United Nation's Center on Global Terrorism

From the Program: "The United Nations Center on Global Terrorism will be a living institution dedicated to the victims of terrorism. It will be a place for learning about world wide terrorism through permanent and temporary exhibitions, a place for archiving and research, a place for contemplation and commemoration, and a place for discussion and action. The mission of this institution is to create awareness of terrorism world wide and inspire citizens and world leaders to discuss, create, and implement worldwide laws and standards for dealing with terrorism."

Katrina Mustoe Masters Project 2006 UNITED NATION'S CENTER ON GLOBAL TERRORISM MUSTOE 2 Special thanks to John Wagner at Grandscapes Inc for the use of his New York City artwork; to Gerald Maurer for his volunteer work; and to Mimi Locher, Julio Bermudez, and Lisa Henry Benham for their dedication to teaching. Special Thanks MUSTOE 3 Table of Contents Project Description Program Site Precedents Design Bibliography 4 6 22 41 69 95 MUSTOE 4 Project Description United Nations Center on Global Terrorism Terrorism affects every nation in the world. It has been called many things: a scourge to mankind, a threat to world peace, a menace, a war. The very nature of terrorism is to create in-tense fear by the "calculated use of violence against civilians in order to attain goals that are political or religious or ideological in nature". Terrorist attacks happen all over the world, most often at unpredictable times and places. The victims of ter-rorist acts are not isolated to a single country, region, gender, race, ethnicity, age, political, or religious group. They are a random group who happen to be located at the same place, at the same time, and terrorists kill them indiscriminately. Since the September 11, 2001 attacks in New York City, the world has focused unprecedented attention on terrorism and ways to prevent it. The United Nations, a world organization that represents every country in the world, except the Vatican, has been at the forefront of developing ways to counter terror-ism. They have called for adopting and implementing a strat-egy to promote comprehensive, coordinated, and consistent responses at the national, regional, and international levels to counter terrorism. 􀀧􀁈􀁖􀁓􀁌􀁗􀁈􀀃􀀸􀀱􀀃􀁈􀁉􀁉􀁒􀁕􀁗􀁖􀀃􀁗􀁒􀀃􀁆􀁕􀁈􀁄􀁗􀁈􀀃􀁄􀀃􀁘􀁑􀁌􀂿􀁈􀁇􀀃􀁉􀁕􀁒􀁑􀁗􀀃􀁄􀁊􀁄􀁌􀁑􀁖􀁗􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀏􀀃 􀁐􀁄􀁑􀁜􀀃􀁖􀁗􀁄􀁗􀁈􀁖􀀃􀁋􀁄􀁙􀁈􀀃􀁇􀁈􀁆􀁌􀁇􀁈􀁇􀀃􀁗􀁒􀀃􀂿􀁊􀁋􀁗􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀃􀁚􀁌􀁗􀁋􀁒􀁘􀁗􀀃􀁗􀁋􀁈􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃 Nations support. In the process, human rights and fundamen-tal freedoms have been compromised in the name of security. Countering terrorism requires more than brute military force and covert operations. No country, however powerful, has the ability to single handedly eradicate terrorism. Furthermore, the tragic loss of life in recent terrorist attacks around the world is evidence that countering terrorism still remains elusive, despite these tactics. "What is morally wrong can never be advantageous, even when it enables you to make some gain that you believe to be to your advantage." Marcus Tullius Cicero At this time world leaders and citizens need a broader perspec-tive. It is imperative that there is awareness among civiliza-tions that terrorism is a global problem with global implications which warrant global laws which every country will commit to enforcing. The United Nations Center on Global Terrorism will provide the infrastructure necessary to focus attention on the reality that terrorism is truly a world wide issue that must be dealt with at the global level. The UN Center on Global Terrorism will have exhibition space, a library archive on terrorism, an auditorium lecture space, and an International Memorial for victims. Recognizing that terror- 􀁌􀁖􀁐􀀃􀁄􀁉􀁉􀁈􀁆􀁗􀁖􀀃􀁈􀁙􀁈􀁕􀁜􀀃􀁆􀁒􀁘􀁑􀁗􀁕􀁜􀀃􀁌􀁑􀀃􀁗􀁋􀁈􀀃􀁚􀁒􀁕􀁏􀁇􀀃􀁌􀁖􀀃􀁗􀁋􀁈􀀃􀂿􀁕􀁖􀁗􀀃􀁖􀁗􀁈􀁓􀀃􀁌􀁑􀀃􀁖􀁗􀁄􀁕􀁗- ing a dialogue among world citizens and leaders. As a living institution dedicated to victims of terrorism, it will be a place for researching and learning as well as for contemplation and commemoration. Furthermore, it will be a center for action by providing space for critical examination of the root causes of terrorism and the methods used to deal with these issues. The program for the United Nations Center on Global Terrorism will include temporary and permanent exhibition space that fo-cuses on terrorism worldwide. This will be both a historical re-view and a contemporary documentation on terrorism and it will be open to the public, world leaders, students and researchers. The exhibitions will seek to understand terrorism through the eyes of the people who have been affected. To achieve this, these exhibitions will not be run by a curator, but will be exhibi-tions by artists from the individual countries affected by terror-ism who are invited to display their interpretation of the events 􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁈􀁉􀁉􀁈􀁆􀁗􀀑􀀃􀀃􀀷􀁋􀁌􀁖􀀃􀁚􀁌􀁏􀁏􀀃􀁆􀁕􀁈􀁄􀁗􀁈􀀃􀁄􀀃􀁖􀁓􀁈􀁆􀁌􀂿􀁆􀀃􀁉􀁒􀁆􀁘􀁖􀀃􀁒􀁑􀀃􀁗􀁋􀁈􀀃􀁙􀁌􀁆􀁗􀁌􀁐􀁖􀀃 and their stories. MUSTOE 5 There will also be an exhibition on grievances focusing on the root causes of terrorism. We cannot just condemn, nor coun-ter terrorism without looking at how we can solve the underly-ing grievances. "Just as terrorism must never be excused, so must genuine grievances never be ignored. True, it tarnishes a cause when a few wicked men commit murder in its name. But, it does not make it any less urgent that the cause be ad-dressed, the grievance heard, and the wrong put right". This will be a revolving exhibition that focuses on issues of poverty, disease, hunger, injustice, war, and other important topics. Un-derstanding terrorism involves looking critically at both sides. The center will have a research library and archive space that will document terrorism throughout the world. It will preserve the history of terrorism for future generations in photographic, 􀂿􀁏􀁐􀀏􀀃􀁇􀁒􀁆􀁘􀁐􀁈􀁑􀁗􀁄􀁕􀁜􀀏􀀃􀁄􀁑􀁇􀀃􀁄􀁕􀁗􀁌􀁉􀁄􀁆􀁗􀁘􀁄􀁏􀀃􀁕􀁈􀁆􀁒􀁕􀁇􀀑􀀃􀀃􀀷􀁋􀁌􀁖􀀃􀁏􀁌􀁅􀁕􀁄􀁕􀁜􀀃􀁄􀁑􀁇􀀃􀁄􀁕- chive will be open to students, the public, and world leaders. The center will also have a Rememberance Hall dedicated just to victims of terrorism. Finally, the center will have an International Memorial dedi-cated to the victims of terrorist attacks. UN Secretary-General Annan recently said, "We will remember the victims…indeed, all victims of terrorism everywhere, no matter what their nationality, race or creed. To all victims around the world, our words of sympathy can bring only hollow comfort. They know that no one who is not directly affected can truly share their grief. At least let us not exploit it. We must respect them. We must listen to them. We must do what we can to help them. We must resolve to do everything in our power to spare others from meeting their fate. Above all, we must not forget them". The site for the United Nations Center on Global Terrorism will be in New York City, located one block south of the United Na-tions Headquarters at 724 1st Avenue. This site will be critical for several reasons. First, the location provides both visual and physical accessibility for world leaders from the United Na-tions to utilize the center. This is important because the cen-ter will provide a visual image and interpretation of terrorism throughout the world that can be understood by leaders from every country and will give substantial grounding to the call for universal laws to deal with terrorism. Second, New York City is a very international city both in terms of visitors and citizens. Each year approximately 1 million visitors from all over the world visit the United Nations and the UN Center on Global Terrorism will attract many of these visitors. This will give global citizens the opportunity to see and understand the im-pact of terrorism beyond their own nations and regions. Third, New York City has experienced the tragic effects of terrorism and has a deep connection to it. It is known worldwide for the September 11, 2001 bombings of the World Trade Center and I believe it is a city that can accept and understand the implica-tions of this type of building. The depth of this topic has demanded a building that resonates the seriousness in which we approach terrorism, the heartfelt sorrow in which we commemorate the victims, and the vitality in which we look forward, with hope, to the future. Project Description MUSTOE 6 Program DESCRIPTION The United Nations Center on Global Terrorism will be a liv-ing institution dedicated to the victims of terrorism. It will be a place for learning about world wide terrorism through per-manent and temporary exhibitions, a place for archiving and research, a place for contemplation and commemoration, and a place for discussion and action. The mission of this institu-tion is to create awareness of terrorism world wide and inspire citizens and world leaders to discuss, create, and implement worldwide laws and standards for dealing with terrorism. To create awareness the center will be open to everyone: indi-vidual citizens, student groups, and world leaders. The insti-tution seeks a very broad, diverse, international audience to address the issue of terrorism and it must be capable of serv- 􀁌􀁑􀁊􀀃􀁄􀀃􀁖􀁌􀁑􀁊􀁏􀁈􀀃􀁓􀁈􀁕􀁖􀁒􀁑􀀃􀁒􀁕􀀃􀁄􀀃􀁊􀁕􀁒􀁘􀁓􀀃􀁒􀁉􀀃􀂿􀁉􀁗􀁜􀀃􀁒􀁕􀀃􀁐􀁒􀁕􀁈􀀃􀁓􀁈􀁒􀁓􀁏􀁈􀀑􀀃􀀃􀀯􀁒􀁆􀁄􀁗􀁌􀁒􀁑􀀃 and access for the visitors is very important and being close to public transit is vital to the project. Also being located near the United Nations Headquarters in New York City is important to create a link to the world leaders who will be at the UN. This building should not be just a destination but should be a build-ing that draws people in that are simply passerby's. Perhaps it takes months of walking past before a person stops - but it is important to attract a diverse group of citizens, not just those who are interested and seek out this place. As such, the build-ing needs to be located in a high public use space. 􀀷􀁋􀁈􀀃􀁓􀁕􀁒􀁊􀁕􀁄􀁐􀀃􀁌􀁖􀀃􀁅􀁕􀁒􀁎􀁈􀁑􀀃􀁌􀁑􀁗􀁒􀀃􀂿􀁙􀁈􀀃􀁆􀁕􀁌􀁗􀁌􀁆􀁄􀁏􀀃􀁆􀁒􀁐􀁓􀁒􀁑􀁈􀁑􀁗􀁖􀀞􀀃􀁌􀁑􀁗􀁈􀁕􀁄􀁆- tive spaces, introspective spaces, discussion spaces, research spaces, and services spaces. "It takes an immense measure of courage to enter a museum which is not about beauty but about grim and profound truths concerning the more appalling aspects of humankind." Adrian Dannatt MUSTOE 7 INTERACTION 18,000 SF Permanent Exhibition 3800 SF Indirect, controlled light in exhibitions Processional exhibits, linear quality No guided tours Temporary Exhibitions 8200 SF Indirect, controlled light in exhibitions Exhibition Space I 2500 SF Browsing exhibits, wandering quality Exhibition Space II 2500 SF Capable of displaying various types of media Grievances 3200 SF Rememberance Hall 6000 DISCUSSION 2,700 SF Classrooms 1200 SF Classroom to accommodate up to 40 people (400 SF each), 2 wheelchair spaces 3 Classrooms Set up like small auditorium Used for orientations for visitors and for debriefing of students Auditorium 1500 SF Auditorium to accommodate 200 people, 5 wheelchair places No natural light needed Should accommodate individual speakers, lectures, panel discussions, and films INTROSPECTION 48,400 SF International Memorial 6400 SF Quiet space Controlled light, direct or indirect Usable by many people at one time, while retaining sense of solitude Meditation Spaces 42000 SF Walkways and long ramps to provide time to think between exhibits 3000 SF x 14 Levels Program MUSTOE 8 RESEARCH 5,600 SF Research Library & Archive 5600 SF Open reading room to accommodate 25-30 researchers Open reading spaces 800 SF Public rooms need to be separated from the record storage and labs rooms Computer Research Stations 100 SF Supervised area to accommodate 1-2 researchers + supervisor, no direct light Supervised Records Use Area 200 SF Stacks max 8'-0" high, 30" deep, back to back, 30" aisles Open Stacks 800 SF Only metal shelving and storage should be used Records request area 100 SF Automatic wet-pipe sprinklers 10'x10' spacing over stacks 4 hour fire walls are required between records, labs, public spaces Recommended that archives are on the top floor or ground floor with an outside wall Concrete floors and non combustible ceilings are recommended Labs 1. Restoration 800 SF 2. Preservation + Duplication 800 SF Archival Storage Rooms Each archive room will have its own climate control and ventalation system 1. Paper Base Storage 500 SF 1. 20° C +/- 1° 45% Humidity +/- 5% 2. Magnetic Tape Storage 500 SF 2. 18° C +/- 1° 40% Humidity +/- 5% 3. Glass Plate photos 500 SF 3. 15° C +/- 1° 35% Humidity +/- 5% 4. B&W Film, cine film, microfilm, cd 500 SF 4. 15° C +/- 1° 30% Humidity +/- 5% Color Film, cine film, microfilm, cd 1. -1° C +/- 1° 30% Humidity +/- 5% No direct or indirect light in the archives, special controlled electrical lights Program MUSTOE 9 Program Copy, fax, services room 200 SF Service Spaces 68400 SF Bathrooms (8 -women, 8-men) 1200 SF Dock height 42", door height 18', door width 12', pull in area 20'x30', 400 SF for unloading Janitorial 100 SF Directly off loading dock Loading Dock 900 SF Part of loading dock Temporary Exhibit Storage 11600 SF Garbage 100 SF Elevators, Stairs, Circulation 42000 SF Mechanical 12500 SF TOTAL SF 157,600 SF SERVICE 82,900 SF Entrance + Gathering Space 12500 SF Entrance 600 SF Gathering space for 1-200 people Plaza / Gathering Space 10700 SF Direct light Bookstore 600 Main gathering space before and after evening lectures, films, etc. Bag Check 600 Administrative Offices 2000 SF Reception 200 SF Natural direct light 6 Offices 600 SF Conference Room 500 SF Bathrooms 150 SF Kitchenette 150 SF Break room 200 SF MUSTOE 10 Program INTERACTIVE SPACES 􀀷􀁋􀁈􀀃􀁈􀁑􀁗􀁕􀁄􀁑􀁆􀁈􀀃􀁚􀁌􀁏􀁏􀀃􀁅􀁈􀀃􀁗􀁋􀁈􀀃􀂿􀁕􀁖􀁗􀀃􀁌􀁑􀁗􀁈􀁕􀁄􀁆􀁗􀁌􀁒􀁑􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁋􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀃􀁄􀁑􀁇􀀃 it will serve as an invitation to enter a space that may be very hard to go into. Terrorism as an exhibit is not anything like other museums in New York, or most places in the world for that matter. It is not an exhibition of beauty and art, of inven-tion and creation, of natural or man made wonders. It is intrinsically an exhibition and archive of destruction and grief. "It takes an immense measure of courage to enter a mu-seum which is not about beauty but about grim and profound truths concerning the more appalling aspects of humankind." The entrance will serve as a critical transition from the outside world into the center. It will be a large gathering space that must accommodate a single individual or large group equally well. This will be a loud space, but it will still be important that this initial gathering space before entering the exhibitions be a place to prepare mentally and emotionally for the exibits. 􀀷􀁋􀁈􀀃􀂿􀁕􀁖􀁗􀀃􀁐􀁄􀁍􀁒􀁕􀀃􀁆􀁒􀁐􀁓􀁒􀁑􀁈􀁑􀁗􀀃􀁌􀁑􀀃􀁗􀁋􀁈􀀃􀁓􀁕􀁒􀁊􀁕􀁄􀁐􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀃􀁌􀁖􀀃􀁗􀁋􀁈􀀃 exhibition spaces. Awareness of global terrorism demands that information is provided about the terrorism that occurs in every country. No country is the sole victim of terrorism, it happens everywhere and it is critical that this be acknowledged. The permanent exhibitions will deal with terrorist attacks, grievanc-es, victims, and responses. Every country will be represented. Every nation will have a voice. The victims will have a chance to be heard. This part of the program will seek to give a very comprehensive picture of the historical events of terrorism. Be-cause of the appalling and grim nature of this part of the pro-gram there must be a very high level of sensitivity. It will deal with the disturbingly raw aspects of human nature and I believe there is a moral responsibility to represent both sides of the issue - not just condemn terrorism but seek to also understand the underlying grievances that fuel it. The temporary exhibitions will have a very personal approach. Instead of a curator deciding how to exhibit the tragedies, the center will invite artists from individual countries to come in and represent the terrorist events through their art. This means that there will be very diverse and personal views of terrorism and its effects. Furthermore, it will be the direct voice of the 􀁓􀁈􀁒􀁓􀁏􀁈􀀃􀁉􀁕􀁒􀁐􀀃􀁗􀁋􀁈􀀃􀁓􀁏􀁄􀁆􀁈􀁖􀀃􀁄􀁉􀁉􀁈􀁆􀁗􀁈􀁇􀀏􀀃􀁄􀁑􀁇􀀃􀁚􀁌􀁏􀁏􀀃􀁑􀁒􀁗􀀃􀁅􀁈􀀃􀂿􀁏􀁗􀁈􀁕􀁈􀁇􀀃􀁗􀁋􀁕􀁒􀁘􀁊􀁋􀀃 other people's biases. This will be a rotating exhibition space and must be able to accommodate all types of media and artis-tic displays. The architecture of this part of the program will be both a catalyst for memory and a didactic for teaching. The building will have the opportunity to serve not just as an empty shell for exhibition but rather as a construction for remembering and un-derstanding. The purpose is to create awareness and it is not 􀁖􀁘􀁉􀂿􀁆􀁌􀁈􀁑􀁗􀀃􀁗􀁒􀀃􀁍􀁘􀁖􀁗􀀃􀁓􀁕􀁒􀁙􀁌􀁇􀁈􀀃􀁌􀁑􀁉􀁒􀁕􀁐􀁄􀁗􀁌􀁒􀁑􀀃􀁄􀁏􀁒􀁑􀁈􀀃􀂱􀁗􀁋􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀃􀁖􀁋􀁒􀁘􀁏􀁇􀀃 in itself propagate learning. MUSTOE 11 INTROSPECTIVE SPACES The second major component is the International Memorial for victims of terrorism. This will be a place to mourn and to re-member the victims. This should be a place for silence, even if there are many people there. There should be a feeling of privacy or aloneness. Also, there should be a sense of warmth and comfort. Natural light will be very important in this space. It should be located after the exhibitions but should not be the last element the visitor experiences. Learning and commemo-rating are not enough. A vital part of the program is leaving with a sense of hope and purpose. There will also be places for meditation and contemplation. These meditation spaces should be quiet and are perhaps located along the exhibition route so that a person can leave for a while to be alone before continuing on. The exhibits may take quite some time to move through. Taking time alone through the process will be important. Program MUSTOE 12 RESEARCH SPACES Another important component is the research library and ar-chive. The library will be open to the public and will be an important resource to researchers, students, and individu-als who wish to further their knowledge about terrorism. The archives will be a repository for artifacts, photographs, footage, testimonies, and other important pieces of historical evidence. The archive labs will be used to document and preserve these records. Program MUSTOE 13 DISCUSSION SPACES The fourth major areas of the program are spaces for discus-sion and action. These include the auditorium lecture hall and classrooms. The auditorium lecture hall will take on a public involvement role. There will be opportunities for lectures, discussion pan- 􀁈􀁏􀁖􀀏􀀃􀁘􀁑􀁌􀁙􀁈􀁕􀁖􀁌􀁗􀁜􀀃􀁘􀁖􀁈􀀏􀀃􀂿􀁏􀁐􀁖􀀏􀀃􀁄􀁑􀁇􀀃􀁒􀁗􀁋􀁈􀁕􀀃􀁌􀁑􀁗􀁈􀁕􀁄􀁆􀁗􀁌􀁙􀁈􀀃􀁓􀁕􀁒􀁊􀁕􀁄􀁐􀁖􀀃􀁌􀁑􀀃 this space. It will be available in the evenings so it should be accessible while the other parts of the building are not. It will be a critical link to public interaction beyond viewing the exhibi-tions. The classrooms will be used both before and after entering the 􀁈􀁛􀁋􀁌􀁅􀁌􀁗􀁌􀁒􀁑􀁖􀀃􀁄􀁖􀀃􀁅􀁕􀁌􀁈􀂿􀁑􀁊􀀃􀁄􀁑􀁇􀀃􀁇􀁈􀁅􀁕􀁌􀁈􀂿􀁑􀁊􀀃􀁖􀁓􀁄􀁆􀁈􀁖􀀑􀀃􀀃􀀷􀁋􀁈􀁜􀀃􀁚􀁌􀁏􀁏􀀃􀁄􀁆- commodate groups of 30-40 people and they should have an overall calming feeling. Facing the harsh realities of terrorism will be very disturbing and it will be important that the spaces provided for discussion are uplifting. Program MUSTOE 14 SERVICE SPACES Supporting service spaces will include administration, rest-rooms, mechanical, storage, loading dock, janitorial closet, garbage collection, and circulation. Exterior space should create a connection to the city. This building is in New York City because of its proximity to the United Nations, because of New York's connection to terrorism, and because New York is an international hub for trade, tour-ism, and culture. The building must take root in these things and should not sit in isolation away from the city but should be an integral part of it. Program MUSTOE 15 Program ANAYLSIS PROGRAM DIAGRAM MUSTOE 16 Program ANALYSIS PROGRAMATIC ADJACENTCIES DIAGRAM MUSTOE 17 Program ANALYSIS PUBLIC, SEMI-PUBLIC, PRIVATE DIAGRAM MUSTOE 18 Program ANALYSIS PRIMARY, SECONDARY, TERTIARY DIAGRAM MUSTOE 19 Program ANALYSIS LOUD, SEMI-LOUD, QUIET DIAGRAM MUSTOE 20 Program ANALYSIS HIGH, MEDIUM, LOW STRESS DIAGRAM MUSTOE 21 Program ANALYSIS HOURS OF USE DIAGRAM MUSTOE 22 Site 724 1ST AVENUE, NEW YORK CITY, NEW YORK The United Nations Center on Global Terrorism is seeking to engage world leaders and world citizens on a very broad scale. This means that the site location must be in a place that will reach this audience. To narrow the scope of possible sites, I 􀂿􀁕􀁖􀁗􀀃􀁅􀁈􀁊􀁄􀁑􀀃􀁏􀁒􀁒􀁎􀁌􀁑􀁊􀀃􀁄􀁗􀀃􀁗􀁋􀁈􀀃􀁉􀁒􀁘􀁕􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀀫􀁈􀁄􀁇􀁔􀁘􀁄􀁕􀁗􀁈􀁕􀁖􀀃􀁌􀁑􀀃 Geneva, Vienna, Nairobi, and New York City because these headquarters provide an unparalleled gathering of world lead-ers on a continuous basis. Every country in the world, with the exception of Vatican City, is a member of the United Nations and world leaders meet regularly at these headquarters. Plac-ing the Center on Global Terrorism near a UN headquarters means that it will be accessible to the current world leaders and future leaders as political power changes hands over time. In addition, many world citizens visit these headquarters every 􀁜􀁈􀁄􀁕􀀏􀀃􀁄􀁑􀁇􀀃􀁖􀁒􀀃􀁗􀁋􀁈􀁕􀁈􀀃􀁌􀁖􀀃􀁄􀁏􀁕􀁈􀁄􀁇􀁜􀀃􀁄􀀃􀁖􀁌􀁊􀁑􀁌􀂿􀁆􀁄􀁑􀁗􀀃􀁆􀁌􀁗􀁌􀁝􀁈􀁑􀀃􀁄􀁘􀁇􀁌􀁈􀁑􀁆􀁈􀀃􀁅􀁄􀁖􀁈􀀃 coming to these four locations. After analyzing the four headquarters, I felt that the best loca-tion for the United Nations Center on Global Terrorism is in New York City. First, the UN in New York City is the primary meeting headquarters for world leaders and it is home to all the international embassies to the United Nations. In addition, the New York UN headquarters has the most visitors per year, with over 1 million people. It is also located in a very international city where over 38% of the 8 million people are foreign born, representing nearly every country in the world. Also, approxi-mately 40 million visitors go to New York each year. In addition, this is a city that has seen and dealt with a major terrorist at-tack, so there are deep roots here dealing with terrorism. One belongs to New York instantly, 􀁒􀁑􀁈􀀃􀁅􀁈􀁏􀁒􀁑􀁊􀁖􀀃􀁗􀁒􀀃􀁌􀁗􀀃􀁄􀁖􀀃􀁐􀁘􀁆􀁋􀀃􀁌􀁑􀀃􀂿􀁙􀁈􀀃􀁐􀁌􀁑􀁘􀁗􀁈􀁖􀀃􀁄􀁖􀀃􀁌􀁑􀀃􀂿􀁙􀁈􀀃􀁜􀁈􀁄􀁕􀁖􀀑 Thomas Wolfe MUSTOE 23 Site NEW YORK CITY New York City is located in the southern most part of New York in the New York harbor off the Atlantic Ocean on three islands: Long Island, Manhattan Island, and Staten Island, and on a small part of the mainland. Historically, New York harbor has been a major port that facilitated both trade and immigration and New York City boomed under these conditions. Currently, it is the most populous city in the United States with 8.3 million citizens, and the most densely populated city in North America with just 301 square miles of land. It is considered an interna- 􀁗􀁌􀁒􀁑􀁄􀁏􀀃􀁆􀁌􀁗􀁜􀀃􀁗􀁋􀁄􀁗􀀃􀁌􀁖􀀃􀁄􀁗􀀃􀁗􀁋􀁈􀀃􀁆􀁈􀁑􀁗􀁈􀁕􀀃􀁒􀁉􀀃􀁌􀁑􀁗􀁈􀁕􀁑􀁄􀁗􀁌􀁒􀁑􀁄􀁏􀀃􀂿􀁑􀁄􀁑􀁆􀁈􀀏􀀃􀁓􀁒􀁏􀁌􀁗􀁌􀁆􀁖􀀏􀀃 entertainment, and culture. The site for the United Nations Center on Global Terrorism will be in the borough of Manhattan near the United Nations Head-quarters. This is located on the eastern side of Manhattan along the East River in the Midtown East district. It is on a .70 acre site on the block just south of the United Nations between 42nd and 41st Streets on 1st Avenue. The surrounding area is a mixed use of commercial, residential, and institutional. MUSTOE 24 Site NORTH: (42nd Street + UN) The United Nations is located across the street to the north on an 18 acre lot. The UN is comprised of 3 buildings: a low con- 􀁉􀁈􀁕􀁈􀁑􀁆􀁈􀀃􀁆􀁋􀁄􀁐􀁅􀁈􀁕􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀏􀀃􀁄􀀃􀀖􀀜􀀃􀁖􀁗􀁒􀁕􀁜􀀃􀁖􀁈􀁆􀁕􀁈􀁗􀁄􀁕􀁌􀁄􀁗􀀃􀁒􀁉􀂿􀁆􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀏􀀃 and the three story Dag Hammerskjold Library. The library faces directly toward the site and is the closest link to the UN. 􀀷􀁋􀁈􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀁌􀁖􀀃􀁄􀁑􀀃􀁌􀁆􀁒􀁑􀀃􀁚􀁌􀁗􀁋􀁌􀁑􀀃􀁗􀁋􀁈􀀃􀁆􀁌􀁗􀁜􀀃􀁄􀁑􀁇􀀃􀁌􀁗􀀃􀁚􀁄􀁖􀀃􀁗􀁋􀁈􀀃􀂿􀁕􀁖􀁗􀀃 Modernist building to be built in New York. 42nd Street is a major two way thoroughfare to/from FDR Drive which is major road that runs on the exterior of Manhattan along the water front. It is relatively busy; however, it is cur-rently proposed to no longer be a connection to FDR Drive to make this area more walkable. MUSTOE 25 Site EAST (The rest of the block + FDR Drive) To the east of the site is the remainder of the block which has a ventilation building for the Midtown Queens Tunnel and recre-ation courts as part of the park. The ventilation building is a standard yellow brick and has no human interaction within it. FDR Drive runs adjacent to the recreation courts and is a very busy and loud street. MUSTOE 26 Site SOUTH (41st Street + East River Development) To the south of the site is the Con Ed power plant that is cur-rently being torn down and will be replaced with a 9.2 acre de-velopment by the East River Realty Associates. A new 2 acre park is proposed between 39th and 40th Streets and will ad-equately replace the outdoor space that the Center on Global Terrorism is acquiring. This new development will stretch from 34th Street (which borders NYU Medical Center) to 41st Street (which borders the site) and from 1st Avenue to the East River (one 750' block). Star architects Richard Meier, and David Childs and Marilyn Jordan Taylor of Skidmore, Owings, & Mer-rill, have won the competition to design the new development. 􀀷􀁋􀁈􀀃􀁇􀁈􀁙􀁈􀁏􀁒􀁓􀁐􀁈􀁑􀁗􀀃􀁚􀁌􀁏􀁏􀀃􀁌􀁑􀁆􀁏􀁘􀁇􀁈􀀃􀁖􀁋􀁒􀁓􀁖􀀏􀀃􀁓􀁄􀁕􀁎􀁖􀀏􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀏􀀃􀁄􀁑􀁇􀀃􀀕􀀓􀀓􀀓􀀃 residential units. This will activate the southern side of the site which is currently torn down. The United Nations is consider-ing a major renovation in the near future, and they have plans 􀁗􀁒􀀃􀁗􀁈􀁐􀁓􀁒􀁕􀁄􀁕􀁌􀁏􀁜􀀃􀁕􀁈􀁏􀁒􀁆􀁄􀁗􀁈􀀃􀁗􀁒􀀃􀁖􀁒􀁐􀁈􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁒􀁉􀂿􀁆􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀁖􀀃􀁗􀁋􀁄􀁗􀀃􀁚􀁌􀁏􀁏􀀃 􀁅􀁈􀀃􀁅􀁘􀁌􀁏􀁗􀀃􀁌􀁑􀀃􀁗􀁋􀁈􀀃􀀨􀁄􀁖􀁗􀀃􀀵􀁌􀁙􀁈􀁕􀀃􀀧􀁈􀁙􀁈􀁏􀁒􀁓􀁐􀁈􀁑􀁗􀀑􀀃􀀃􀀷􀁋􀁈􀀃􀁗􀁈􀁐􀁓􀁒􀁕􀁄􀁕􀁜􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀃 􀁋􀁄􀁙􀁈􀀃􀁄􀁏􀁖􀁒􀀃􀁅􀁈􀁈􀁑􀀃􀁆􀁒􀁑􀁖􀁌􀁇􀁈􀁕􀁈􀁇􀀃􀁉􀁒􀁕􀀃􀁓􀁈􀁕􀁐􀁄􀁑􀁈􀁑􀁗􀀃􀀸􀀱􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀃􀁌􀁑􀀃􀁗􀁋􀁈􀀃 􀁉􀁘􀁗􀁘􀁕􀁈􀀏􀀃􀁚􀁋􀁌􀁆􀁋􀀃􀁐􀁈􀁄􀁑􀁖􀀃􀁗􀁋􀁈􀁕􀁈􀀃􀁚􀁌􀁏􀁏􀀃􀁅􀁈􀀃􀁆􀁒􀁑􀁖􀁌􀁇􀁈􀁕􀁄􀁅􀁏􀁈􀀃􀁉􀁒􀁒􀁗􀀃􀁗􀁕􀁄􀁉􀂿􀁆􀀃􀁄􀁏􀁒􀁑􀁊􀀃 the site as world leaders walk back and forth between the UN 􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁑􀁈􀁚􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀑􀀃􀀃 41st Street currently has very little usage because it is not a through street across 1st Avenue. MUSTOE 27 Site WEST (1st Ave + Park + Tudor City) To the west of the site is a small walking park with vegetation and benches on an extra wide sidewalk. There are also three 23 story buildings that are part of Tudor City here. Tudor City is a mini city raised up above city level. The build-ings are not accessible from the ground level, but from the level above, so there is a large wall of brick there. There is no 41st Street on the west side of 1st Avenue because it is located a level above in Tudor City. The buildings are covered with ivy on the ground level and it makes a nice park-like area. 1st Avenue is busy here and there is a tunnel entrance so the road is four lanes wide and the middle descends, meaning there is no crosswalk at 41st Street across 1st Avenue. MUSTOE 28 Site OPPORTUNITIES The opportunities of this site include the proximity to the United Nations and the potential draw of leaders from the UN and em-bassies that are located in that area. It will also bring in many of the 1 million annual UN visitors. In addition, there are a lot of people who live and work in the area that will pass by this building and potentially be drawn in. Also, it will become an as-set to many students from schools and universities in the area that will have access to the archives, library, and exhibitions. It has a central location within the city and it is within walking distance of the subway at Grand Central Station located at 42nd Street and 4th Avenue (four blocks away). This area has 􀁋􀁌􀁊􀁋􀀃􀁓􀁈􀁇􀁈􀁖􀁗􀁕􀁌􀁄􀁑􀀃􀃀􀁒􀁚􀀃􀁄􀁑􀁇􀀃􀁌􀁖􀀃􀁏􀁒􀁆􀁄􀁗􀁈􀁇􀀃􀁄􀁗􀀃􀁗􀁋􀁈􀀃􀁈􀁑􀁇􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁙􀁈􀁕􀁜􀀃􀁄􀁆􀁗􀁌􀁙􀁈􀀃 corridor on 42nd Street. Major centers of activities on 42nd Street include the Chrysler Building at 3rd Avenue, Grand Cen-tral Station at 4th Avenue, the New York City Library located at 5th Avenue, and Times Square at 7th Avenue, so it is within walking distance of some of New York City's most visited sites. In addition, the East River Development to the south of the site is currently the largest development in New York City and 􀁚􀁌􀁗􀁋􀁌􀁑􀀃􀁄􀀃􀁉􀁈􀁚􀀃􀁜􀁈􀁄􀁕􀁖􀀃􀁗􀁋􀁈􀁕􀁈􀀃􀁚􀁌􀁏􀁏􀀃􀁅􀁈􀀃􀁄􀀃􀁐􀁄􀁍􀁒􀁕􀀃􀁅􀁒􀁒􀁐􀀃􀁒􀁉􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀏􀀃􀁖􀁋􀁒􀁓􀁖􀀏􀀃 and residential in the area. With an increase of 2000 residen- 􀁗􀁌􀁄􀁏􀀃􀁘􀁑􀁌􀁗􀁖􀀃􀁄􀁑􀁇􀀃􀁗􀁋􀁒􀁘􀁖􀁄􀁑􀁇􀁖􀀃􀁒􀁉􀀃􀁒􀁉􀂿􀁆􀁈􀁖􀀏􀀃􀁗􀁋􀁈􀀃􀃀􀁒􀁚􀀃􀁒􀁉􀀃􀁓􀁈􀁇􀁈􀁖􀁗􀁕􀁌􀁄􀁑􀁖􀀃􀁌􀁑􀀃 􀁗􀁋􀁌􀁖􀀃􀁄􀁕􀁈􀁄􀀃􀁚􀁌􀁏􀁏􀀃􀁖􀁌􀁊􀁑􀁌􀂿􀁆􀁄􀁑􀁗􀁏􀁜􀀃􀁌􀁑􀁆􀁕􀁈􀁄􀁖􀁈􀀑 MUSTOE 29 Site CHALLENGES 􀀲􀁑􀁈􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁐􀁄􀁍􀁒􀁕􀀃􀁆􀁋􀁄􀁏􀁏􀁈􀁑􀁊􀁈􀁖􀀃􀁌􀁖􀀃􀁗􀁋􀁈􀀃􀁗􀁕􀁄􀁉􀂿􀁆􀀃􀁌􀁑􀀃􀁗􀁋􀁌􀁖􀀃􀁄􀁕􀁈􀁄􀀑􀀃􀀃􀀷􀁋􀁈􀁕􀁈􀀃 are two major roads, FDR Drive and 1st Ave which make it very busy and loud. The building will need to respond to these 􀁌􀁖􀁖􀁘􀁈􀁖􀀏􀀃􀁄􀁑􀁇􀀃􀁓􀁒􀁗􀁈􀁑􀁗􀁌􀁄􀁏􀁏􀁜􀀃􀁐􀁒􀁙􀁈􀀃􀁙􀁌􀁖􀁌􀁗􀁒􀁕􀁖􀀃􀁅􀁄􀁆􀁎􀀃􀁉􀁕􀁒􀁐􀀃􀁗􀁋􀁈􀀃􀁗􀁕􀁄􀁉􀂿􀁆􀀑 The site has three street edges to focus on and the building will have to accommodate this, especially in the context of New York where the interaction between the pedestrian and the ground level of the building is of particular importance. There are no "backsides" of a building on the streets of New York; all sidewalk facades are open and accessible. Also, the relationship the building has with the United Nations will be important because the UN is such an iconic building in 􀀱􀁈􀁚􀀃􀀼􀁒􀁕􀁎􀀃􀁄􀁑􀁇􀀃􀁌􀁗􀀃􀁚􀁄􀁖􀀃􀁗􀁋􀁈􀀃􀂿􀁕􀁖􀁗􀀃􀁌􀁑􀁗􀁈􀁕􀁑􀁄􀁗􀁌􀁒􀁑􀁄􀁏􀀃􀁖􀁗􀁜􀁏􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀃􀁗􀁒􀀃􀁅􀁈􀀃 built there. There is a dialogue that will happen just because of the juxtaposition of the site to the UN and this will be an inter-esting design challenge. Overall, I feel that this is an excellent site with many opportuni-ties to achieve the goals of reaching both world leaders and citizens. The site itself allows for a very expressive building 􀁅􀁈􀁆􀁄􀁘􀁖􀁈􀀃􀁌􀁗􀀃􀁌􀁖􀀃􀁑􀁒􀁗􀀃􀁄􀁑􀀃􀁌􀁑􀂿􀁏􀁏􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀑􀀃􀀃􀀬􀁗􀀃􀁋􀁄􀁖􀀃􀁗􀁋􀁈􀀃􀁒􀁓􀁓􀁒􀁕􀁗􀁘􀁑􀁌􀁗􀁜􀀃􀁗􀁒􀀃􀁗􀁄􀁎􀁈􀀃 a large part of a block and it will have no other buildings touch-ing it. It is in a prime location near the United Nations and will be very visible to the public. Ultimately, this is neither a quiet project nor a quiet site - rather it is a demanding project that wants attention and this site will accommodate that need. MUSTOE 30 Site ANALYSIS Site Location MUSTOE 31 Site ANALYSIS SITE VIEW View Looking East / South MUSTOE 32 Site ANALYSIS FIGURE / GROUND DIAGRAMS MUSTOE 33 Site ANALYSIS ORDERING SYSTEMS MUSTOE 34 Site ANALYSIS INTERNATIONAL AIRPORTS NEWARK 17 MILES LA GUARDIA 8 MILES JFK 16 MILES MUSTOE 35 Site ANALYSIS WALKING TIME FROM SUBWAYS GRAND CENTRAL STATION 12 MINUTES NEW YORK PUBLIC LIBRARY 16 MINUTES 51ST ST. & LEXINGTON 25 MINUTES EMPIRE STATE BUILDING EAST 25 MINUTES EMPIRE STATE BUILDING WEST 35 MINUTES 53RD ST. & LEXINGTON 30 MINUTES ROCKEFELLER CENTER 35 MINUTES MUSEUM OF MODERN ART 40 MINUTES MUSTOE 36 Site ANALYSIS MAJOR ROADS MUSTOE 37 Site ANALYSIS PEDESTRIAN NODES MUSTOE 38 Site ANALYSIS CROSSWALKS MUSTOE 39 Site ANALYSIS PARKS AND GREEN SPACE MUSTOE 40 Site ANALYSIS NEW YORK CITY ANNUAL VISITORS + POPULATION MUSTOE 41 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM WASHINGTON DC ARCHITECT: JAMES INGO FREED BUILT: 1993 JEWISH MUSEUM BERLIN BERLIN, GERMANY ARCHITECT: DANIEL LIBESKIND BUILT: 1999 MEMORIALS HIROSHIMA MEMORIAL PEACE PARK HIROSHIMA, JAPAN MEMORIAL TO THE MURDERED JEWS OF EUROPE BERLIN, GERMANY RWANDA GISOZI GENOCIDE MEMORIAL KIGAL, RWANDA VIETNAM WAR MEMORIAL WASHINGTON, DC MUSTOE 42 NATIONAL HOLOCAUST MEMORIAL MUSEUM WASHINGTON DC ARCHITECT: JAMES INGO FREED BUILT: 1993 Precedents The National Holocaust Museum in Washington DC is a mu-seum dedicated as a place for memory - the memory of the genocide of European Jews. It is a museum "not about beauty but about grim and profound truths concerning the more ap-palling aspects of humankind". It is an excellent programmatic precedent for the Center on Global Terrorism for several reasons. First, it deals with the 􀁌􀁖􀁖􀁘􀁈􀀃􀁒􀁉􀀃􀁌􀁑􀁋􀁘􀁐􀁄􀁑􀁈􀀃􀁄􀁆􀁗􀁖􀀃􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁌􀁗􀀃􀁕􀁈􀁓􀁕􀁈􀁖􀁈􀁑􀁗􀁖􀀃􀁄􀀃􀁙􀁈􀁕􀁜􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃 topic to a broad range of viewers, from adults to children, large groups to individuals. Second, the architecture and program-atic layout serve both as a catalyst for memory as well as a didactic for teaching which are essential elements in my thesis. Third, the architectural ideas embodied in this work focus on both the unique experience of the holocaust and the universal moral conclusions that transcend this singular event. For this reason there is a dileberate ambiguity in the architecture. Fi-nally, there is a memorial space for the victims which is a key element in the Center on Global Terrorism. MUSTOE 43 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM LJ J LJ site plan National Holocaust Memorial Museum Location: Washington DC Architect: James Ingo Freed Built: 1993 MUSTOE 44 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM LJ J ~ fourth IIoor third IIoor "It takes an immense measure of courage to enter a museum which is not about beauty but about grim and profound truths about the more appall ing aspects of humankind: - Adrian Dannatt MUSTOE 45 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM 03.I-WilSI section MUSTOE 46 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM II Hall 0' Witness section Hall of R(lmembernnce section MUSTOE 47 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM SlrUCIure symmelly an(! balal"lO!l r\!Ilurallighl r\!Iluf allighl •••• massing h"rarchy 0/ space repe!ative to unique MUSTOE 48 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM PROGRAM ~- ,~- U LJ U Ii IF ENTRANCES - CIRCULATION • SERVICE .. ,""" ""~- • ADMINISTRATION • MEMORIALS • EXHIBITION \ CLASSROOM I CONFERENCE .-:;:'" ~ : • , AUDITORIUMS <>- "" ARCHIVES oonoou.....,lovol third IIoor BOOKSTORE I LOUNGE MUSTOE 49 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM LOUO I SEMI-LOUD I QUIET SPACES IIMnoor first floor fourth floor _ LOUD SPACES _ SEMI-LOUO SPACES _ QUIET SPACES third IIoor MUSTOE 50 Precedents NATIONAL HOLOCAUST MEMORIAL MUSEUM PUBLIC I SEMI-PUBLIC I PRIVATE SPACES LJ first IIoor IIMIIOOr fourth IIoof third IIoor _ PUBLIC SPACES _ SEMI·PUBLIC SPACES _ PRIVATE SPACES MUSTOE 51 JEWISH MUSEUM BERLIN BERLIN, GERMANY ARCHITECT: DANIEL LIBESKIND BUILT: 1999 Precedents Daniel Libeskind was commissioned in 1988 as the architect for the Jewish Museum in Berlin. This project is an extension of the Berlin Museum, although it takes on a life of its own. 􀀷􀁋􀁈􀀃􀁒􀁉􀂿􀁆􀁌􀁄􀁏􀀃􀁑􀁄􀁐􀁈􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁓􀁕􀁒􀁍􀁈􀁆􀁗􀀃􀁌􀁖􀀃􀁗􀁋􀁈􀀃􀂳􀀭􀁈􀁚􀁌􀁖􀁋􀀃􀀰􀁘􀁖􀁈􀁘􀁐􀂴􀀏􀀃􀁅􀁘􀁗􀀃 Libeskind prefers to call it "Between the Lines" because it is about two lines of thinking. One is a straight line, but broken into many fragments; the other is a tortuous line, but continuing 􀁌􀁑􀁇􀁈􀂿􀁑􀁄􀁗􀁈􀁏􀁜􀀑􀀃􀀃􀀷􀁋􀁈􀀃􀁆􀁒􀁑􀁆􀁈􀁓􀁗􀁖􀀃􀁄􀁑􀁇􀀃􀁇􀁈􀁖􀁌􀁊􀁑􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀀃􀁄􀁕􀁈 based on these ideas. This is an inspirational precedent based on the architectural form that developed from these ideas. There are no right angles in this project and no standard windows or spaces. It challenges the norm of architectural form. When asked about this Libeskind replied, "Nuetral architecture is perhaps appro-priate for non-events". The Jewish experience in Germany was certainly not a non-event. MUSTOE 52 Precedents JEWISH MUSEUM BERLIN Jewish Museum Berlin Location: Bertin, Germany Architect: Daniel Libeskind Built: 1999 / - M,p Aerial View The Jewish Museum next to the Bet1in Museum. This is a SI3r1< """trost cI af¢tlit&ctUr31 cornpoe<t;o" ,,,'" ,ofl_ the very diverse aspects 0' the two museums. MUSTOE 53 Precedents JEWISH MUSEUM BERLIN Exterior Images MUSTOE 54 Precedents JEWISH MUSEUM BERLIN Exterior Images MUSTOE 55 Precedents JEWISH MUSEUM BERLIN Exterior Images MUSTOE 56 Precedents JEWISH MUSEUM BERLIN Void Tower Images MUSTOE 57 Precedents JEWISH MUSEUM BERLIN Void Tower Interior MUSTOE 58 Precedents JEWISH MUSEUM BERLIN Exte rior Images MUSTOE 59 Precedents JEWISH MUSEUM BERLIN Interior Images MUSTOE 60 Precedents MEMORIALS HIROSHIMA MEMORIAL PEACE PARK HIROSHIMA, JAPAN MEMORIAL TO THE MURDERED JEWS OF EUROPE BERLIN, GERMANY RWANDA GISOZI GENOCIDE MEMORIAL KIGAL, RWANDA VIETNAM WAR MEMORIAL WASHINGTON, DC Memorials are used to create a physical reminder of an event. They are used for many reasons - to pay tribute, to praise, to honor, to grieve, to ask forgiveness. They are often used to represent tragic losses of life and their purpose is to evoke emotion and rememberance. Each of these memorials are from a different region of the world - Asia, Europe, Africa, and North America. They were chosen as a precedent for memorializing people who have died in tragic ways. They each seek to memorialize the memory of both people and the events that happened. This is an impor-tant set of precedents for the United Nations Center on Global Terrorism's International Memorial, because these show the ways that different cultures and societies create remember-ance in physical form. MUSTOE 61 Precedents HIROSHIMA MEMORIAL PEACE PARK Children's Memorial A-Bomb Dome This domed building was one of the only buildings left standing after the Atom Bomb was drowed. II was left as II reminder of Ihe daslruction and devestalion. The Children's Memorial is dedicated to all the children who died in the Atom Bomb blest and who died tater from radiation. II was unveiled in t958 after the death of a young gil1 who had tukemia due to the radialion. Before she died she tried to fold 1000 paper cranes in the hopes that the gods would restore her to health. She made 644 cranes before dying, and her dassmates folded the remaining 356 for her. Today thoosands upon thoosands of craneS are left at the childrens memoriat In memory. MUSTOE 62 Precedents HIROSHIMA MEMORIAL PEACE PARK Map Memorial Cenotaph The oontrol monument dedicated to !he victims_ AI the center is a coffin with a name l"lI9ister of the victims. Ne~t to ~ is the Flame of Peaoo which will born unlil all nuclear bombs are destroyed. Flame of Peace MUSTOE 63 Precedents MEMORIAL TO THE MURDERED JEWS OF EUROPE Memorial Concrete Blocks 2711 concrete slabs are arranged In a grid pattern on a 204.000 SF site. The tIIock heights range from 112 foot 10 15 112 feet tall and are on a sloping site. The ovtlrall effect produces an un8;lsy. OOfIfusing atmosphere. An attached underground "place of information' will hold the names of the vidims. Visitor MUSTOE 64 Precedents MEMORIAL TO THE MURDERED JEWS OF EUROPE MUSTOE 65 Precedents RWANDA GISOZI GENOCIDE MEMORIAL Memorial Grounds The Gisozi Genocide MemOOsl in Gisozi is dedicated to the 600,000 Tutsl's who Wflre murdered by the Hutu's in Rwanda in 1994 during a 100 day killing spree called Intemhamwe, There are 250,000 people buried here in mass gra"",s. Pari 01 the memorial is the open grave seen In the right pic1ure, Open Grave MUSTOE 66 Precedents RWANDA GISOZI GENOCIDE MEMORIAL Memorial Grounds Skulls of Victims MUSTOE 67 Precedents VIETNAM WAR MEMORIAL Memorial Wall The Voetnam War Memorial was built in 1982 to honor those who served in the contraVf!~al Voetnam War. The memorial was conceived and designed to make f>C} political statement whatsoever about the war. The Vietnam Veterans Memorial is a place whef<! everyone, regard less of opinion, can oome together and rememt>e, and ho/'Iof those who served. The names of the 56,196 soldiers who wef<! kitted in Voetnam af<! written on the watt. This memorial focuses on the ooIlectiVf! and giVf!s f>C} spedal recognition \0 any singular person Of eVf!nl during the war. Wall of Names MUSTOE 68 Precedents VIETNAM WAR MEMORIAL MUSTOE 69 Design DESIGN STATEMENT We are not the generation that migrated West to plow the earth. Neither are we the generation that fought the Great World Wars and lived through the depression. Nor are we the generation that went to Vietnam and gave all citizens equal rights. We are the generation that must face Global Terrorism. We are not alone. Every country in the world is affected by terror-ism, either directly or indirectly. The United Nations has called for a unified global strategy to deal with terrorism. However, individual nations have decided to fight terrorism using their own means and methods. In the process many fundamental freedoms have been compromised in the name of security. The United Nations Center on Global Terrorism is a building designed to evoke awareness, thought, and discussion, as well as action toward mitigating global terrorism. It is also an International Memorial for victims of terrorism, designed with the concept of Absence. MUSTOE 70 Design PROCESS RIP & TEAR MODELS MUSTOE 71 Design PROCESS RIP & TEAR MODELS MUSTOE 72 Design PROCESS RIP & TEAR MODELS MUSTOE 73 Design PROCESS CONCEPTUAL PARTI MODELS DEFORMATION SHIFTING ABSENCE MUSTOE 74 Design PROCESS ABSENCE PARTI MUSTOE 75 Design PROCESS INTERNAL SPATIAL STUDIES MUSTOE 76 Design PROCESS PROPORTION STUDIES MUSTOE 77 Design PROCESS LIGHTING STUDIES MUSTOE 78 Design PROCESS STRUCTURAL STUDIES The structure is pushed to the outside of the building, creating a shell like structure, allowing all the rooms to be cantilevered. 􀀷􀁋􀁈􀀃􀁆􀁌􀁕􀁆􀁘􀁏􀁄􀁗􀁌􀁒􀁑􀀃􀁕􀁘􀁑􀁖􀀃􀁚􀁌􀁗􀁋􀁌􀁑􀀃􀁗􀁋􀁈􀀃􀁖􀁋􀁈􀁏􀁏􀀃􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁌􀁑􀁖􀁌􀁇􀁈􀀃􀁌􀁖􀀃􀁄􀀃􀃀􀁄􀁗􀀃 walkway, while the outside ramps to the next level. The ramp-ing system is long, but is used for mediation and taking time between seeing the tramatic exibits. MUSTOE 79 Design PROCESS MATERIAL STUDY MUSTOE 80 Design FINAL DESIGN NEW YORK CITY ELEVATION The United Nations Center on Global Terrorism will have an important visual impact on the New York City skyline. It is an intentionally iconic building with the upper 400' embracing and resonating absence. The upper portion of the building is an International Memorial to victims of terrorism. It has thousands of open windows and is open to the sky - thus enhancing the effect and feel of absence. Furthermore, one can see through the building and this is shown in this skyline of New York City. MUSTOE 81 Design FINAL DESIGN VIEWING ABSENCE THROUGH THE BUILDING As one approaches the building it is evident that the upper portion of the building is empty. These are different views from within the city looking at the building. MUSTOE 82 Design FINAL DESIGN SITE + PROGRAM PROGRAM Entrance Orientation Rooms Permanent Exhibition on The History of Terrorism Rotating Exhibitions on Current Terrorist Events Rotating Exhibitions on Grievances Rememberance Hall International Memorial Archive Library Lecture Hall Service + Support The site of the building is next to the United Nations. The building is drawn back from the street and sunk below street and sidewalk level. MUSTOE 83 Design FINAL DESIGN ENTRANCE The entrance to the building is a large split in the side of the building. This is the first indication that this is not a normal building, and it also exposes the rooms that are cantilevered off the structure, a second indication that this place is different. The building is set down 12' into the site so that the user must engage the site to enter the building. This removes the user from the busy streets of New York and begins to prepare them for the experience of seeing exhibitions on terrorism. The water wall further enhances the experience by acting as a soothing visual as well as a noise barrier from the city. The large plaza accomodates large groups as well as individuals entering the buildng. MUSTOE 84 Design FINAL DESIGN SECTION + MEMORIAL The rooms of the building are cantilevered off of the structure, thus hanging in the absence of the building. The circulation is in the walls of the building shell and allows for each room to be an independent cantilever. The roof of the top floor is the International Memorial to victims of terrorism. The view below is looking up into 400' of absence. You can not go to the top of the building. My philosophy on this is that we go to the tops of buidlings and mountains as a way of conquering things that are greater than ourselves. However, the loss and absence that comes from terrorism is not something we can conquer. It is a permanent and irrevo-cable absence. The buidling material is corten steel which is a vulnerable ma-terial, but it finds it's strenght in it's vulnerablity by developing a patina as it rusts. I correlate this to people - we are vulneralbe to terrorism, but we are also our own greatest strength. MUSTOE 85 Design FINAL DESIGN FLOOR PLANS BASEMENT 2 BASEMENT 1 ENTRANCE MUSTOE 86 Design FINAL DESIGN FLOOR PLANS LEVEL 2 LEVEL 3 LEVEL 4 MUSTOE 87 Design FINAL DESIGN FLOOR PLANS LEVEL 5 LEVEL 6 LEVEL 7 MUSTOE 88 Design FINAL DESIGN FLOOR PLANS LEVEL 8 LEVEL 9 LEVEL 10 MUSTOE 89 Design FINAL DESIGN FLOOR PLANS LEVEL 11 LEVEL 12 LEVEL 13 MUSTOE 90 Design FINAL DESIGN FLOOR PLANS LEVEL 14 TYPICAL LEVEL 15-38 MUSTOE 91 Design FINAL DESIGN WALL SECTION MUSTOE 92 Design FINAL DESIGN 1/64" MODEL IMAGES MUSTOE 93 Design FINAL DESIGN 1/32" MODEL IMAGES MUSTOE 94 Design FINAL DESIGN 1/4" SECTION MODEL IMAGES MUSTOE 95 Bibliography 􀀵􀁈􀁄􀁇􀀃􀁑􀁒􀁗􀀃􀁗􀁒􀀃􀁆􀁒􀁑􀁗􀁕􀁄􀁇􀁌􀁆􀁗􀀃􀁄􀁑􀁇􀀃􀁆􀁒􀁑􀁉􀁘􀁗􀁈􀀞􀀃􀁑􀁒􀁕􀀃􀁗􀁒􀀃􀁅􀁈􀁏􀁌􀁈􀁙􀁈􀀃􀁄􀁑􀁇􀀃􀁗􀁄􀁎􀁈􀀃􀁉􀁒􀁕􀀃􀁊􀁕􀁄􀁑􀁗􀁈􀁇􀀞􀀃􀁑􀁒􀁕􀀃􀁗􀁒􀀃􀂿􀁑􀁇􀀃􀁗􀁄􀁏􀁎􀀃􀁄􀁑􀁇􀀃􀁇􀁌􀁖􀁆􀁒􀁘􀁕􀁖􀁈􀀞􀀃 but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested: that is, some books are to be read only in parts, others to be read, but not curiously, and some few to be read wholly, and with diligence and attention. Francis Bacon Subjects Architecture; Education; Memorial; Memory; Museum; New York City; Terrorism; United Nations Arnold, Dana, and Andrew Ballantyne, eds. Architecture as Experience. New York: Routledge, 2004. Architecture This is an architectural investigation of the volatile nature of meaning as it applies to architecture. It explores various buildings and places that are well known, such as the Parthenon, and details how different groups of people at different periods in time ap-plied their own particular identity, concepts, and expressions to the building or place. It is an exploration in architectural history and delves into the theory that buildings and places that are largely unchanging can in fact have changing meanings over time. The authors are in academia as professors and all hold backgrounds in architecture or architectural history. The idea that a build-ing can contain different meanings to different groups is of particular interest to me because the thesis I am investigating deals with a building that is for world wide use and needs to transcend the meanings that a single world citizen, (myself) attaches to it. Binet, Helene and Raoul Bunschoten. A Passage Through Silence and Light: Daniel Libeskind's Jewish Museum Extension to the Berlin Museum. London: Black Dog Publishing Limited, 1997. Architecture Museum This is a beautiful study of light in the Berlin Jewish Museum. It is almost entirely images and it shows the very strong impact that light can have in a space. Binet, Helene and Daniel Libeskind. Jewish Museum Berlin. Ruksaldruck: Taylor and Francis, 1999. Architecture Museum This book is an indepth look at the architecture and design concepts for the Jewish Museum in Berlin which was designed by Daniel Libeskind. MUSTOE 96 Bibliography Bonechi, Monica. New York. Florence: Casa Editrice Bonechi, 2002. New York City Architecture A brief history of New York City with depiction and images of many of the cities renowned sites. Corlett, J. Angelo. Terrorism: A Philosophical Analysis. San Diego: San Diego State University, 2003. Terrorism J. Angelo Corlett is a professor of philosophy and ethics in the Department of Ethics at San Diego State University in California. 􀀫􀁌􀁖􀀃􀁅􀁒􀁒􀁎􀀃􀁇􀁈􀁄􀁏􀁖􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁋􀁈􀀃􀁐􀁒􀁕􀁄􀁏􀀃􀁄􀁑􀁇􀀃􀁓􀁋􀁌􀁏􀁒􀁖􀁒􀁓􀁋􀁌􀁆􀁄􀁏􀀃􀁄􀁖􀁖􀁈􀁖􀁖􀁐􀁈􀁑􀁗􀀃􀁒􀁉􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀃􀁄􀁑􀁇􀀃􀁖􀁘􀁆􀁆􀁈􀁖􀁖􀁌􀁒􀁑􀀑􀀃􀀃􀀫􀁈􀀃􀁇􀁈􀂿􀁑􀁈􀁖􀀃􀁄􀀃􀁇􀁈􀂿􀁑􀁌􀁗􀁌􀁒􀁑􀀃􀁅􀁈􀁗􀁚􀁈􀁈􀁑􀀃􀁗􀁈􀁕- 􀁕􀁒􀁕􀁌􀁖􀁐􀀃􀁄􀁑􀁇􀀃􀁖􀁘􀁆􀁆􀁈􀁖􀁖􀁌􀁒􀁑􀀃􀁄􀁑􀁇􀀃􀁈􀁛􀁓􀁏􀁒􀁕􀁈􀁖􀀃􀁚􀁋􀁈􀁗􀁋􀁈􀁕􀀃􀁗􀁋􀁈􀁖􀁈􀀃􀁈􀁙􀁈􀁕􀀃􀁋􀁄􀁙􀁈􀀃􀁍􀁘􀁖􀁗􀁌􀂿􀁆􀁄􀁗􀁌􀁒􀁑􀀃􀁉􀁒􀁕􀀃􀁅􀁈􀁌􀁑􀁊􀀃􀁘􀁖􀁈􀁇􀀑􀀃􀀃􀀫􀁈􀀃􀁘􀁖􀁈􀁖􀀃􀁄􀀃􀁓􀁋􀁌􀁏􀁒􀁖􀁒􀁓􀁋􀁌􀁆􀁄􀁏􀀃􀁄􀁓􀁓􀁕􀁒􀁄􀁆􀁋􀀃􀁗􀁒􀀃 􀁄􀁑􀁖􀁚􀁈􀁕􀁌􀁑􀁊􀀃􀁔􀁘􀁈􀁖􀁗􀁌􀁒􀁑􀁖􀀃􀁖􀁘􀁆􀁋􀀃􀁄􀁖􀀃􀂳􀁌􀁖􀀃􀁗􀁋􀁈􀁕􀁈􀀃􀁄􀀃􀁐􀁒􀁕􀁄􀁏􀀃􀁇􀁘􀁗􀁜􀀃􀁗􀁒􀀃􀁒􀁅􀁈􀁜􀀃􀁗􀁋􀁈􀀃􀁏􀁄􀁚􀀢􀂴􀀃􀁄􀁑􀁇􀀃􀂳􀁆􀁄􀁑􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀃􀁈􀁙􀁈􀁕􀀃􀁅􀁈􀀃􀁐􀁒􀁕􀁄􀁏􀁏􀁜􀀃􀁍􀁘􀁖􀁗􀁌􀂿􀁈􀁇􀀢􀂴􀀃􀁅􀁜􀀃􀁈􀁛􀁓􀁏􀁒􀁕􀁌􀁑􀁊􀀃 positions taken by philosophers like Socrates, Locke, Rawls, Kant. As a philosophical reading it is intriguing as it actually explores the morals of terrorism and succession. Crotty, William, and Amilcar Antonio Barreto, eds. Democratic Development and Political Terrorism: The Global Perspective. Bos-ton: Northeastern University Press, 2005. Terrorism William Crotty is the director of the Center for the Study of Democracy at Northeastern University. The various contributors to this book tend to be professors in political science at universities or hold graduate degrees in political science. The book itself is a very comprehensive look at democracy and terrorism across the globe. It focuses on the regions of the Middle East, Asia, Africa, Western Europe, Eastern Europe, and Latin and Central America. Ironically it does not look at North America, where all the writ-ers are located. The book explores the world post 9/11 through the lens of terrorism as the worlds biggest threat to a stable world order. The value of this book to my research is the critical examination of global implications based on terrorist's activities. Dannatt, Adrian. United States Holocaust Museum: James Ingo Freed. London: Phaidon Press, 1995. Architecture Museum Memory This gives an overview of the architecture and design concepts of the Holocaust Museum in Washington DC which was designed by James Ingo Freed. Danner, Mark. "Is He Winning? Taking Stock in the Forever War." The New York Times Magazine 11 Sept, 2005: 44. Terrorism This is a current view and critic of the ‘war on terrorism' that the United States is waging. It gives an insight into the opinions of 􀁗􀁋􀁈􀀃􀁓􀁘􀁅􀁏􀁌􀁆􀀃􀁄􀁅􀁒􀁘􀁗􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀏􀀃􀁖􀁓􀁈􀁆􀁌􀂿􀁆􀁄􀁏􀁏􀁜􀀃􀁗􀁋􀁈􀀃􀀸􀀶􀀃􀁕􀁒􀁏􀁈􀀑 MUSTOE 97 Bibliography Davis, Douglas. The Museum Transformed. New York: Abbeville Press, 1990. Architecture Museum This book looks extensively at the architectural form and program of museums. It looks at the conventional role of the museum as a "sanctuary for serene contemplation" and then shows how over the past three decades architecture has challenged this role. Today's museums feature much more than galleries - they have metamorphosed into spaces for classrooms, libraries, restau-rants, lounges, theaters, shops, and gardens. The forms and programs of museums have evolved. This book is focuses on museums that embody this change and it is a thorough review of museum design since 1977. This is an important body of work to my thesis because I will be dealing with the many of the programmatic elements found in museums. Downing, Frances. Remembrance and the Design of Place. College Station: Texas A&M University Press, 2000. Architecture Memory This book is dealing with memory and place. It claims that we all retain memories of places and these memories help to identify who we are as individuals. They tie us to networks of people, culture, and society. In addition, it looks at methods for using these 􀁐􀁈􀁐􀁒􀁕􀁌􀁈􀁖􀀃􀁒􀁉􀀃􀁓􀁏􀁄􀁆􀁈􀀃􀁌􀁑􀀃􀁇􀁈􀁖􀁌􀁊􀁑􀀃􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁖􀁌􀁊􀁑􀁌􀂿􀁆􀁄􀁑􀁆􀁈􀀃􀁌􀁗􀀃􀁆􀁄􀁑􀀃􀁋􀁄􀁙􀁈􀀃􀁌􀁑􀀃􀁒􀁘􀁕􀀃􀁄􀁕􀁆􀁋􀁌􀁗􀁈􀁆􀁗􀁘􀁕􀁄􀁏􀀃􀁚􀁒􀁕􀁎􀀑􀀃􀀃􀀬􀀃􀁄􀁐􀀃􀁌􀁑􀁗􀁈􀁕􀁈􀁖􀁗􀁈􀁇􀀃􀁌􀁑􀀃􀁗􀁋􀁌􀁖􀀃􀁚􀁒􀁕􀁎􀀃􀁄􀁖􀀃􀁌􀁗􀀃􀁄􀁓􀁓􀁏􀁌􀁈􀁖􀀃􀁗􀁒􀀃 developing memory in architecture, especially as it applies across cultures. Ellsworth, Elizabeth Places of Learning: Media, Architecture, Pedagogy. New York: Routledge, 2005. Architecture Education This book has a chapter of particular interest to me, "The US Holocaust Memorial Museum as a Scene of Pedagogical Address". 􀀷􀁋􀁌􀁖􀀃􀁆􀁋􀁄􀁓􀁗􀁈􀁕􀀃􀁇􀁈􀁄􀁏􀁖􀀃􀁖􀁓􀁈􀁆􀁌􀂿􀁆􀁄􀁏􀁏􀁜􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁋􀁈􀀃􀁆􀁋􀁄􀁏􀁏􀁈􀁑􀁊􀁈􀁖􀀃􀁒􀁉􀀃􀁇􀁈􀁖􀁌􀁊􀁑􀁈􀁕􀁖􀀃􀁚􀁋􀁒􀀃􀁖􀁈􀁈􀁎􀀃􀁗􀁒􀀃􀁇􀁈􀁄􀁏􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁕􀁄􀁘􀁐􀁄􀁗􀁌􀁆􀀃􀁋􀁌􀁖􀁗􀁒􀁕􀁌􀁈􀁖􀀃􀁖􀁘􀁆􀁋􀀃􀁄􀁖􀀃􀁗􀁋􀁈􀀃􀀫􀁒􀁏􀁒􀁆􀁄􀁘􀁖􀁗􀀃 (or in my case terrorist attacks). Some of these challenges include how do you design exhibits with lapsing into entertainment, how do you give form to the act of memory, how might the design represent the absence of the people it is commemorating? How do you teach across social and cultural differences? It analyzes the Holocaust memorial as a pedagogical masterpiece. Friedman, Thomas. Longitudes and Latitudes: The World in an Age of Terrorism. NY: Farrar, Straus & Giroux, 2002. Terrorism Memory Thomas Friedman is a Pulitzer Prize winning author and New York Times foreign affairs columnist. This book is a collection of his columns from the New York Times. There are 11 columns written before 9/11, and nearly every column written from 9/13/01 - 4/20/03. He also includes a diary of his experiences while traveling post 9/11. The collection of works is raw material, not histori- 􀁆􀁄􀁏􀀃􀁌􀁑􀁗􀁈􀁕􀁓􀁕􀁈􀁗􀁄􀁗􀁌􀁒􀁑􀀑􀀃􀀃􀀬􀁗􀀃􀁌􀁖􀀃􀁄􀀃􀂿􀁕􀁖􀁗􀀃􀁋􀁄􀁑􀁇􀀃􀁄􀁆􀁆􀁒􀁘􀁑􀁗􀀃􀁒􀁉􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀃􀁄􀁑􀁇􀀃􀁌􀁗􀀃􀁌􀁖􀀃􀁈􀁖􀁖􀁈􀁑􀁗􀁌􀁄􀁏􀁏􀁜􀀃􀁄􀀃􀂳􀁚􀁒􀁕􀁇􀀃􀁄􀁏􀁅􀁘􀁐􀂴􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀀶􀁈􀁓􀁗􀁈􀁐􀁅􀁈􀁕􀀃􀀔􀀔􀀃􀁈􀁛􀁓􀁈􀁕􀁌􀁈􀁑􀁆􀁈􀀑􀀃􀀃􀀬􀁗􀀃􀁌􀁖􀀃 􀁌􀁐􀁓􀁒􀁕􀁗􀁄􀁑􀁗􀀃􀁌􀁑􀀃􀁐􀁜􀀃􀁕􀁈􀁖􀁈􀁄􀁕􀁆􀁋􀀃􀁗􀁒􀀃􀂿􀁑􀁇􀀃􀁗􀁋􀁈􀁖􀁈􀀃􀁗􀁜􀁓􀁈􀁖􀀃􀁒􀁉􀀃􀁄􀁆􀁆􀁒􀁘􀁑􀁗􀁖􀀃􀂱􀀃􀀬􀀃􀁋􀁄􀁙􀁈􀀃􀁗􀁋􀁘􀁖􀀃􀁉􀁄􀁕􀀃􀁋􀁄􀁇􀀃􀁄􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃􀁗􀁌􀁐􀁈􀀃􀂿􀁑􀁇􀁌􀁑􀁊􀀃􀁚􀁕􀁌􀁗􀁗􀁈􀁑􀀃􀁄􀁑􀁇􀀃􀁓􀁘􀁅􀁏􀁌􀁖􀁋􀁈􀁇􀀃􀁌􀁑􀁉􀁒􀁕􀁐􀁄- tion from the people's point of view. Often my research brings up government documents, political information, and organizational 􀀋􀁘􀁑􀁌􀁙􀁈􀁕􀁖􀁌􀁗􀁜􀀏􀀃􀁑􀁒􀁑􀀐􀁓􀁕􀁒􀂿􀁗􀁖􀀏􀀃􀁈􀁗􀁆􀀑􀀌􀀃􀁗􀁜􀁓􀁈􀀃􀁕􀁈􀁆􀁒􀁕􀁇􀁖􀀃􀁄􀁑􀁇􀀃􀁌􀁑􀁗􀁈􀁕􀁓􀁕􀁈􀁗􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀁒􀁉􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁐􀀑􀀃􀀃􀀬􀁗􀀃􀁌􀁖􀀃􀁌􀁐􀁓􀁒􀁕􀁗􀁄􀁑􀁗􀀃􀁗􀁒􀀃􀂿􀁑􀁇􀀃􀁓􀁈􀁕􀁖􀁒􀁑􀁄􀁏􀀃􀁑􀁄􀁕􀁕􀁄􀁗􀁌􀁙􀁈􀁖􀀃􀁄􀁏􀁖􀁒􀀑 MUSTOE 98 Bibliography Fujimoto, Grace. Moon Metro New York City 2nd Edition. Hong Kong: Avalon Travel Publishing Group: 2003. New York City Maps and major sites / descriptions of New York City. Kaplan, Harold. Conscience and Memory: Meditations in a Museum of the Holocaust. Chicago: University of Chicago Press, 1994. Memory Muesum This book looks at the United States Holocaust Museum in an analytical way and its position as memory maker. Kaplan states in the introduction that "no one can enter the actual suffering of victims, but we can share consciousness with them, whether it is of terror, or pity, or fearful guilt, all grounded in our selves". He discusses how a person comes into this consciousness and ad-dresses ideas of the exhibition acting to creates consciousness and memory. Memories of events can be created after the event via museums like this - so this book is valuable in that it discusses and analyzes this issue. Libeskind, Daniel. Extension to the Berlin Museum with Jewish Museum Department. Berlin: Ernst & Sohn, 1992. Architecture Museum Memory 􀀬􀀃􀁄􀁐􀀃􀁗􀁄􀁎􀁈􀁑􀀃􀁅􀁜􀀃􀁗􀁋􀁌􀁖􀀃􀁖􀁗􀁄􀁗􀁈􀁐􀁈􀁑􀁗􀀃􀁐􀁄􀁇􀁈􀀃􀁄􀁅􀁒􀁘􀁗􀀃􀁗􀁋􀁈􀀃􀀭􀁈􀁚􀁌􀁖􀁋􀀃􀁐􀁘􀁖􀁈􀁘􀁐􀀝􀀃􀂳􀀷􀁋􀁌􀁖􀀃􀁌􀁖􀀃􀁗􀁋􀁈􀀃􀁐􀁒􀁖􀁗􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃􀁓􀁕􀁒􀁍􀁈􀁆􀁗􀀃􀁉􀁒􀁕􀀃􀁄􀀃􀁐􀁘􀁖􀁈􀁘􀁐􀀃􀁗􀁋􀁄􀁗􀀃􀀬􀀃􀁆􀁄􀁑􀀃􀁌􀁐􀁄􀁊􀁌􀁑􀁈􀀑􀀃􀀃 􀀬􀁗􀀃􀁌􀁖􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃􀁄􀁑􀁇􀀃􀁐􀁘􀁖􀁗􀀃􀁕􀁈􀁐􀁄􀁌􀁑􀀃􀁗􀁋􀁄􀁗􀀃􀁚􀁄􀁜􀀃􀁅􀁈􀁆􀁄􀁘􀁖􀁈􀀃􀁋􀁌􀁖􀁗􀁒􀁕􀁜􀀃􀁋􀁄􀁖􀀃􀁏􀁈􀁉􀁗􀀃􀁘􀁖􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁋􀁌􀁖􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀁜􀀑􀀃􀀃􀀬􀁉􀀃􀁌􀁗􀀃􀁈􀁙􀁈􀁕􀀃􀁅􀁈􀁆􀁄􀁐􀁈􀀃􀁈􀁄􀁖􀁜􀀃􀁌􀁗􀀃􀁚􀁒􀁘􀁏􀁇􀀃􀁏􀁒􀁖􀁈􀀃􀁌􀁗􀁖􀀃􀁐􀁈􀁄􀁑- 􀁌􀁑􀁊􀀑􀂴􀀃􀀃􀀷􀁋􀁌􀁖􀀃􀁅􀁒􀁒􀁎􀀃􀁏􀁒􀁒􀁎􀁖􀀃􀁄􀁗􀀃􀁗􀁋􀁈􀀃􀀭􀁈􀁚􀁌􀁖􀁋􀀃􀀰􀁘􀁖􀁈􀁘􀁐􀀃􀁌􀁑􀀃􀀥􀁈􀁕􀁏􀁌􀁑􀀃􀂱􀀃􀁄􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃􀁓􀁕􀁒􀁍􀁈􀁆􀁗􀀃􀁌􀁑􀁙􀁒􀁏􀁙􀁌􀁑􀁊􀀃􀁐􀁈􀁐􀁒􀁕􀁜􀀏􀀃􀁄􀁕􀁆􀁋􀁌􀁗􀁈􀁆􀁗􀁘􀁕􀁈􀀏􀀃􀁄􀁑􀁇􀀃􀁗􀁋􀁈􀀃􀁑􀁈􀁈􀁇􀀃􀁉􀁒􀁕􀀃􀁄􀀃􀁐􀁘- seum. It has many of the same issues I will face in my thesis project and is a valuable resource for dealing with these issues. Lin, Maya Boundries. Italy, Simon & Schuster, 2000. Architecture Memory Maya Lin is best known for her design of the Vietnam Memorial in Washington D.C. This book is an exploration of that piece as well as a collection of her works. She deals with memory in architectural expression and I am interested in her simple yet power gestures in form. MUSTOE 99 Bibliography Quantrill, Malcolm. The Environmental Memory: Man and Architecture in the Landscape of Ideas. New York: Schocken Books, 1987. Architecture Memory Malcolm Quantrill explores the built environment and its impact on our memory in this book. He looks at environmental memory as a purveyor of understanding of our place in the world. By environment, he means the objects that surround us, and it is in 􀁗􀁋􀁈􀁖􀁈􀀃􀁒􀁅􀁍􀁈􀁆􀁗􀁖􀀏􀀃􀁅􀁘􀁌􀁏􀁇􀁌􀁑􀁊􀁖􀀏􀀃􀁖􀁗􀁕􀁈􀁈􀁗􀁖􀀏􀀃􀁗􀁋􀁄􀁗􀀃􀁚􀁈􀀃􀂿􀁑􀁇􀀃􀁄􀀃􀁇􀁈􀁓􀁈􀁑􀁇􀁄􀁅􀁏􀁈􀀃􀁉􀁕􀁄􀁐􀁈􀁚􀁒􀁕􀁎􀀑􀀃􀀃􀀩􀁘􀁕􀁗􀁋􀁈􀁕􀁐􀁒􀁕􀁈􀀏􀀃􀁋􀁈􀀃􀁈􀁛􀁓􀁏􀁒􀁕􀁈􀁖􀀃􀁋􀁒􀁚􀀃􀁗􀁋􀁌􀁖􀀃􀁉􀁕􀁄􀁐􀁈􀁚􀁒􀁕􀁎􀀃􀁋􀁄􀁖􀀃􀁄􀁑􀀃􀁘􀁑- derlying metaphysical, ritual order that is not immediately apparent, but is the fourth dimension that carries our cultural memories. He also explores how we reference the existing framework of built existence and we then invent new ones. This is an interesting look at how buildings impact our memories and he has several studies of cities, plazas, buildings, and spaces. Steele, James, and Ian Ritchie, eds. Museum Builders. Berlin: Ernst & Sohn, 1994. Architecture Museum A very large volume of museums are represented in this work. Swanson, Gail Behind the Scenes: Ground Zero, A Collection of Personal Accounts. New York: TRAC Team, 2003. Terrorism 􀀷􀁋􀁌􀁖􀀃􀁌􀁖􀀃􀁄􀀃􀁖􀁈􀁗􀀃􀁒􀁉􀀃􀁓􀁈􀁕􀁖􀁒􀁑􀁄􀁏􀀃􀁄􀁆􀁆􀁒􀁘􀁑􀁗􀁖􀀃􀁉􀁕􀁒􀁐􀀃􀁄􀀃􀁗􀁈􀁕􀁕􀁒􀁕􀁌􀁖􀁗􀀃􀁈􀁙􀁈􀁑􀁗􀀑􀀃􀀃􀀬􀁗􀀃􀁌􀁖􀀃􀁙􀁈􀁕􀁜􀀃􀁇􀁌􀁉􀂿􀁆􀁘􀁏􀁗􀀃􀁗􀁒􀀃􀁒􀁅􀁗􀁄􀁌􀁑􀀃􀁓􀁈􀁕􀁖􀁒􀁑􀁄􀁏􀀃􀁒􀁕􀀃􀂿􀁕􀁖􀁗􀀐􀁋􀁄􀁑􀁇􀀃􀁚􀁌􀁗􀁑􀁈􀁖􀁖􀀃􀁄􀁆􀁆􀁒􀁘􀁑􀁗􀁖􀀃􀁉􀁕􀁒􀁐􀀃 terrorist victims. There is a very small body of work on this topic - this was the only set of written work available. It has a pro-found depth of insight from victims and those who responded to the Septemeber 11, 2001 attacks in New York. It is very personal and tragic and is a resource to help understand terrorism from the victims point of view. Wienberg, Jeshajahu, and Rina Elieli. The Holocaust Museum in Washington. New York: Rizzoli International Publications, 1995. Architecture Museum Memory A very in depth look at the Holocaust Museum in Washington DC. This is a very important precedent to my thesis and this book in particular looks at the displays and way of portraying the information to the viewers. MUSTOE 100 Bibliography Young, James E. At Memories Edge: After-Images of the Holocaust in Contemporary Art and Architecture. London: Yale Univer-sity Press, 2000. 􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀀲􀁉􀂿􀁆􀁌􀁄􀁏􀀃􀀺􀁈􀁅􀁖􀁌􀁗􀁈􀀏􀀃􀀟􀁚􀁚􀁚􀀑􀁘􀁑􀀑􀁒􀁕􀁊􀀡􀀏􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀏􀀃􀀱􀀼􀀝􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀏􀀃􀀕􀀓􀀓􀀘􀀑 Architecture Museum Memorial This is an examination of Germany's creation of the Jewish Museum in Berlin. James Young was the only foreigner and only Jew 􀁒􀁑􀀃􀁗􀁋􀁈􀀃􀁓􀁄􀁑􀁈􀁏􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁆􀁒􀁐􀁐􀁌􀁖􀁖􀁌􀁒􀁑􀀃􀁄􀁓􀁓􀁒􀁌􀁑􀁗􀁈􀁇􀀃􀁗􀁒􀀃􀁗􀁄􀁎􀁈􀀃􀁒􀁑􀀃􀁗􀁋􀁌􀁖􀀃􀁗􀁄􀁖􀁎􀀑􀀃􀀃􀀬􀁗􀀃􀁌􀁖􀀃􀁄􀀃􀂿􀁕􀁖􀁗􀀃􀁋􀁄􀁑􀁇􀀃􀁄􀁆􀁆􀁒􀁘􀁑􀁗􀀃􀁒􀁉􀀃􀁗􀁋􀁈􀀃􀁌􀁖􀁖􀁘􀁈􀁖􀀃􀁗􀁋􀁄􀁗􀀃􀁚􀁈􀁕􀁈􀀃􀁇􀁈􀁄􀁏􀁗􀀃􀁚􀁌􀁗􀁋􀀃􀁌􀁑􀀃􀁆􀁕􀁈􀁄􀁗- ing this place. One of the main issues was that the people creating it were not directly affected by the Holocaust - they were born 􀁄􀁉􀁗􀁈􀁕􀀃􀁌􀁗􀀑􀀃􀀃􀀫􀁒􀁚􀁈􀁙􀁈􀁕􀀏􀀃􀁌􀁗􀀃􀁌􀁑􀁇􀁈􀁏􀁌􀁅􀁏􀁜􀀃􀁖􀁋􀁄􀁓􀁈􀁇􀀃􀁗􀁋􀁈􀁌􀁕􀀃􀁐􀁈􀁐􀁒􀁕􀁌􀁈􀁖􀀃􀁄􀁖􀀃􀁌􀁗􀀃􀁚􀁄􀁖􀀃􀁓􀁄􀁖􀁖􀁈􀁇􀀃􀁇􀁒􀁚􀁑􀀃􀁗􀁋􀁕􀁒􀁘􀁊􀁋􀀃􀁐􀁈􀁐􀁒􀁌􀁕􀁖􀀏􀀃􀂿􀁏􀁐􀀏􀀃􀁓􀁋􀁒􀁗􀁒􀁊􀁕􀁄􀁓􀁋􀁖􀀃􀁄􀁑􀁇􀀃􀁐􀁘􀁖􀁈􀁘􀁐􀁖􀀑􀀃􀀃 The book offers insight into the controversy over the museum, which is naturally a part of any project of this emotional magnitude. 􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀀟􀁚􀁚􀁚􀀑􀁘􀁑􀀑􀁒􀁕􀁊􀀡􀀏􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀏􀀃􀀱􀀼􀀝􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀏􀀃􀀕􀀓􀀓􀀘􀀑 United Nations Terrorism 􀀷􀁋􀁈􀀃􀀸􀁑􀁌􀁗􀁈􀁇􀀃􀀱􀁄􀁗􀁌􀁒􀁑􀁖􀀃􀁚􀁈􀁅􀁖􀁌􀁗􀁈􀀃􀁌􀁖􀀃􀁄􀀃􀁆􀁕􀁌􀁗􀁌􀁆􀁄􀁏􀀃􀁕􀁈􀁖􀁒􀁘􀁕􀁆􀁈􀀃􀁉􀁒􀁕􀀃􀁐􀁈􀀃􀁌􀁑􀀃􀂿􀁑􀁇􀁌􀁑􀁊􀀃􀁅􀁄􀁖􀁌􀁆􀀃􀁌􀁑􀁉􀁒􀁕􀁐􀁄􀁗􀁌􀁒􀁑􀀃􀁒􀁑􀀃􀁗􀁋􀁈􀀃􀀸􀀱􀀏􀀃􀁓􀁕􀁈􀁖􀁖􀀃􀁕􀁈􀁏􀁈􀁄􀁖􀁈􀁖􀀏􀀃􀁘􀁓􀁇􀁄􀁗􀁈􀁇􀀃􀁖􀁗􀁄􀁗􀁈- ments, and how the UN is handling terrorism. It is an enormous website and unfortunately it is not very well organized. However, there is a wealth of information there and it will be a critical resource throughout my thesis.