Anybody who is familiar with his work won’t be disappointed. He challenges traditional architectural form with titanium-zinc and concrete designs that will also challenge your mind as to whether it fits in with the subject matter of the museum. Whatever you think of his ideas they are undeniably different. Like any so-called great artists of the modern era, his interpretation of what he wanted to portray has been worked out in his own mind and it’s no good me trying to explain it all. Some of his ideas I could understand, but others were pretty well lost on me.
I’m sure that many of you will know how all this came about, but I think it’s worth repeating anyway.
The background to the drama goes back to the end of WWII when Germany was divided up by the four main countries responsible for its defeat – Britain, France, the United States and the Soviet Union. Although they were united in defeating Nazi Germany, the differences in ideology between the Western Powers and the Soviet Union had been obvious for quite some time. Really, it was just a case of agreeing to disagree while they defeated the common enemy of Nazi Germany.
At the end of the war Germany was divided up into West Germany, (controlled by the Western alliance), and East Germany (controlled by the Soviet Union). Berlin, which was situated deep inside the Soviet sector, was also divided up by the victors into West and East Berlin.
It lies at the intersection of Wilhelmstrasse and Niederkirchnerstrasse, and covers the area once occupied by the Prinz-Albrecht Palais.
The area around Wilhelmstrasse was the main centre for the Nazi administration, and although Hermann Goering’s former Reich Air Ministry building (now German Finance Ministry) still towers over the Topography of Terror, most of these buildings have long gone.