Pergamon Museum & Jewish Museum

Located on Berlin's famous Museum Island, the Pergamon Museum offers something different from the ordinary exhibitions, statues, and pictures seen in all standard museums and galleries. It has several enormous reconstructions of parts of ancient cities.

The star exhibition is the Pergamon Altar, a Greek construction with beautiful freezes that dates from the second century BC. The remains of this ancient building were shipped to Germany at the end of the nineteenth century during a period which German archeologists were very active. In contrast to the Elgin Marbles in the British Museum, some of the pillars came with and the display is build up so you can climb the decidedly modern stairs and see how it was presented originally.

In an adjacent room towers the Market Gate from Miletus. It is the façade of a market from a Roman town in Asia Minor and is more than 16 m high. Original date of construction is estimated to be about a century BC. Passing through this gate you enter what is if not the most beautiful definitely the most colorful of the major displays – the Ishtar Gate. This gate from Babylon dates from the sixth century BC and gives the Pergamon Altar strong competition for star of the show. The glazed tiles, mostly in blue, are in astonishingly good condition given the age. Large pieces from the Processional Way leading up to the Ishtar Gate decorate both sides of the passage.

The displays of Islamic art on the second floor are smaller but no less interesting. The façade of the Mshatta Palace in Jordan, eight century BC, fills a room while another displays the inside of a seventeenth century paneled room of a rich merchant in Syria. Also of interest is a large world map from India – the audio guide is necessary to make much sense of it from a modern viewpoint. http://en.wikipedia.org/wiki/Pergamon_Museum

The Jewish Museum Berlin (Jüdisches Museum Berlin) is a museum in Berlin covering two millennia of German Jewish history. The Jewish Museum in Berlin was founded on Oranienburger Straße in 1933. It was closed in 1938 by the Nazi regime. The idea to revive the museum was first voiced in 1971, and an "Association for a Jewish Museum" was founded in 1975. A Jewish department of the Berlin Museum was opened after the Berlin Museum first displayed an exhibition on Jewish history in Berlin in 1978. In 1999 the Jewish Museum Berlin was granted status as an independent institution. A building by Daniel Libeskind was finished in 1999 and officially opened in 2001.

The building is very distinctive from other museums, since it does not respond to any functional requirements, but is rather constructed to create spaces that tell the story of the Jewish people in Germany. The museum itself is a work of art, blurring the lines between architecture and sculpture.

The view from above is that of a large zig-zag line, which earned it the nickname "blitz", German word for thunderbolt. The main building is covered with zinc plating, and the windows are just lines that cross the surface in a random fashion. These lines were created from connecting different sites in a Berlin map that are important to Jewish history. This building has no access of any kind from the street. The entrance is located in an adjacent building, a museum of German history, through a staircase and tunnel embedded in a concrete tower that goes through all the floors of the German museum. This symbolizes that German and Jewish history are inseparable, violent and secret.

The staircase leads to an underground site, composed of three hallways, called axes: The Axis of Death, leads to a concrete tower that has been left empty, called The Holocaust Tower; The Axis of Exile, which leads to an exterior square courtyard composed of concrete columns and that has been tilted in one of its corners, called The Garden of Exile; and The Axis of Continuity, that goes through the other two hallways, representing the permanence of Jews in Germany in spite of the Holocaust and the Exile. This axis leads to a staircase, which in turn leads to the main building. The entrance to the museum is intentionally made difficult and long to instill in the visitor the feeling of challenge and hardship that is distinctive of Jewish history.

The main building, even though it seems skewed and irregular in general, hides a straight but discontinuous line, marked by hollow concrete towers painted black, with little windows from which visitors only can see the other visitors in opposite windows. One of these towers was called the Memory Void for those affected by the Holocaust.

As you walk down the long hall, you hear the clank of something -- is it silverware from the cafe kitchen, gears from the elevator, workmen moving contruction material? The closer you get, the louder the noise becomes until you turn the corner and see visitors cautiously walking across Menashe Kadishman's 'Shalechet' ('Fallen leaves') installation which has filled this void with 10,000 coarsely made iron faces. Visitors are encouraged to walk on the work, creating an almost 'industrial' noise, something with deep meaning.