Acutely aware of its tumultuous recent past, Berlin has taken many steps to recognize the atrocities that happened in the city. Museums, memorials and tributes and museums abound.
The Topography of Terror is one of the most frequently visited places of remembrance in Berlin. During the National Socialist Party reign, the central institutions of terror and persecution were run out of this building. These institutions included the Secret State Police Office (including its own “house prison"), the leadership of the SS and the Reich Security Main Office.
This landmark and the surrounding grounds have now been turned into a museum, highlighting the development of these organizations and outlining the terror and devastation these organizations inflicted.
The museum documented effectively the leader's strategy to build up and shift the key powers of the State to parallel organizations to ensure that they were fully controlled by the National Socialists. The Party's use of propaganda, fear and public shaming, in addition to the torture it inflicted, was terrifyingly effective.
In addition to the war museums, there are memorials commemorating those individuals who were targeted during WWII. These include memorials for the murdered Jews, mentally and physically disabled persons, homosexuals, and the Sinti and Roma victims.
In 2014, the memorial recognizing the 300,000 mentally and physically disabled people who were murdered was officially opened. The memorial stands in front of the Berlin Philharmonie, where the national euthanasia program once operated. The memorial consists of a 80ft blue-glass wall with information about the atrocities in a showcase in front of it. This supplements an existing curved steel sculpture by Richard Serra (whose works were also only display at the Guggenheim Bilbao).
The Memorial to Homosexuals was officially dedicated in 2008. The memorial is a concrete cube with a video playing inside that shows two men kissing. The memorial is located in the Tiergarten and although both its location and structure has been widely debated, the memorial was striking.
The Memorial to the Murdered Jews of Europe was opened in 2005, 60 years after the end of the War. This memorial contains just over 2,700 concrete slabs of varying heights in a grid pattern on a sloping ground. The memorial is designed to create a feeling of confusion and unease and to reflect a system that has lost human reason. Below the memorial is an information center which lists the names of all known Jewish Holocaust victims.
The Jewish Museum Berlin also commemorates the Jews persecuted during the Holocaust as well as studies German-Jewish over the past 2,000 years. Perhaps the most compelling part about the Museum is Daniel Libeskind's design for the physical building. The complex is comprised of two buildings - one in baroque style and one using Libeskind's postmodern design. From the outside, the two buildings appear completely separate but they are connected underground. As visitors enters the start of the Museum, they are confronted by three axes symbolizing three paths of Jewish Germany life in Germany – the continuity of Judaism in German history, Jewish emigration and exile from Germany, and the Holocaust.
The Axis of Continuity traces the German-Jewish history throughout the past 2,000 years. This Axis leads the visitor into the permanent exhibition.
The Axis of Exile represents the Jews that fled Berlin to escape persecution. This Axis leads out to a uncomfortable garden that has rows of tall columns bursting with greenery and is on a very steep incline. It is designed to make the visitor feel disoriented and off-balance, like Jews would have felt when leaving their homeland.
The third is the Axis of the Holocaust. This Axis leads to a dead end. At the end is the Holocaust Tower - an unheated, unlit, sharply angled room with just a small high window to let in just enough light and sound to make the visitor aware of their surroundings but also feel completely removed from them. It was haunting.
A line of Voids (aka. empty spaces) cut linearly through the building in several places. As Libeskind describes, these represent "That which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes." Perhaps most chilling is the Memory Void room which contains 10,000 unique faces punched out of steel and scattered on the floor representing those that have been lost.
Although we saw some of the key monuments and memorials there are still so many we just didn't have time to visit. It was uplifting to see so many people at these important sites and we certainly hope that the sites will continue to serve as important reminders and lessons for generations to come.