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Berlin Einheits Denkmal
Berlin Einheits Denkmal
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Berlin Einheits Denkmal
In search for a monument commemorating
the 20th anniversary of the crumbling of the Berlin Wall and the
German reunification the German parliament launched an international
competition. Located at the center of the city the monument was to
educate and commemorate at the same time. This entry was recommended
for continuation albeit the competition got cancelled for political
reasons.
Berlin Einheits Denkmal differs from
traditional monuments as it avoids metaphorical statements. It also
critiques a younger phenomenon in monument design that seeks
intellectual asylum in formal abstraction and fields. Instead, Berlin
Einheits Denkmal aims to integrate its historical (and monumental)
environment by registering vectors transcending imaginary historical
strata in a highly dense urban setting. These vectors form a vortex
of lines, a dynamic node in space and point to reveal historical
connections. The monument is intended to be used and explored by
literally walking through it. The monument invites the public to
stroll amidst its glass branches and climb its stairs to gain
particular look-outs. By this literal appropriation the structure the
public becomes a part of the monument and contributes to an idea of
production of culture and history. A similar effect has been
described in the introverted balcony of the Altes Museum by Schinkel
within sight of the projected monument. Berlin Einheits Denkmal aims
to integrate and update this idea, expanding the production of public
space through the monument from a bourgeois to a democratic audience.
the 20th anniversary of the crumbling of the Berlin Wall and the
German reunification the German parliament launched an international
competition. Located at the center of the city the monument was to
educate and commemorate at the same time. This entry was recommended
for continuation albeit the competition got cancelled for political
reasons.
Berlin Einheits Denkmal differs from
traditional monuments as it avoids metaphorical statements. It also
critiques a younger phenomenon in monument design that seeks
intellectual asylum in formal abstraction and fields. Instead, Berlin
Einheits Denkmal aims to integrate its historical (and monumental)
environment by registering vectors transcending imaginary historical
strata in a highly dense urban setting. These vectors form a vortex
of lines, a dynamic node in space and point to reveal historical
connections. The monument is intended to be used and explored by
literally walking through it. The monument invites the public to
stroll amidst its glass branches and climb its stairs to gain
particular look-outs. By this literal appropriation the structure the
public becomes a part of the monument and contributes to an idea of
production of culture and history. A similar effect has been
described in the introverted balcony of the Altes Museum by Schinkel
within sight of the projected monument. Berlin Einheits Denkmal aims
to integrate and update this idea, expanding the production of public
space through the monument from a bourgeois to a democratic audience.
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