Theory of Artistic Practice

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Kasım 01, 2012

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Biosociative Diagram (Holocaust Memorial)

Biosociative Diagram SUBJECT: Engaged Memoria with Transmediation: Holocaust Memorial and Information Centre in Berlin My subject changed a little bit. Now i'm seeing it as a whole Memoria Project and i will focus on both monument and the information centre and their integrated experimentation. FOREGROUND = MONUMENT (art- architecture) "The primary condition of the work is not what you see but what you feel . And primary experience is not red nose as in the painting but tactile . We were trying to deny which is the strongest way of perception of architecture, the metaphysics of the presents, the iconography, meaning symbolism etc. etc... There is nothing symbolic in the material, in the ground. It's just as it is. We...

--> Brian Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape (University Of Chicago Press, 1998) Stanford Kwinter, "The Eisenman Wave," in Eisenman Architects Selected and Current Works . (Mulgrave, Australia: Images Publishing Group, 1995) p.13. Charles Maier, The Unmasterable Past: History, Holocaust and German National Identity (Cambridge: Harvard University Press, 1988) --> Christine Boyer, The City of Collective Memory (Cambridge: MIT Press, 1994) --> --> Claire Colomb, Staging the New Berlin : Place Marketing and the Politics of Urban Reinvention Post-1989 (Routledge, 2011) --> Steen Eiler Rasmussen, Experiencing Architecture (Cambridge, 1962)

--> Subject: Analysis on Holocaust Memorial in Berlin ABSTRACT The purpose of this article is to examine the conceptual and formal function of Peter Eisenman’s work, Holocaust Memorial in Berlin. I will discuss his works's social effects and architectural style he choosed. memory In this paper I want to mention about Eisenman’s way of using the urban area as the translatation of memories. The chaotic Keywords: Architecture, Deconstructivism, Urban Area, Memory, Chaos

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