality of the Tessenow design which, at least under The Reich, tells of a less sympathetic narrative instead placing focus toward the renewal of nationalism. Although these notions are successfully communicated under the GDR renovation it is undermined by the addition of the inscription of The Soviet coat of arms on the far side of the memorial, the effect being the space once again aligns itself with political motive, what Forner describes as “official memories” rather than a innate consciousness of the German people (2002, p.547). In effect The Neue Wache becomes emblematic of a new mythology, which tells a narrative not of the trauma of victims in a secular fashion but rather of a martyrdom of with the buried symbolising as sacrificial victims for the "anti-fascist" state of the GDR, convoluting the narrative further and restricting a collective bereavement without alliance to any larger mechanisms of power (Kattago 1998, p.89). Following the unification of Berlin and the emerging need for a renewed collective identity throughout Berlin, the Neue Wache would become the centre of debate in regards to establishing a secular identity, acknowledging the past and present in order to formulate a collective memory that aimed to reconcile and rationalise the traumas of Germanys past. The outcome of this debate resulted in the forth and final rededication and reconstruction of the Neue Wache in which the interior occurred as a consequence of subtraction of the layers of past lives of the structure, the 1995. Siobhan Kattago argues “It is not simply a renovation, but a reinvention and selective appropriation of previous designs highlighting German victimhood and national honour”, and it is through the conflation of these two binaries that a new German identity can be formed and the reconciling and rationalising of past trauma can occur (1998, p. 91). This is possible through the rededication script which reads “To The Victims of War and Tyranny” alongside the inflation of the Kollwitz’ Pieta sculpture which serves as a representation for a broader symbol of the victims of all previous dedications of the site, blurring the distinction between the victim and perpetrator, which primes the German consciousness in establishing a renewed sense of identity in an interior that has remained relatively stringent in 12.
its decoration rather using materiality and fenestration to create a transformative spatial experience that transcends the threshold of the conscious and unconscious through an implied spiritual significance. The interior experience of the current incarnation of the Neue Wache substitutes the eternal flame, instead for the Kollwitz Pieta sculpture is illuminated under the oculus creating an imbued sanctity that is reflective of the previous incarnations of the site (Ladd 2008, 220). The resulting potential of the transcending nature of interior spaces in creating a sedimented narrative that contributes to the collective consciousness and is explored by Karl Marx, â&#x20AC;&#x153;It will become plain that our task is not to draw a sharp mental line between past and future but to complete the thought of the past. Lastly, it will become plain that mankind will not begin any new work, but will consciously bring about the completion of its old work.â&#x20AC;? (Marx 1843 in McCracken 2002). It is notions referenced in this quote that symbolises the continuum of collective identity and how experience such as trauma and shifting ideologies are cumulative experiences and through the curation of spaces , the selection of material, formal arrangement and fenestration lays a capacity for creating experiences that cross the threshold of consciousness.
Fig.3
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Chapter 03: Reconciling Space The notion of physical and figurative threshold is explores the way in architecture interrogates the duality of experience and of place. The literal sense of threshold between the physical, interior and exterior stands as a simplistic illustration of far greater notions within Berlins architectural vocabulary, notably ideas of consciousness and unconsciousness as well as the spiritual. This sense of threshold is mediated in the second case study of this dissertation - Peter Sassenroth and Rudolf Reitermann’s Chapel of Reconciliation through a number of architectonics techniques including spacial narrative, materiality, acoustics and form. The harmony of these elements working in unison creates a space with the capacity to bridge the threshold of consciousness as well as create an experience that is relevant to the collective consciousness through a sensory experience not unlike Tessenow’s Neue Wache. The salience of these experiences are integral in the process of reconciling and rationalising the trauma of Berlin, and contribute to the layered “tradition of memory” that Pierre Nora references in his work ‘Between Memory and History’ and the architectural techniques used in each case study will be compared and contrasted in order to gain an enhanced understanding of the capacity of interior architecture to have this effect. The of interiority and memory are inherently linked in these two spaces and both precedents stand as testaments to the sedimentary history of Berlin in particular the city as a thats sense of self has been underpinned by numerous alternate narratives of ‘historical truths’ as articulated by governments across the Twentieth Century and into the Twenty First (Mosse 1990). The potential for these narratives to be articulated in architecture is particularly evident is The Chapel of Reconciliation which conveys a ritualised overcoming of trauma through visual and spiritual sequencing notably through its depiction of the sedimentary nature of history (Sharr 2010, p.499).
History typically does not present as a linear narrative, rather as a sedimented assemblage of events and ideologies over time, this premise of non-linear journeys is articulated explicitly in The Chapel of Reconciliation in its conveyance of threshold, both spacial and spiritual. The significance of presenting a non-linear narrative that is supported by Benjamin “This is why memory must not proceed by way of narrative, much less by way of reports, but must, rather in ever new places and, in the old ones, to delve into ever deeper layers”, a sentiment which is supported in The Chapel of Reconciliation (Benjamin in Sharr 2010) . This layered approach is evidenced in the spacial journey of the site makes use of two distinct envelopes of which correlate to the notion of duality previously mentioned, creating a journey between consciousness and the unconscious. This is distinctive shift in visual permeability between the external environment of Berlin and its inherent connotation of trauma, and the journey gentle journey inward towards ‘conscience’, achieved through the use of timber screening which circumscribes the outer envelope of the chapel (Lauster 2007, p.140). The use of screening marks the physical threshold 14.
yet it does not break the exterior environment completely, indicative
the cumulative nature of
experiences that lead to catharsis as supported by Walter Benjamin within ‘Arcades’ - “the veil through which the familiar city beckons to the flaneur as phantasmagoria-now a landscape, now a room.” (Benjamin 1982, p.10). It is this layering of experience that is gestured in the increasingly enveloping thresholds of The Chapel of Reconciliation this journey from inner from outer follows a rhythmic winding pattern rather than the linear journey that is experienced in Tessenows’ Neue Wache, and instead exists as a poetic gesture synonymous with the cumulative process that leads to catharsis, transcending a spiritual threshold. The effectiveness of transformative spacial experiences lays in the ability of the threshold to transcend the physical and perhaps for The Chapel of Reconciliation can be partially credited to the location of the site within Berlin, existing on the threshold between East and West Berlin. This location, the dubbed ‘Death Strip’ withholds inherent connotations of place and ideology that exist in being in the axis of pre-unification tension . The construction of the chapel is a unique depiction of the layers of history that are associated with place, which include the foundations of the predating church which was demolished in 1985 by GDR officials at the amongst East-West tension, the chapel varies from the original footprint year follows the same east-west axis in commemoration of the sites heritage (Sharr 2010, p.503). The straddling of this threshold between abstract notions of past and present are referenced physically through the creation of apertures that exist in the floor plane of the chapel, revealing moments of the archeology of the pre-dating church and are referential of the filtering of the layers of history that are vocalised throughout the interior through a variety of architectural techniques. Architectural historian Dalibor Vesley makes mention of the centrality employing architectural devices that balance dualities of remembering and forgetting, noting “memorials seek meaning by dealing in hiddenness and disclosure, in concealing and revealing” (Vesely 2004, p.50). It is in this duality of concealment and revelation that contrast arises between the two case studies, where the Chapel of Reconciliation creates a meditative experience that one would come to expect with the chapel typology, the Neue Wache rather conceals an experience of place within its neo-classicist shell that speaks of a very linear communication of history. The space does not reveal its transformations, and rather presents a spacial journey through a threshold that is immediately confronting, making use of of this confrontation to create a cathartic experience and is perhaps more aligned with the the fact that the space is secular (Ladd 2008). Each of these spacial experiences evolve as testaments to the transformative capacity of memorials to transcend thresholds, themselves standing as philosophies of sorts, moments that help people gain a greater understanding of human experience and consciousness (McCracken 2002).
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The Chapel of Reconciliation more broadly presents the compression of time beyond threshold, it manipulates materiality to communicate the same narrative of a layered experience. The nature of this speaks directly to the human experience, there is a physical translation of the sedimentation of time within the use of the rammed earth construction that envelopes the occupant as well as the timber veil of the external ambulatory. Rammed earth is not used arbitrarily rather the aggregate used holds symbolic significance to the site, being excavated from the site of the predating church, entombing deposits of the demolished church and creating a visual narrative of the sedimentation of the sites history, stone, glass, ceramics are all contained within the walls and appear as deposits of memory (Sharr 2010, p.509). As a result the materiality creates a sense of reflection, tranquility, even impermanence, the rammed earth is intrinsically young in its geology, it does not hold the same permanence as the granite used by Tessenow in the Neue Wache and has a distinct difference in effect, the rammed earth indicates an impermanence in memory more aligned with the process of reconciling unlike granite. This sense of warmth and impermanence imparted by the earth creates an atmosphere that is synonymous with its site, an endemic nature that is comforting and meditative and therefore creates a space that is uniquely harmonious, a quality that Peter Zumthor articulates as “tempered” (2003, p.35). The articulation of "tempered space" is noted as the sensation of space as “physical but psychological too”, the materiality is synonymous with site and harmonious in balance with other materials and with the occupant, to put a complex idea simply the space feels ‘at peace’ (Zumthor 2003, p.35). The ability of the space to hold such meditative and reflective qualities are in part as a result of this alchemy between material and person, the way in which light falls through the veil of the ambulatory, the temperature exchange between person and place and the sense of sounds imparted into the space (Sharr 2010). The duality between the materiality and threshold of the inner and outer envelopes creates a sense that the space exists almost as an archeological effort, within its interior the layering of time is being excavated, providing a dialogue between the past and present and thus transcending the threshold of consciousness by formulating a meditation on the trauma of Twentieth Century Berlin. The Chapel of Reconciliation uses materials to meditate on the notion of memory for Berliners, and illustrates the potential for growth through this meditation, an idea that is supported by Huyssen “memory in and of objects is always based on a reciprocal interchange between self and object world, affective human perception, and the thing in question.” (Huyssen 2006, p.107).
Fig.4
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The inherent properties of the materials of each site hold an imbued sanctity, they are intrinsically adhered to an emotional response imparted onto them by the designer or are perhaps serendipitous. This extends to the acoustic experience that exist in the Neue Wache and The Chapel of Reconciliation which naturally become collections of person and place, distillations of sound and surface. Acoustics are integral to the phenomenological experience of place, it transcends the ocular centric (Pallasmaa 1996) experience creating one that is carved out of the silence and this is evidenced in The Chapel of Reconciliation which transcends a threshold between an acoustic anonymity that exists in the city and a journey towards a consciousness that exists within the silence of the interior. The silence experienced in these spaces promotes an inwardness and awareness by “silencing all external noise, it focuses our attention on our very existence, and as with all art, makes us aware of our fundamental solitude.” (Pallasmaa 1996, p. 52) and the ability of these spaces to achieve this is what makes these spaces transformative, and capable of adjusting collective consciousness. Both the Neue Wache and The Chapel of Reconciliation create acoustic journeys that follow a similar sequencing, Adam Sharr remarks of the ambulatory of The Chapel of Reconciliation “…because it is open to the air and the noise of traffic on Bernauer Strasse, it is no easy place to linger” (Sharr 2010, p.505), this fact promotes the occupant to journey toward the interior not unlike the Neue Wache which also surrounded by noise, located on Unter den Linden. The acoustic experience of these spaces also is inherently effected by the material properties that are made use of by each respective designer, the Neue Wache is imbued with a hardness of materiality that holds a resounding heaviness and in turn effects the acoustic experience dramatically, the imparting a weighted silence upon the interior creating a confronting nature experience. The weight of the interior converges on the occupant, the notion of the weight of silence is explored by Benjamin “We listen for any sounds in these dismal empty spaces; Wandering through the shadows, we listen to the breath. That makes the darkness shudder” (Benjamin 1982, p.226 [17,3J]). The transformative effect of this silence supports the aforementioned words by Pallasmaa and illustrates the ability of the Neue Wache and the Chapel of Reconciliation to confront the trauma of Berlin and create clarity of consciousness through acoustic thresholds as well as the imbued acoustic effect of materiality. The physical and spiritual are communicated poetically throughout both The Chapel of Reconciliation and the Neue Wacht and the use of light is analogous in both case studies in creating an experience that exists beyond the ocular-centric and in turn has an imbued salience capable of creating catharsis. The symbolic effect of lighting in both spaces acts to create notions of emblematic importance, in the case of the Neue Wache presents a salience on a secular narrative through the aforementioned aperture which acts to elevate the the political mythology to a quasi-religious phenomenon. By elevating the significance of the memorial through the use of down lighting the memorial aligns itself with nationalistic mythology, an agenda that is aligned with government rather than religion yet assumes the same degree of salience to the public 17.
consciousness (Mosse 1990, p.7). The starkness of light within the space is referential of the notion of concealing and revealing noted by Vesely (2004), the aperture carves light out of the darkness, symbolic symbol of the consciousness and catharsis that memorial interiors have the potential to imbue upon their occupant. This idea perpetuates the Benjamins’ belief that the success of places of memory lays in “making them ambivalent enough to allow for projections of memory” (Benjamin in Sharr 2010, p.512) and thus capable of hosting this sense of overcoming of trauma through cumulative creating collective consciousness analogous to the much like the ‘flaneurs catharsis’ “losing the moral ties in the 'asylum' of the crowd” (Lauster 2007: 148). This confrontation of consciousness is perhaps detailed more subtly by Sassenroth and Reitermann, instead they portray a layered overcoming, a filtered response to the cumulation of the past and the optimism of the future, they balance this threshold noted by Huyssen “trauma as a psychic phenomenon is located on the threshold between remembering and forgetting” through their employment of architectural devices (Huyssen in Sharr 2010, p.512). This balance is struck in The Chapel of Reconciliation through the manipulation of light, the interior contains two alters, one new and one of the pre-dating church which is illuminated by an opening within the ceiling emblematic of a ‘heavenly’ light which casts upon an assemblage of the heritage reredos, the alter and an oculus to the archeology of the foundations of the demolished church (Sharr 2010, p.508). This symbolic reverence for the layering of history is illustrated in figure ??? below and is evidence of the threshold that exists between the physical and the spiritual in a non-secular tradition, and how that through the reconciliation with the archeology of a layered place (and perhaps for nonsecular Berliners adherence to world-view) can create a conversation of catharsis which develops from a clear understanding of the past and peoples ability position themselves within it in order to create collective consciousness (Sharr 2010, p.511). “He who wishes to approach his own buried past must act like a man who digs [. . .] This is why memory must not proceed by way of narrative, much less by way of reports, but must, rather, assay [test the ingredients and quality of] its spade, epically and rhapsodically in the most rigorous sense, in ever new places and, in the old ones, to delve into ever deeper layers.” Benjamin W A Berlin Chronicle’, pp.486–87.
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In conclusion, the memorial holds inherent significance to the city of Berlin as a symbol of the potential of the process of reconciling and rationalising via the conduit of architecture. The memorial for Berlin provides a means of traversing the threshold of consciousness via sensorial experiences that are facilitated in both the Neue Wacht as well as the Chapel of Reconciliation. This is achieved through the manipulation of architectonics and the assemblage of time and memory as devices for fostering transformation and have done so in alignment with their context, resulting in the sites becoming reflections of societal attitudes. This dialogue between time and place exists as a means understanding national identity and aspirations which are evident in both sites as well as as for the interior a means of connecting with the individuals understanding of time and place through the visual layering and symbolism of these two elements. It has been argued that both case studies employ differing techniques to achieve this, Peter Sassenroth and Rudolf Reitermanns’ the Chapel of Reconciliation does so through the extensive layering of memory, a gesture which Adam Sharr labels “sedimentation of memory” (2010, p.501). This effect of creating a layered history is repeated in Heinrich Tessenow’s Neue Wache, yet is achieved through drastically different techniques which apply an approach that is notably more linear. The parallels between the of experiences of the individual and the cities interiors are clear, each sites serves as a record of these experiences should they be in response to contextual trauma, political instability or the likes. The communication between the occupant and the memorial imbues these interiors with their salience and upholds their sanctity to the city of Berlin in overcoming their collective trauma, and it is through this exchange that the promise of the future is held, whether that be the ambition of the individual or unfortunately the government as noted by Mosse (1990). These notions have been supported throughout this dissertation although it must be made mention of the inherent bias that some of the discourse poses, including Walter Benjamin and George Mosse whom have directly been effected by the persecution of minorities by the German government throughout the Twentieth Century being of Jewish decent. As a result these theorists are undoubtedly critical of the danger of German nationalism and uphold the common unwillingness of any theorist to align themselves with nationalistic German agenda of the postWeimar years, this resulting bias has been taken into consideration when researching for this dissertation although any personal bias is reflective of the discourse community as well as personal context. This bias extends to the depiction of trauma as a societal phenomenon of which attitudes have drastically developed throughout the Twentieth Century and into the Twenty First, this is evidenced most notably in the writings of Andreas Huyssen, whom maintains a contemporary understanding of the phenomenon that is evident throughout his text, Past Presents (2003), which demonstrates the transition of trauma in memorial interiors from being associated with “remembering and ‘forgetting” towards conveying a layered history that fairly presents the intention of the space. This association has shifted in recent times towards a publicly secular approach for public memorial interiors, although both even the secular Neue Wache makes 19.
poignant use of religious symbolism, whilst the Chapel of Reconciliation maintains its Christian connotations although significantly devalued in comparison to the sites former use, a symbol of the secularisation of contemporary times (Sharr 2010, p.512-515). Similarly, the unique vantage point of the Twenty First Century permits a renewed outlook on the concept of time and place through the increased accessibility of historical information to a global audience alongside the unification of Berlin has allowed Berlin to be heavily effected by globalisation (Ladd 2008, pp. 218-220) causing these memorial sites to become accessible to a wider audience, and contribute to a larger notion of consciousness rather than remaining as reflections of the agenda of their context. As referenced in chapter 01 of this dissertation Berlin provides a unique localised case study of the effect of the effect of trauma upon a city, and the consequential shaping the psychological and physical nature of place. Through this, and as a result of this trauma, the architectural landscape of Berlin has been altered to create an assemblage of rationalisation and reconciliation most evident in its memorial interiors including t Peter Sassenroth and Rudolf Reitermannsâ&#x20AC;&#x2122; Chapel of Reconciliation and Tessenow/Schinkel, which demonstrate the capacity that interior architecture has in perpetuating human consciousness and potential for overcoming. The sedimentation of memory is imparted within these spaces by their very nature and through the manipulation of architectonic devices they serve to cross the threshold of human copiousness via sensorial journeys. In doing so they drastically effect the capacity of the city for reconciling the past and confront a hopeful image of the future. These sights are not a-politcal, nor are they secular yet they are effective beyond mythology through their ability to create assemblies of memory via sensory journeys through space and through a phenomenological dialogue with their audiences. In doing so, these two case studies among many others are imbued with the potential of creating transformative experiences when paired with the experiences of the individuals occupying them.
â&#x20AC;Š
Fig.5
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