犹太人的历史没有改变——但我们对它的看法已经改变。
——犹太博物馆馆长 Hetty Berg
自 2020 年 8 月下旬以来,柏林犹太博物馆的新常设展览体现了对迷人的德国犹太历史的当代视角。
它通过一种场景来传达,在虚拟和光环之间的张力中创造了一种新的调解力量,以及令人心酸的空间装置。
chezweitz 仍然忠实于它的场景笔迹:场景作为一种艺术手段!她认真对待这座建筑的形象——这种建筑在德国犹太历史的划时代进程中被撕裂的感觉。外部意识的不和谐被转移到时代和主题房间中,尽管它们存在差异,但在形态上是相关的。每个房间在布景方面也是独一无二的,最重要的是,这将整个博物馆的体验提升到一个更高的水平。犹太博物馆成为一个让物理、直觉、大气和多感官的魅力变得重要的地方。
Jewish history hasn't changed - but our perception of it has.
- Hetty Berg, director of the Jewish Museum
Since late August 2020, the new permanent exhibition at the Jewish Museum in Berlin embodies a contemporary perspective on the fascinating Jewish history of Germany. It is conveyed through a scene that creates a new force of mediation in the tension between the virtual and the aura, and a poignant spatial installation.
chezweitz remains faithful to its scene handwriting: scene as a means of art! She took the image of the building seriously – the feeling of the building being torn apart in the epoch-making process of German Jewish history. The dissonance of the external consciousness is transferred to the era and the thematic room, which, despite their differences, are morphologically related. Each room is also unique in terms of setting, and most importantly, this elevates the entire museum experience to a higher level. The Jewish Museum became a place where physical, intuitive, atmospheric and multisensory fascination mattered.
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项目信息
项目名称:柏林犹太博物馆
场景、展览设计、展览
建筑ARGE chezweitz GmbH
Hella Rolfes Architects BDA:Dr. Sonja Beeck、Detlef Weitz、Hella
Rolfes Team chezweitz
Jüdisches Museum Berlin
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新的常设展览的支柱是由有针对性的空间策略形成的,这也是我们艺术布景的工具。Libeskind 建筑以其强大的建筑元素令人印象深刻,包括所谓的空桥和立面上的疤痕状窗户切口。暴露在外,没有创造性的覆盖,它们现在代表了它们的本质:表达痛苦和空虚的象征性断裂。这些“伤痕”绝不是被化妆覆盖,而是作为一个由内而外的结构融入到场景中。
建筑的金属元素及其多样的表面也被巧妙地使用,成为设计的支撑材料:金属成为一个振动的声音通道,移动、波浪、垂直和闪烁不同的音色。它可以成为展示身体的精美彩色背景,或者在难以想象的领域 - 大屠杀 - 支持非物质性,奇怪,模糊 - 没有被反映的震惊!
The pillars of the new permanent exhibition are formed by a targeted spatial strategy, which is also the tool of our artistic scenography. The Libeskind building impresses with its strong architectural elements, including so-called empty bridges and scar-like window cutouts in the facade. Exposed, without creative covering, they now represent what they are: a symbolic rupture that expresses pain and emptiness. These "scars" are by no means covered by makeup, but integrated into the scene as an inside-out structure.
The metallic elements of the building and its diverse surfaces are also subtly used as a support material for the design: the metal becomes a vibrating sound channel, moving, waving, vertical and shimmering in different timbres. It can be a beautifully colored backdrop to showcase the body, or in unimaginable territory - the Holocaust - to support the immateriality, the strange, the blurry - the shock of not being reflected!
新的常设展览的支柱是由有针对性的空间策略形成的,这也是我们艺术布景的工具。Libeskind 建筑以其强大的建筑元素令人印象深刻,包括所谓的空桥和立面上的疤痕状窗户切口。暴露在外,没有创造性的覆盖,它们现在代表了它们的本质:表达痛苦和空虚的象征性断裂。这些“伤痕”绝不是被化妆覆盖,而是作为一个由内而外的结构融入到场景中。
建筑的金属元素及其多样的表面也被巧妙地使用,成为设计的支撑材料:金属成为一个振动的声音通道,移动、波浪、垂直和闪烁不同的音色。它可以成为展示身体的精美彩色背景,或者在难以想象的领域 - 大屠杀 - 支持非物质性,奇怪,模糊 - 没有被反映的震惊!
The pillars of the new permanent exhibition are formed by a targeted spatial strategy, which is also the tool of our artistic scenography. The Libeskind building impresses with its strong architectural elements, including so-called empty bridges and scar-like window cutouts in the facade. Exposed, without creative covering, they now represent what they are: a symbolic rupture that expresses pain and emptiness. These "scars" are by no means covered by makeup, but integrated into the scene as an inside-out structure.
The metallic elements of the building and its diverse surfaces are also subtly used as a support material for the design: the metal becomes a vibrating sound channel, moving, waving, vertical and shimmering in different timbres. It can be a beautifully colored backdrop to showcase the body, or in unimaginable territory - the Holocaust - to support the immateriality, the strange, the blurry - the shock of not being reflected!
场景、建筑、知识和历史在这个古老的柏林新地点达到顶峰,创造一种空间体验,在城市的传记中寻找模型,从切兹韦茨至今,公开、宽容和自信地指向犹太历史的未来!
Scenarios, architecture, knowledge and history culminate in this new location in old Berlin, creating a spatial experience looking for models in the biography of the city, from Chezvets to the present, pointing openly, tolerantly and confidently to the future of Jewish history!
项目信息
场景、展览设计、展览
建筑ARGE chezweitz GmbH
Hella Rolfes Architects BDA:Dr. Sonja Beeck、Detlef Weitz、Hella
Rolfes Team chezweitz
Detlef Weitz(整体场景设计)、Morten Ohlsen(项目管理)、Johannes Bögle、Danielle Gringmuth、Hans Hagemeister、Elena Lee、Jana Mateijka、Wenke Merkel、Lena Schmidt、Jan Stauf、Jaroslav Toussaint , Katerina Vraga, Leila Weber, Tanja Wehking, Lars Weitemeier, Janina Zimmermann 与 Marcus Bahra, Jan Kalfus 和 Barbara Weinberger
团队 Hella Rolfes Architekten BDA
Hella Rolfes(整体项目管理)、Joachim Kleine Allekotte(项目管理)、Brigitte Fischer、Gesa Gerstenberger、Andrea Kubinszky、Laura Maasry、Anna Schedler
Team Lichtdesign
Urs Schreiner 和 Sascha Homburg(Envue Homburg Licht GmbH)、Fanny Perineau、Martina
Tillemann局外人作为局内人。魏玛共和国的犹太人”
视频装置:chezweitz,导演:Dominique Müller & Detlef Weitz;平面设计:Janina Zimmermann;声音设计:Samuel Gfeller,项目协助:Lars Weitemeier
“大楼梯”
视频装置:chezweitz,指导和动画:Stefan Hurtig (See & Show) & Detlef Weitz
“名人堂”
绘图:Andree Volkmann
展示和展览搭建
朗纳细木工;Nüssli(瑞士)股份公司;拜耳玻璃有限公司;Harald Müller 金属特殊生产有限公司;阿蒂斯有限公司;Rühling 商店 + 对象;空白有限公司;工作室 Burkhard Witzmann;对象灯柏林/汉森有限公司;flz – 钢和金属结构劳特巴赫有限公司;Artex Museum Services GmbH / Tomkin GmbH Event & Service GmbH;独特的工厂;Bjelosevic Mensud & Music-Zander GbR;BARiT 合成树脂 - 覆盖技术有限公司;柏林扩展有限公司;马瓦设计。Licht- und Wohnideen GmbH;Ilm-neon GmbH
图形
制作 Eicher Werkstätten GmbH &Co. 公斤; 大流士萨梅克;PIGMENTPOL 萨克森有限公司;Labor Pixel Grain GmbH
媒体站
格雷戈里·H·勒施;德尼兹·罗斯;马克西米利安;Rodegra – 循环后期制作 UG;ifs国际电影学院科隆;yomma 有限公司;达姆施塔特科技大学;FG数字设计;建筑虚拟化有限公司;FH波茨坦城市复杂性实验室项目团队;Patricia Schon 和 Stefan Hurtig;Kiss Me 音乐制作与出版;特拉维夫 Eshel Sound Studios;快速多彩的图像。柏林动画与互动工作室;2av有限公司;推信器 GbR Jan Gabbert & Ellen Stein;Framegrabber 媒体有限公司;Graphscape GmbH / h 九柏林;Hagit Hollander-Shimoni; 杰泰多;外部媒体有限公司;Collector & Jäger Filmproduktion GmbH
媒体技术的交付和安装
AVE 视听设备
其他规划师和专家
Scan3D 服务公司 mbH;穆勒 BBM 有限公司
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