1. [NPR] National Archives Puts Nazi Papers On Public View →

    COPYRIGHT THE ASSOCIATED PRESS

    WASHINGTON October 6, 2010, 05:19 pm ET

    The laws signed by Adolf Hitler taking away the citizenship of German Jews before the Holocaust were placed on rare public display Wednesday at the National Archives.

    The Nuremberg Laws were turned over to the archives in August by The Huntington, a museum complex near Los Angeles where they were quietly deposited by Gen. George Patton at the end of World War II. The papers will be on display in a separate gallery from the U.S. Constitution and Declaration of Independence through Oct. 18.

    Tony Platt, a historian who has studied the laws and is currently researching in Berlin, said the laws offer lessons from what happened in Germany and from how the documents were hidden away in the United States for decades.

    “They’re symbolically important because this was done in a public way and because Hitler actually signed these documents,” he said Wednesday.

    Still, Nazi actions against the Jews began before the laws were signed in 1935 with earlier policies barring Jews from certain jobs and occupations.

    Previously, the Nuremberg Laws had only been displayed in Los Angeles while on loan from The Huntington to the Skirball Cultural Center, which includes a Jewish history museum.

    The handling of the original Nuremberg Laws has frustrated some scholars and the family of one of the soldiers who uncovered them in Germany. U.S. soldiers first found them in a German bank vault and gave them to Patton. At the end of World War II, Patton disobeyed orders by taking the papers out of Germany.

    Patton, a known war souvenir collector, quietly left them at The Huntington without clear instructions, and died shortly afterwards after he was in a car crash. Patton had been friends with the family of Henry Huntington, the California railroad baron behind the museum complex on his estate.

    The documents should have served as evidence in the Nazi war crimes trials, scholars have said.

    “In many times during the trial, they would confront the defendants with original documents they had signed, and it was very dramatic,” said Greg Bradsher, a senior archivist who specializes in World War II history at the National Archives.

    Without the original Nuremberg Laws, prosecutors used a copy published the day after the laws were passed. All the trial evidence eventually was sent to the archives in Washington.

    “So in many respects, this is coming to us 63 years late,” Bradsher said.

    The unveiling of the documents pleased the family of a Jewish soldier who was part of the group that originally found the papers in Germany. The soldier, Martin Dannenberg, told his family for years that he knew Nazi documents they had recovered were lost, according to his son, Richard Dannenberg of Owings Mills, Md.

    “My father turned these documents over three days later to Patton’s office, as he was supposed to, and then apparently Patton just whisked them out of the country,” Richard Dannenberg said. He said his father “felt they should be in a national place where everyone can see them and understand what these led to, the horrors that occurred.”

    Martin Dannenberg died in August, before the papers went on view in Washington.

  2. [Winchester Star] Holocaust survivor’s message: never forget →

    COPYRIGHT Winchester Star

    Posted Oct 28, 2010 @ 04:15 PM

    Winchester, MA —

    One of the worst moments of Eliezer Ayalon’s life came when the German guard, with one swift swoop, smacked away his one worldly possession — a small, porcelain cup.

    It happened at his first of five concentration camps, Blyzin, in the spring of 1943.

    “The first thing that happens when you come to a new camp: there’s a roll call,” Ayalon, now in his eighties, told a capacity crowd at Tufts University’s Cabot Hall. “We were all to put our belongings on the ground to be taken away.”

    Ayalon’s cup was a cherished possession: the last thing his mother had given to him before they parted forever at the ghetto gates in his hometown of Radom, Poland.

    “I was trying to hide this cup,” Ayalon remembered, the pain and emotion of the moment still evident in his strong but measured voice. “I curled my finger around it. And then a guard with a stick in hand approached me, and before I was able to explain to him that this is an empty cup, he smacked my hand and it fell to the ground and broke into pieces.

    “The blow from the stick stung, but my eyes watered for that cup. This was the only thing that I had from my mother and my home, and I was so sad it was no longer with me,” he continued.

    The next day, Ayalon came back to the site of the roll call, hoping desperately to find even a tiny broken piece of his mother’s final gift. There was nothing there. There was nothing anywhere, except hunger, sadness and death — the three consistent forces that followed him relentlessly on a three-year journey to hell and back.

    Sixty-five years later, Ayalon tells his story whenever he has the chance, to as many people as he can. He tells it with honesty, emotion and gusto — not because it’s easy to relieve the nightmares, but because he is the only person in his family who lived to tell it, and one of a dwindling number of Holocaust survivors who take it upon themselves to keep on speaking until there are no voices left.

    Ayalon, who now works as a tour guide at the Holocaust Museum in Israel, was brought to Tufts last Tuesday to tell his story last Tuesday by Winchester resident Bill Cummings, who recently announced he will be donating $1 million from his Beacon Grille Restaurant in Woburn to establishing a Holocaust education program at the university.

    Invasion

    The youngest of four children, Ayalon said he had a “joyful life” before Nazis invaded Radom on Friday, Sept. 8, 1939.

    The Germans wasted little time in forcing every Jew over age 10 to wear the star of David, and began to separate them from non-Jewish Poles by prohibiting them from going to the movies, theaters or places of worship.

    Ayalon never thought that, in the months and years ahead, he would look back at this time or discrimination fondly.

    “To share our happiness and suffering together was not bad,” he said. “This little apartment, our home, bound us. It was safe and warm.”

    Life changed forever seven months later, when Ayalon and his family were packed into a ghetto with 22,000 other Jews in a neighborhood where just 7,000 Poles had lived before.

    Surrounded by barbed wire, guarded by sentries with machine guns, the ghetto was a miserable slum, Ayalon said, where he and other Jews “alternated between the desperate struggle of survival and death from starvation.”

    Opportunity to earn money knocked when the Germans “interviewed” 2,000 young men ages 15 and older for 100 jobs outside the ghetto in a German war factory.

    Though Ayalon was just 13, he did something that would save his life over and over in the coming years: came to attention when spoken to and shouted a crisp, robust reply.

    “I shouted, ‘I’m 15’ so convincingly that he had no doubt,” Ayalon remembered, a defiant smile crossing his face.

    Ayalon’s job was his salvation. It kept him out of the camp six days per week, and when he returned from making the uniforms, boots and helmets for the German soldiers, it was at least with money and bread in his pockets.

    In August 1942, however, things changed again when it was rumored the entire population — except those with work permits, like Ayalon — would be sent east for a “resettlement.”

    “I said, ‘I am staying here. Whatever happens to you will happen to me.

    “My mother insisted I had to go back. She approached me every few minutes and put her hands on my shoulders and said, ‘You have to go back.’”

    Ayalon lost the argument, and on the last afternoon they would share on this earth, mother and son walked slowly to the ghetto gates.

    “As we stepped outside, I noticed that my mother was trying to hide something under the scarf she was wearing,” he remembered. “All I wanted was — if I could only stop the clock. I wanted time to slow so I could stay with my mother a little longer,” he said, his heavy words tinged with longing.

    “I knew that once I got outside the ghetto, I would never see my mother again.”

    Though he pleaded with his mother during the short walk to the gate, she never wavered.

    “She pleaded with me to go, and admitted for the first time that we might be separated.”

    Then came the words that stick to him to this day.

     “As we approached the exit gate, she turned to me and said … ‘If there’s anyone in this family with a chance to survive, it will be you. You will survive.’

    “My mothers words were soothing,” said Ayalon. “She had this magical way to make the hurt and the pain fade away.”

    As she spoke, she handed him what had been concealed under her scarf: a small white porcelain cup, covered with a length of cloth secured with a piece of string.

    “She said to me, take this cup with you. You will have a sweet life, because it was meant to be.

    “I took the cup, hugged my mother and left the ghetto.”

     

    Hell

    The night he left, those in the ghetto were sent to Treblinka, the largest death camp in Poland.

    Two weeks later, Poles at his work told him they heard that Treblinka was a place where Jews were gassed to death.

    “We discounted all this information because we didn’t want to believe that our families were dead,” Ayalon said. “They were dead.”

    However, when Ayalon was allowed a few hours to collect some things one day at the ghetto, he raced home and found that his father and one brother were among about 1,000 Jews who had been left behind to clean the ghetto.

    “My father believed that my mother and the rest of the family would come back soon,” Ayalon said.

    In January 1943, his father and brother were sent to Treblinka. Ayalon never saw anyone from his family again, and soon he was sent himself to a concentration camp, called Blyzin.

    He was told by inmates to tell the Germans he had some skill to avoid hard labor in stone quarries.

    “I decided that I was going to be a shoemaker,” he said — something he willed himself to learn in three days.

    Life began with a 5 a.m. wake-up whistle, at the sound of which he and the others with whom he shared a thin straw mattress and blanket rose with groans in their bellies to face breakfast of brown cold water.

    After all the prisoners were counted in a process that took hours, Ayalon worked until noon, when a lunch of watery soup with the occasional potato skin was served.

    Dinner was a loaf of bread split with five others.

     “I couldn’t wait for the bread every day. I remember watching with hungry eyes and wondering, ‘What part of the bread will I get today? The middle part, or the edge?”

    The worst moments were those in which inmates had to pass a “selection” process in which one man would decide the fate of another with the flick of his wrist.

    “I had this tremendous willpower … to remain on the side of the living,” said Ayalon, spurred by the words of his mother. “I did everything possible to survive.”

    During a selection, Ayalon would stand in a long line of prisoners, each of which would stand in front of a Nazi physician to learn if they were healthy enough to work or should be killed.

    “He would notify you in a split second with a flick of his thumb. Left, right. Left, right. Without saying a single word.”

    Ayalon whispered a prayer before every selection and acted the same way each time.

    “I stood stiffly, removed my jacket and shouted, ‘Shoemaker” — ‘schuster’ in German — and within a split second his thumb would move to the direction of the living, and I darted there like a rabbit.”

    This continued for four more camps. First there was Plaszow — made famous by the film “Schindler’s List” — where Ayalon witnessed notorious murderer Amon Goeth randomly and without warning trot around and shoot prisoners in the head from atop his large white horse.

    In one particularly heinous act, he forced 18,000 people to witness the brutal execution of a 16-year-old Jew caught “stealing” two potatoes from a kitchen.

    Though he tried to turn away, the guards struck Ayalon with a pole and forced him to watch as the boy was tied to a pole and attacked by two large dogs

     “Within a few minutes, this boy was torn into pieces until he stopped crying,” he said. “Killing in this camp was sport.”

    The same baseless cruelty continued in August 1944, when he was sent to the Mauthausen concentration camp in Austria and given a new “identity.”

    “This was my name,” he said, holding a piece of paper high for the audience to read, on which was written the number 84,991.“I was not a human being, but a number.”

    Though it’s been 65 years, Ayalon didn’t need to look at the paper to remember the digits.

    Every day, guards would get drunk, he said, and for their own amusement approach a prisoner, cover the number printed on their clothes and order them to recite their “name.”

    If they failed, they were often beaten to death. “I had to repeat this number to myself every minute of the day.”

    After a few more transfers — including a nearly three-day death march in which those who lagged behind were shot on site — he arrived at Ebensee, where 350 people were being killed per day in gas chambers as Allied forces crept closer.

    “I could smell the stench at night. I could see the chimneys pouring out dark smoke,” said Ayalon, who at this point was so emaciated he would feel his ribs every day to see how much skin was left.

    “I was a walking skeleton … [but] I would not give up.

    “My mothers words were always here,” he said, pointing to his head with both hands. “She said I would survive and have a sweet life.”

    Heaven

    On May 6, 1945, three hours after the camp’s commanders and guards fled in cowardice, a beige American tank burst through the entrance gate to Ebensee.

    “To me they were not American soldiers,” said Ayalon, who actually got a chance to meet one of his liberators last year in Detroit, Mich. “To me they were angels that came down from heaven to save our lives.

    “I stood there and pinched my arms to make sure this was not a dream.”

    Horrified at what they saw, the soldiers emptied their pockets of everything — cigarettes, gum, biscuits — and gave them to 13,000 “skeletons” that lay before them.

    Although many died from overeating, Ayalon said food wasn’t his end goal. Instead, he wanted a shower, a toothbrush, underwear — something that would “make me feel human.”

    He settled for the jacket of German cook. He ripped off the swastika, put it on and ate ravenously but in moderation — somehow — and was taken to Italy.

    “I was 17 years old and 55 pounds. That was me.”

    Ayalon went on to accomplish his dream — raising a family that now includes two married children, five grandchildren and three great-grandchildren.

    His wish for the future is simple.

    “My life is a continuing defeat to the Nazis, to Hitler,” he said, pointing at the college students who lined the sides of the hall as every seat was taken.

    “For 37 years I kept everything inside,” before a friend convinced him to speak of the atrocities he witnessed. “I wish to make an appeal to you today: make sure that genocides never happen again,” he said forcefully. “Speak out against racism, against baseless hatred.

    “We have seen how silence could kill millions of people,” he said. “I decided as long as I can stand on my feet I will continue to speak, to remind people that this can never happen again.”

    After the event, he thanked Cummings for his $1 million pledge to the Holocaust Education program, which is expected to bring other noted speakers to the university as well as sponsor trips to countries affected by genocide.

    Before he concluded, Ayalon took out a porcelain cup he bought 15 years ago in his hometown, and told the audience a little more about the cup his mother gave him six decades ago.

    As he walked away from the his mother for the last time in 1942, Ayalon said he looked inside the cup she had given him when she told him he would have a “sweet life.”

    “I was shocked. Of all things, the cup was full of honey. Honey,” he said. “I hadn’t seen honey for a long time.

    “Where did my mother get the honey? I don’t know to this very day.”

    Ayalon has since taken the honey as a metaphor for his life.

    “I put this piece of cloth with the string exactly how my mother gave it to me,” he said, holding the small white cup from Radom in his hands gingerly. “To me this is the authentic cup. And it is not empty,” he said with emotion.

    “There is still honey in it. And that honey is spreading out over and over to other people, and they will fill their cups with that honey from my mother.

    “My life is the honey that is flowing over and over.”
    Copyright 2010 The Winchester Star. Some rights reserved

  3. [Reuters] Historic German Jewish children's book goes on sale →

    COPYRIGHT REUTERS

    By Michelle Martin

    BERLIN | Fri Oct 29, 2010 12:14pm EDT

    BERLIN (Reuters Life!) - Six and a half decades after the Holocaust, the first Jewish publisher of children’s books in Germany will issue its inaugural title on Monday.

    Filmmaker and author Myriam Halberstam, a German-American Jew, said she set up “Ariella Books” in May 2010 because there was a lack of children’s books on Judaism in Germany.

    “A Horse for Hanukkah” — a humorous story about a horse who wreaks havoc on a family’s celebrations during Hanukkah, the Jewish festival of lights — is Halberstam’s first attempt to cater for Germany’s 200,000-strong Jewish community.

    “At Christmas there are all these books you can buy for your children, but if you’re Jewish and you want to read them something about Jewish holidays, you can’t,” she told Reuters. “I needed to create something for my own daughters.”

    Presenting the book in Berlin’s Jewish Museum on Friday, Halberstam said there was a need for the books in Germany because local communities had grown rapidly in recent years due to an influx of Jews from the former Soviet bloc after 1989.

    Halberstam said she wanted to be able to pass on her Jewish identity to her two young daughters via the book, which is intended for children aged 4-8.

    The 32-page book — which is being published in English and German — is not just aimed at Jews. Halberstam said she hoped Gentiles in Germany’s increasingly multicultural society would also read the book and become aware of Jewish traditions.

    “It would be nice if Jews and Judaism would become a normal part of German society — but only if you know about Jews can they become normal,” she said.

    Halberstam said the book, which features colorful illustrations by prize-winning U.S. illustrator Nancy Cote, was a “milestone” on Judaism’s path back to normality in Germany, whose Nazi leaders exterminated some 6 million European Jews.

    “In Germany the Shoah is omnipresent, it’s still in the media and it determines the relationship between Jews and non-Jews,” she said. “I wanted to do something that looks to the future in a positive way without the burden of the past.”

    Halberstam has pledged three euros from each 12.95 euro copy of “A Horse for Hanukkah” sold to the German-Israeli foundation for children with cancer, a charity which aims to fight the disease and foster closer ties between the two countries.

    Most German literature on Judaism still focuses on the Holocaust so it was important to have a book in which “Jews are normal and nothing terrible happens to them,” she said.

    “One has to remember the past but it’s very difficult,” she said. “When do you start burdening Jewish children with that, especially when you’re living in Germany?”

  4. [Brooklyn Paper] Is this graffiti anti-Semitic or anti-violence? →

    COPYRIGHT BROOKLYN PAPER

    By Stephen Brown
    The Brooklyn Paper

    Some sicko wrote, “Geese first, Jews next,” on an emergency call box in Park Slope over the weekend — but it’s unclear whether the vandalism is an anti-Semitic call for violence or a sincere attempt to link this summer’s federal goose extermination to one of history’s greatest atrocities.

    The vandalism, which appeared at Prospect Park West and Second Street, invokes the gassing of some 300 geese in Prospect Park, and also the Holocaust.

    Andy Bachman, the rabbi at Congregation Beth Elohim on Garfield Place, thought the scribbling was in bad taste no matter its meaning.

    “It’s either a bad joke in poor taste that falls flat, or someone too easily making reference to the extermination of Jews,” he said.

    Whoever the vandal was, he or she was likely familiar with the famous statement attributed to Martin Niemoller: “First they came for the Communists, and I didn’t speak up because I wasn’t a Communist. … Then they came for the Jews, and I didn’t speak up because I wasn’t a Jew. Then they came for me and by that time, no one was left to speak up.”

    Bachman said that vicious, anonymous attacks like the one that are regrettably quite common.

    “Jews, blacks, gays and many others are often the target of nasty graffiti,” said Bachman, adding, “It’s unfortunate.”

  5. [National Post] Avi Benlolo: Hitler and imagery, evil that still sells →

    COPYRIGHT NATIONAL POST

    I am standing in front of one of the newest exhibits at the German Historical Museum, trying to understand why I feel so deeply troubled. Titled “Hitler and the Germans: Nation and Crime,” it is the first official exhibition in Berlin to focus on Hitler’s fascist ideology and his effect on the German people.

    The exhibit is an outstanding presentation of rarely seen imagery, propaganda and documents that catapulted Adolph Hitler to power. It is a sharp display of a horrific marketing machine that turned Hitler from an ordinary street thug into a folksy super leader. Posters of proper Aryan men, women and children stand in contrast to Hitler’s own appearance; for Germans of the time, his looks were irrelevant.

    The exhibit shows how Hitler was portrayed as the ultimate statesman as he addressed thousands of well-dressed Germans at rallies; photographs reveal a leader loved, almost worshipped by the people he lead down a path of unimaginable evil. On display are Nazi uniforms, hats, knives, pins and flags – the kind of memorabilia easily purchased on eBay these days. Several versions of Mein Kampf were displayed – sealed in a glass case, of course, because the book is illegal to purchase in Germany. When probed, our guide informed us the book can be acquired by other means.

    So I ask myself, why do I feel so uneasy? Perhaps because I’m concerned that many of the people visiting this temporary exhibit will not interpret it in the way it was intended. For me, the exhibit is a demonstration of a sick society that rose to power along with the criminal mind it venerated.

    But what will it mean to thousands of others who may not be intimately familiar with the Holocaust? Will it be, to some, a glorification of Hitler? As our guide noted when talking about German pop culture, Hitler sells. Hitler still sells because people are fascinated by him and the iconic imagery of the Nazis. This is not a trivial concern: the idea of creating an exhibit similar to “Hitler and the Germans” was dismissed by Museum officials several years ago for exactly this reason.

    My travelling companions advise giving people the benefit of the doubt, arguing that Hitler has come to embody the idea of evil and the point the Museum is making is a fairly obvious one. This is true – despite what I believe is insufficient evidence about the devastation and tragedy wrought by this common little man; the information is presented almost without context. In a world filled with increasing Holocaust denial, context seems so very significant.

    Is it out of context in Berlin which has a prominent Holocaust monument, a Jewish Museum, an outdoor Holocaust Exhibit as well as the German Historical Museum (where this exhibit is being held) which deals with the Holocaust? I’m not sure, although I would hope anyone living in or visiting Berlin will have been exposed to Holocaust education at some point.

    As for the exhibit itself, I am thankful the curators included the word “crime” in the title.

    National Post

    Avi Benlolo, President and CEO of Friends of Simon Wiesenthal Center for Holocaust Studies, is currently leading a group of community leaders to visit the sites of the Holocaust in Germany and Poland. These are his thoughts upon visiting a new German exhibition dedicated to understanding how Hitler and the Nazis rose to power.

  6. [Philadelphia Inquirer] Pennsylvania Board of Education chairman urges Lincoln to reconsider Siddique tenure →

    COPYRIGHT PHILADELPHIA INQUIRER

    Posted on Thu, Oct. 28, 2010

    Pennsylvania Board of Education chairman urges Lincoln to reconsider Siddique tenure

    By Jeremy Roebuck

    Inquirer Staff Writer

    The head of the Pennsylvania Board of Education this week joined a growing list of protesters urging Lincoln University to reconsider the tenure of a professor who has questioned the Holocaust and urged the overthrow of Israel’s government.

    Calling professor Kaukab Siddique’s recent statements “disgraceful,” board Chairman Joseph M. Torsella called on the Chester County school to repudiate the instructor’s views and investigate whether campus resources have been used to support his cause.

    “They really ought to take pains to determine to what extent the university - and by extension, public resources - have been used to support this,” Torsella said Wednesday. “I’m confident that at the end of the investigation, they will appropriately denounce the substance of the views.”

    Siddique, 67, found himself in the middle of a media maelstrom last week when video of a speech he gave at an anti-Israel rally went viral on the Internet.

    Backed by crowds of chanting demonstrators, the associate professor of English urged people to “unite and rise up against this hydra-headed monster which calls itself Zionism.”

    His statements at the Washington rally, and nonacademic writings that have surfaced in which he questions the significance of the Holocaust, have drawn scrutiny from the likes of Glenn Beck and Bill O’Reilly - both of whom recently featured the professor on their Fox News programs.

    Lincoln officials quickly responded that they were not aware of any instance in which the professor had shared those views in the classroom or at a university-sponsored public forum.

    Torsella said that response did not go far enough. In a letter sent to Lincoln President Ivory V. Nelson late Tuesday, he urged the university to investigate whether Siddique had used campus resources to support the Baltimore-based version of the group Jamaat al-Muslimeen, which he leads in support of Muslim communities around the world, or its online newsletter, New Trends Magazine. The magazine’s website proclaims that the publication is against racism, Zionism, and imperialism, but also declares that it does not endorse violence of any kind.

    Recent writings in the magazine that have been attributed to Siddique refer to the Holocaust as a “myth” and a “story,” and articles by other authors express support for the regimes of Saddam Hussein in Iraq, the Taliban in Afghanistan, and Hezbollah in Lebanon. That should raise questions in the minds of university administrators, Torsella said.

    “A professor expressing personal opinions (even extraordinarily objectionable ones) on current events is one matter,” Torsella wrote. “Denying the Holocaust - a tragic historical fact - is another matter entirely.”

    Siddique has maintained that his critics have taken his views out of context.

    “I am against Israel, not against Jews,” he said in an interview with The Inquirer last week. He did not respond to calls or e-mails seeking comment Wednesday.

    Contact staff writer Jeremy Roebuck at 610-313-8212 or jroebuck@phillynews.com.

  7. [LA Times] Architecture review: Los Angeles Museum of the Holocaust →

    The Hagy Belzberg-designed museum in Pan Pacific Park seems conflicted. Its elegant, rippling shapes don’t seem tough enough to hold the horrors within.

    Los Angeles Museum of the Holocaust

    By Christopher Hawthorne, Los Angeles Times Architecture Critic

    October 28, 2010

    Architectural symbols are rarely more layered, complex or self-aware than in a Holocaust museum, where the architect’s nearly impossible job is to mark murder on a mass scale while at the same time providing some sense of resilience and hope.

    In some cases the resulting design takes on a slashing, dissonant form, as in Daniel Libeskind’s 1999 Jewish Museum in Berlin. In others it tries to communicate at least a small part of the claustrophobia and confusion that awaited prisoners inside Nazi camps; that was among the central goals of James Ingo Freed, who designed the bluntly powerful 1993 United States Holocaust Museum on the National Mall in Washington.

    Santa Monica architect Hagy Belzberg took a third approach in shaping the Los Angeles Museum of the Holocaust, which occupies a sliver of a site on the western edge of Pan Pacific Park, across the street from the Grove shopping center. Eager to steer clear of direct architectural representations of either persecution or liberation — both of which, Belzberg told me, he thinks lead all too quickly to kitsch — the architect instead designed a sleek building full of liquid curves that is sunk partially below ground and topped with a steeply raked green roof. The walkways slicing through that rooftop landscape, along with the museum’s curving interior walls and ceilings, are made of shotcrete, a kind of concrete that is sprayed on rather than poured and is common in the construction of swimming pools.

    Get breaking entertainment news, delivered to your mobile phone. Text ENTERTAIN to 52669.

    The result of all those architectural choices is an elegant, energy-efficient and economical building whose stance toward the city, and toward history, is oddly deferential. By tucking itself beneath the rolling landscape of the park, the museum seems happy to erase its public presence, even as it creates spaces for contemplation in its rooftop garden. The shotcrete walls, for all their appeal when seen from afar, have a rather insubstantial quality up close, unlike the poured-in-place concrete they impersonate.

    As a community center or a small science museum, Belzberg’s building could easily qualify as an inventive response to the range of constraints he had to contend with, including a tight budget and an unusually tricky site. As a Holocaust museum, it strikes a conflicted note, its cost-effective, rippling shapes seemingly miscast.

    I don’t know that a Holocaust museum, by definition, requires architectural toughness. But given that its contents are so horrific, there should be a sense that the container — the building — has enough heft, solidity and resolve to hold its own. A certain frankness about construction and materials would also seem fundamental, though that is largely missing here.

    The new building, which covers 32,000 square feet and had construction costs of $15.5 million, represents the culmination of a long search for a permanent home by the Museum of the Holocaust, which was founded in 1961 and is the oldest Holocaust museum in the United States. For years it moved from one rented space to the next. Most recently it was located inside a Wilshire Boulevard office building. Finally the museum reached an agreement with the city to build on the site in Pan Pacific Park, adjacent to an existing Holocaust memorial erected in 1991.

    Inside, Belzberg has produced an appealingly legible floor plan despite a number of complex circulation challenges. There are three ways, for instance, to reach the lobby. From the curb on the museum’s western edge along the Grove Drive, where buses will drop off the schoolchildren who make up the bulk of the museum’s visitors, a partially hidden ramp leads down to the front door. Immediately across from that entrance is another one bringing visitors in from the park. A third path is to come up in an elevator from the underground parking garage and enter the museum from the east.

    Those three routes come together in a surprisingly small if high-ceilinged lobby. Behind a row of interior windows and above a sleek walnut ticket desk lie the museum’s offices, as well as an archive for scholars.

    After entering the museum, visitors start down another ramp, this one lined on one side by exhibits designed by Randy Schoenberg, president of the museum’s board, in collaboration with Belzberg. The exhibits move chronologically; borrowing a strategy from Maya Lin’s Vietnam War Memorial in Washington, the ramp takes museum goers into the depths of the war, and the Holocaust, before bringing them back toward ground level and daylight.

    At the bottom of the ramp is perhaps the museum’s most powerful, if also one of its most basic, exhibits: A model of the Sobibor concentration camp in Poland built (entirely from memory) by one of its former prisoners, Thomas Blatt. The display, chillingly simple, has the childlike quality of the architecture in a model train set.

    One of the strengths of Belzberg’s design is its resistance to narrow, simplistic interpretation. By avoiding direct symbols of the Holocaust — and, for that matter, of Jewish identity — he has created a piece of architecture that operates on a number of symbolic levels. Its rooftop forms — designed with the Colorado landscape firms K. Dakin Design and Evo Design — suggest an extension of existing pathways in the park.

    Gavriel Rosenfeld, writing in the Forward newspaper, has even suggested, fascinatingly, that the museum’s “self-effacing character” is the architectural version of an interest in cultural assimilation. “After all,” Rosenfeld notes, “some of the city’s most important Jewish institutions, such as the Museum of Tolerance and the Skirball Cultural Center … have strived not to appear architecturally Jewish in any way, a strategy that echoes their universalistic mission of reaching out to non-Jewish audiences.”

    Rosenfeld also calls the museum an example of “stealth architecture.” But ultimately the design is too aware of its own good looks — too fond of the bending formal flourish — to qualify. One gesture Belzberg leans on heavily — curving walls framing expanses of clear or opaque glass — begins after several appearances to feel gratuitously decorative. The notched row of skylights above the ticket desk, on the other hand, is a bluntly effective touch.

    The decision to lower the building’s profile in the park by sinking much of it underground, meanwhile, had as much to do with pleasing public officials and community groups concerned about new construction in the neighborhood as it did with Belzberg’s architectural goals. But there is no getting around the fact that it has produced a rather apologetic landmark — not to mention a sign of the anemic support politicians and the public give to cultural as opposed to developer-driven architecture in this city.

    To an extent Belzberg faced a paradox in designing the museum: Working with a minimal budget, how do you create a permanent, serious monument to the Holocaust in a city famous for its love of the impermanent and where the prevailing construction practices favor the flimsy, the stucco-wrapped and the expedient?

    Ultimately, he decided to bring those two poles together, employing fluid, lightweight and relatively inexpensive materials to create an atmosphere of somber reflection. As you might guess, it is something of an uncomfortable marriage.

    christopher.hawthorne@latimes.com

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