Monument of Anxiety 2 - analyzes by Within Walls

Monument Analyzes

Monument of Anxiety - Analyzes Moa Liew & Christel S. Nisbeth Madsen

Monument of Anxiety - Analyzes

INDEX

Dramaturgy 7

Monument analyzes 9 Monte Grappa 9 Danteum 17 The Jewish Museum 31

Monument References 43

TatlinÂ´s Tower 46

Cenotaph for Isac Newton 47 The Holocaust Memorial 48 The Chancellery Building 49 Monument to King Frederick the Great 50 Alesia Museum 51 Tannenberg Memorial 52 Italian Sailor Monument 53 The National Mall 54 Lincoln Memorial 55 Leninâ&#x20AC;&#x2122;s Tomb 56

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Dramturgy, as a method to structure spatial relations. The following page is one example of how the references can be investigated through our methods. In this case a section of “Sir Johns Soanes Museum” is analysed through the concept of a ‘dramaturgic curve’.

Time

Resolution Resolution

Denoument Denoument

Climax Climax

Confilct Conflict

Point Point of of no noreturn return

Plot Plot (rising (rising action) action)

Presentation Presentation

Exposition Expostion

Cross section thorugh Sir John Soanes Museum, London

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“Monte Grappa”

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Giovani Greppi, “Monte Grappa” or “Sacrarium”, Mount Grappa, Italy/Austria, 1935 The monument is a 1st World War Memorial of the battle in the Grappa Mountains between the Austro-Hungarian Empire and the Kingdom of Italy in 1917-18. The Memorial is placed on top of the mountain as a crown. It uses the theatrical background of the landscape to express an almost existential ‘angst’ of man fading away into an ant-like miniature. The route between the Monument and the Austro-Hungarian cemetery is build in a false perspective to increase the sense of grandeur and scale.

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Monte Grappa The monument for the fallen soldiers of the battle in the Grappa Mountains between the Austro-Hungarian Empire and the Kingdom of Italy in 1917-18, is based upon a theatrical architectural scheme. The spatial hierarchy is easily translated into a dramaturgy. And the spatial events are executed through false perspectives and stunning views.

Dramaturgical symmetry (Exposition and Resolution) The main monument of Monte Grappa is surrounded by a dramaturgical symmetry. The exposition or the entrance is dramatically different from the rest of the structure. The exposition consists of a curved road that slowly evaporates towards the top of the mountain and the beginning of the monument. And likewise is the resolution a track-like mountain path that slowly takes the visitor through the nature and back to the main parking lot. The entrance and exit creates a dramaturgical symmetry that encloses the monument in a spatial sanctuary, a natural path in contrast to the controlled theatrical structure, a space for reflection.

Presentation: The beginning of the monument is a massive stair. It consists of five layers with a central staircase. Each layer is inlayed with hundreds of small rounded openings. The tall structure of the stairs tunes the sacral and overwhelming atmosphere.

Plot (Rising action): When the visitor starts climbing the stairs the secret of the openings is revealed. Within each opening is a metal plate with an inscription of the name of a fallen soldier. The local bakery ovens inspired the shape of the openings.

Point of no return: Once on top of the stairs a spectacular view is revealed; along path (seeming longer because of the false perspective) flanked by small brick walls and ending at the base of an impressive memorial. A small chapel marks the end of the staircase and the beginning of the path.

Monument of Anxiety - Analyzes

Conflict: When wandering up the path towards the memorial the impressive mountain view and the theatrical exaggeration of the false perspective underlines the sacral atmosphere and the remembrance of the thousands of fallen soldiers. In the often accruing mountain mists the small brick walls tends to mythically evaporate.

Climax: At the end of the path a majestic memorial rises, flanked by a set of stairs. This is the dramaturgical climax of the monument, the entrance to the final destination of remembrance.

Denouement: The silence and peace inside the memorial stands in contrast to the rest of the wind swept monument. The laze-like metal windows reveal a shielded view down the mountain, and back to the small chapel. Inside the memorial stands a majestic chandelier, where one can light a candle in remembrance of the fallen soldiers.

Resolution: When exiting the memorial one can either walk back the same way, ore wander down the mountain through a narrow hiking path. This path through the nature lets the mind wander. And creates a vacuum in which a reflection upon the meanings of war and death is possible.

Monument of Anxiety - Analyzes

Spatial Dramaturgy

Dramatugic analysis of â&#x20AC;&#x2DC;Monte Grappaâ&#x20AC;&#x2122; through plan

Time Time Resolution Resolution Denoument

Denoument

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Climax Climax

Confilct Conflict

Point of no return

Plot

Plot (rising action) (rising action)

Presentation

Exposition Expostion

Spatial Dramaturgy Dramatugic analysis of â&#x20AC;&#x2DC;Monte Grappaâ&#x20AC;&#x2122; through section

Resolution

Denoument

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Climax

Confilct

Point of no return

Plot (rising action)

Presentation

Exposition

Storyboard: Monte Grappa

Exposition

Presentation

Plot (rising action)

Point of no return

Confilct

Climax

Denoument

Resolution

Monument of Anxiety - Analyzes

“ Il Danteum”

Monument of Anxiety - Analyzes

Giuseppe Terragni, “Il Danteum”, 1942 This monument was presented in 1942 at the world exhibition in Rome but was never constructed, it was commissioned by the Italian fascist dictator; Benvenuto Mussolini. The monument was a dedication to celebrate Dante and designed as a symbolic translation of “The Devine Comedy.” It was planned as a sequence of spaces that translates the narrative journey through heaven and hell.

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Il Danteum “Il Danteum is an exercise in the imposition of ideal geometry on form and space” Unwin, S., 2010 p.121 Terragni built a representation of the three levels in the ‘Divine Comedy’. The purpose was not to create a backdrop for the poem rather a spatial incarnation and interpretation, a series of spaces equivalent to sections of Dante's poem. Apart from the library on the lowest level, Il Danteum has no spaces that might be called functional. The building would rather be a sort of spatial atmospheric installation. Unwin, S., 2010 Mussolini wanted to build a Monument, not only to Dante, but very much also a political statement, a monument to Italy and to Fascism. Terragni combined the narrative spaces with a political addition 'the Impero' (The Empire), a dead end at the top floor of the building. Considering the structure of the Divine Comedy as the soul's journey towards God, this addition (after Heaven) is a strong political statement, an attempt to equalize or determine the universal power of the empire and of fascism. Unwin, S., 2010

Manuscript: The Divine Comedy Pitch The Divine Comedy 1 describes the allegorical vision of the medieval Christian world-view, it is divided into three parts: Inferno (Hell), Purgatorio and Paradiso (Paradise). The poem describes Dante’s travel (upwards) through the three realms of dead; Hell, Purgatory 2 and Heaven but is commonly understood as an algorithm for the souls journey towards God. Dante is guided thorough Hell and Purgatory by the poet Virgil, and thorough heaven by Beatrice (Dante’s Ideal woman) Kirkpatric, R., 2003; ‘Den Store Danske Encyklopædi’, 1996 Spatial pitch Il Danteum is a spatial allegory or a narrative labyrinth of the Divine Comedy. The rout through the building goes upwards in a spiral, an interpretation of the topography of the Divine Comedy. The journey consist of five spatial stages; 1) The life of Dante before his journey to the underworld 2) The dark forest 3) The Inferno 4) The Purgatory 5) and the two fold conclusion of spiritual happiness (Paradise) and worldly prosperity (Empire) (see Diagram 1) Lu, A. 2010; Unwin, S., 2010; Sczhumacher, T., 1975 Manuscript The poem is strictly divided by mathematics especially the number three is prominent. It is divided into three canticles (parts), each consisting of 33 cantos, including an introduction canto, and bringing the total number of cantos to 100. Each canto is composed of three-line sercets; the first and third lines rhyme, the second line rhymes with the beginning of the next sercet, establishing a kind of overlap, (ABA, BCB, CDC…) The Inferno, Purgatory and Paradise is each defined by nine levels, stages, sins or spheres. Kirkpatric, R., 2003; ‘Den Store Danske Encyklopædi’, 1996

1 Is widely considered the preeminent work of Italian Literature, and is seen as one of the greatest works of world literature.

Encyclopedia Americana, 2006, Vol. 30. 2 Purgatory, (Roman Catholic teaching) a place ore state in which the souls of dead people conteporary suffer for the bad things they did when alive,

so that they can become pure enough to go to Paradise. Oxford Dictionary.

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Spatial manuscript The monument is strictly divided through mathematical symmetry. Most of the walls, columns and openings is places in regard to ‘The Golden Section’, and the architectural elements is restricted to a minimum; wall, column, platform and roof. There is only one door in the design – and it is not the entrance - and no windows, appropriate in the interpretation of a journey through the underworld. The light in the building is strictly bound to openings towards the sky either from above or through slits in the walls. Lu, A. 2010; Unwin, S., 2010; Schumacher, T., 1975 As an attempt to interpret the strictly mathematical division of the overlapping rhymes in each canto (ABA, BCB, CDC…) the plans of the Danteum consist of overlapping squares. The use of the symbolic numbers 1, 3, 7, 9 and 10 is also ever present. For example, the three realms (Inferno, Purgatory and Paradise) are respectively locates at levels of 2,7m 5,4m and 8,1m, dimensions all multiples of three. Lu, A. 2010

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Plan, Section and Perspective

Monument of Anxiety - Analyzes

Diagram 1 Perspective of ‘Il Danteum’

4: Purgatory

5: Imperio 5: Paradise 3:Inferno

Entrance

2: Dark Forest

1: Courtyard

Exit

Perspective showing the vertical spiral route through the building

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Use of the Golden Section Use of the Golden Section in positioning of columns, platforms and openings

Purgatory

Inferno top level

Imperio

intermediate level

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Spatial allegory The beginning: Exposition and Presentation A presentation of Dante and his life in the subterranean. Spatial interpretation First the visitor slips out of the public realm behind a screen wall, walking through a simple narrow labyrinth one enters a sunlit courtyard. The noise from the street disappears. Statues of tormented souls are placed on one side and on the other is a row of columns. The dark forest: Plot (rising action) Dante is 35 years old (halfway through life) and is lost, wandering in a dark forest, unable to find the "straight way" to salvation. The spirit of the roman poet, Virgil, finds him and together they start the journey to the underworld. Kirkpatric, R., 2003; 'Den Store Danske Encyklopædi', 1996 Spatial interpretation Terragni interprets the ‘dark forest’ as a hall of columns, ‘the forest of one hundred columns’ or the one hundred cantos. Light enters the hall through the open back wall, through slits in the walls and through narrow gaps in the floor of Paradise above, divided into squares each supported by one of the ‘canto’ columns. Inferno or Hell: Point of no return Dante and Virgil passes through Inferno (Hell), a ‘Contrapasso’ a place where your sins are punish by a ‘counter-action’ or poetic justice, for instances, if you were a fortune tell (seeing into the future) you are judged to walk through inferno with your head twisted 180 degrees, so you have to walk backwards. Kirkpatric, R., 2003; ‘Den Store Danske Encyklopædi’, 1996 Spatial interpretation By walking up stairs to a platform behind the tormented souls one faces the only door in the monument, the entrance to ‘Inferno’. In Dante’s poem the entrance to hell was lined with the words:

“Abandon all hope, you who enter”. Unwin, S., 2010 Inferno is a dark triangular space with seven freestanding columns arranged according to the Golden Section. The escape from inferno is not clear. One wall is penetrated with identical openings with short flights of steps up. All but one (the last one) leads into blank walls.

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Purgatory: The purgatory is a mountain, placed on the only island in the southern hemisphere. The mountain has seven terraces corresponding to the seven deadly sins, and two for those who were excommunicated from the curve and those who died before receiving rites (often those who died violently). During this part of the poem Dante demonstrates the medieval knowledge of spherical earth, through discussions of the stars, the altered position of the sun and the various time zones on the earth. Kirkpatric, R., 2003; ‘Den Store Danske Encyklopædi’, 1996 Spatial interpretation The hall of Purgatory is lit from above by seven square wholes, both size and position determined by the Golden Section. The sky is visible through the wholes, and the shadows on the floor and the walls slowly follow the rhythm of the sun. The floor consists of eight planes (nine including the whole of the hall) slowly rising, representing the mountain of purgatory. Paradise: Beatrice guides Dante through the nine celestial spheres of heaven. While the Inferno and Purgatory were based upon different classifications of sin, heaven is structured upon the four cardinal virtues 3 and the three theological virtues; faith, hope and love, the eight sphere represents the total perfection of Humanity (those who live purely by the three theological virtues) and the ninths sphere represents the Primum Mobile, the universal circle that houses the angels, creatures never poisoned by original sin (according to medieval astronomy) 4 (see Diagram 2) The Divine Comedy ends with Dante seeing the Trinue God 5 in a flash of understanding. Kirkpatric, R., 2003; ‘Den Store Danske Encyklopædi’, 1996 Spatial interpretation Through a narrow passage one enters ‘Paradise’. A bright hall full of glass columns. Each column is placed upon a square. Nine columns is placed in the centre flanked one three sides by a row of nine columns. There is no ceiling, so the sky and the sun fills the hall and is reflected through the glass. By reflection and refraction the columns would have transformed other visitors into shimmering spirits. Lu, A. 2010; Unwin, S., 2010; Schumacher, T., 1975 Imperio: The Impero is not a part of Dante’s poem; it is a separate interpretation of Mussolini’s Italy. The entrance to the hallway of ‘Impero’ is placed at the far end of ‘Paradise’. The hallway is blind, ending with an impressive Eagle at the rare end. Exit: Resolution To exit the building one has to walk through a small opening leading to a long stair between two high walls leading to ‘Via dell Impero’. Once back one the street one faces the ruins of ancient Rome, the forum, the houses of the Caesars and in the distance the Colosseum, and is finally ‘…back to the ordinary and everyday but with a transformed perception of the world.’ Unwin, S.,2010,126

3 The four Cardinal virtues is: Prudence, Justice, Restraint (or Temperance) and Courage (Fortitude).

The nine spheres of the universe is represented by the Moon, Mercury, Venus, the Sun, Mars, Jupiter and Saturn, followed by the ‘Church Triumphant’ and ‘Premium Mobile’, sometimes toped by the Empyrean (containing the essence of good) completing the nine fold division to ten. 5 Treenigheden, The Father, the Son and the Holy Spirit 4

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Storyboard: Il Danteum

Entrance (Exposition)

Hall with tormented souls p 30

Door to Inferno (Point og no return)

Courtyard (Presentation)

Inferno

The exit from â&#x20AC;&#x2DC;Infernoâ&#x20AC;&#x2122; is hidden behund the columns

Monument of Anxiety - Analyzes

Storyboard: Il Danteum

Paradise

Purgatory

Paradise, the entrance/ exit to ‘Imporio’

Imporio

Exit (Resolution)

Monument of Anxiety - Analyzes

Diagram 2 The nine spheres of the universe is represented by the Moon, Mercury, Venus, the Sun, Mars, Jupiter and Saturn, followed by the ‘Church Triumphant’ and ‘Premium Mobile’, sometimes toped by the Empyrean (containing the essence of good) completing the nine fold division to ten.

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“The Jewish Museum”

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Daniel Libeskin, â&#x20AC;&#x153;The Jewish Museumâ&#x20AC;?, Berlin,1999 The Jewish museum in Berlin is a monument that enlightens the three realities of Jewish life in Germany with a dramaturgic path.

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The Jewish Museum Lets travel through the Jewish history in Germany through architecture. Lets have a look into a dramaturgic translation of different aspects and events through space. Lets visit Daniel LibeskindÂ´s building, The Jewish Museum in Berlin. This is a post-modern building that represents the Jewish struggle throughout history. The museum was the result of a competition in 1989 and was finished in 1999.

Exposition: The Exposition of this architectural experience is in a clear way the old museum of Berlin, The Kollegienhaus. The main entrance to The Jewish Museum is placed within this old building from 1735. This means that you as a visitor is presented to a pre-story, representing the past, an introduction in history and space. (See Spatial Diagram 1)

Presentation: When you distinguish an alien structure within this old building, the presentation of what are to follow is clear. This structure within the structure is a modest concrete entrance to the underground. A presentation of an architectural journey, representing the presence, the future and the past. (See Spatial Diagram 2)

Plot (Rising action): The plot or the rising action of this building is presented early within the structure. Or if it only seems early because you are taken on a long path before you feel that you have really entered the building. Which is true, the most important part of the narrative is presented in the underground, before entering the main building. After the entrance staircase you are entering a corridor that divides into three after a couple of metres. The corridor or the axis straight ahead is called The Axis of Continuity and are leading to the main building and the exhibition areas. The other two axes are called The Axis of the Holocaust and The Axis of Exile and are leading to two separate structures, linked only by these underground corridors. These three axes are representing the three paths of destiny in Jewish history in Germany. The Axis of the Holocaust is leading to the Holocaust Tower, an empty concrete tower with one slit of daylight, representing the holocaust. The other axis leads to The Garden of Exile, a garden of leaning concrete pillars that unbalances the visitor. The exile is seen as the loss of a reference point. From outside it seems that the garden is accessible from the street, but when entering from the ground level it is clear that the moat makes it impossible to escape the exile. (See diagram 2)

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Point of no return / Conflict: After experienced these two paths, the point of no return is exposed for the visitor and a conflict occurs of how to continue this architectural journey. By walking back to the junction where the three paths meat and choose The Axis of Continuity, the story continues. The Axis of Continuity is not a happy twist but introduces some hope about the future, though with a fresh memory of the two other destinies. (See diagram 2)

Climax: When walking through The Axis of Continuity you recognise a gradually change in height of the room. The floor has a vague slope where the roof stays unchanged. This enlargers the experience of the upcoming climax. The corridor ends up in, at first sight, a modest staircase. But by walking up, the stairs evolves to be a magnificent experience which exposure the total height of four out of five floors of the building. (See diagram 1)

Denouement: Since the most dramatic part of the building is taking place under the ground, the denouement of this architectural experience is a big part of the dramaturgic curve. Here including the permanent exhibitions on level one and two, the museum shop and the five voids that penetrate the building in a straight line. The permanent exhibitions are revealing the history of the Jewish presence in Germany from 950 AD till today. The first two years the building was empty and only the architecture was the voice of 2000 years of Jewish presence in Germany. Later on the exhibitions filled the building with historic material and the 5 voids became important for the architectural experience. The voids, four of them inaccessible are metaphors for the connection of Jewish and Berlinese history. These voids define the story to be out of control, to be eternal, with question marks, parallel stories, without endings. The only thing you can se as an action in the voids are the other visitors, looking back at you through the openings from across the room. One of them is accessible, The Void of Memory. This room is filled with metal sculptures on the floor, creating a sound effect of footsteps when walking through the room. (See Spatial Diagram 3)

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The five voids penetrating the building can be analysed with the theory of editing, cutting and rhythm. (Ref. Program s. 33) The voids clearly affect the rhythm when walking through the building. If defining architecture as Bernard Tschumi as an interrelation between space, event and movement these voids are non-architecture, encapsulated by architecture. These cuts with inaccessible space set an atmosphere of a story that is unsolved. The denouement is a long architectural repetition where the atmospheric prop, the windows that cuts through the faรงade independent of floor levels or walls, is leading you through level one and two. (Ref. Program s. 30) These windows are communicating to your pure memory if you know the background intention of the architect. The windows are lines, connecting addresses of German and Jews, manifested at the walls. As an atmospheric prop referring to our automatic memory, the windows are accentuating the feeling of being locked inside of the skin of this building, looking out.

Resolution: By forcing the visitors back through the whole building to the only exit that also is the main entrance, the resolution of this architectural dramaturgy is identified. It is a clear dramaturgic symmetry that is revealing. (Ref. Program s. 22) The resolution is a summary of the total architectural experience and ends up where it all started, in the building of the old museum. This also sets a feeling that the story is continuing. As for some films that ends with the feeling that the story continues though the film are ending, this architecture sets a feeling of being part of something bigger, offering a glimpse of a reality always parallel to ours. (See diagram 2)

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Diagram 3 Orientation map of The Jewish Museum

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Spatial Dramaturgy 1 Dramatugic analysis of ‘The Jewish Museum’ through section

Time Time Resolution

Denoument

Monument of Anxiety - Analyzes

Climax Climax

Conflict

Point of no return

Plot (rising action)

Presentation

Exposition Expostion

H the

st cau

olo

Monument of Anxiety - Analyzes

Resolution Resolution

Denoument

Climax

Confilct Conflict

Point of no return

Plot

Plot (rising action) (rising action)

Presentation

Expostion

Underground floor plan

ntin u Exile

s Axi

Time Time

f Co so Axi The

ity Axis of

The The

Spatial Dramaturgy 2

Dramatugic analysis of ‘The Jewish Museum’ through plan

Spatial Dramaturgy 3 Dramatugic analysis of ‘Denoument’ in the ‘The Jewish Museum’ on the 1st and 2nd floor

The Void of Memory

Void 4

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Void 3

Void 2

Void 1

Denoument

Storyboard: The Jewish Museum

Exposition

Presentation

Plot (rising action)

Plot, “The Holocaust Tower”

Plot, “The Garden of Exile”

Point of no return / Conflict

Monument of Anxiety - Analyzes

Storyboard: The Jewish Museum

Climax

Denouement, First floor

Denouement, Second floor

Resolution

Monument of Anxiety - Analyzes

Monument References

Monument of Anxiety - Analyzes

Monuments and monumental architecture This is a collection of monuments with a short introduction of themes that is relevant to our further studies.

Vladimir Tatlin, “Tatlin´s Tower” or “Monument to the Third International, 1920 Étienne-Louis Boullées, “Cenotaph for Isac Newton”, 1784 Peter Eisenman, “The Memorial to the Murdered Jews of Europé” or “The Holocaust Memorial”, Berlin, 2004 Albert Speer, “The Chancellery Building” or “Reich Chancellery”, Berlin, 1938 Friedrich Gilly, “Monument to King Frederick the Great” Leipzigerplatz, Berlin, 1797 Bernard Tschumi, “Alesia Museum”, France, 2012 Johannes and Walter Krüger, “Tannenberg Memorial” Polen, 1927 Luigi Brunati, “Italian Sailor Monument”, Brindisi, 1933 James McMillan, “The National Mall”, Wahington, D.C., 1901 Henry Bacon, “Lincoln Memorial”, Whashington, D.C., 1917 Alekseuy Shchusev, “Lenins Tomb” Moscow, 1926

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Vladimir Tatlin, “Tatlin´s Tower” or “Monument to the Third International, 1920 “A monument made of steel, glass and revolution.” Viktor Shklovsky (Soviet critic). A tower that with its contruction was ment to symbolize the new Russia. “A monument to the great Russia Revolution. The monument will be, in its ensemble, one unified form which is at the same time architectural, sculptural and painterly” “…the monument would be a comple, constructed thing of uncertain form.” “…and a locus of concentrated movement.” (Lynton, N., 2009: “Tatlin´s Tower”, 65)

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Étienne-Louis Boullées, “Cenotaph for Isac Newton”, 1784 This monument was designed in 1784 but never constructed. It is a celebration to Isac Newton that stages the experience of day and night.

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Peter Eisenman, “The Memorial to the Murdered Jews of Europé” or “The Holocaust Memorial”, Berlin, 2004 This is presented as an untraditional monument because of its ambitions to leave out symbolism and instead produce an uneasy and confusing atmosphere thorugh space.

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Albert Speer, “The Chancellery Building” or “Reich Chancellery”, Berlin, 1938 The monumental architecture used as an instrument of power. How architecture played a key role in the propaganda of the “Third Reich”.

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Friedrich Gilly, Monument to King Frederick the Great, Leipzigerplatz, Berlin, 1797 A monument to celebrate King Frederick the Great. The monument consist of different parts, a monumental gate, sarcophagilids, obelisks, and a Doric temple on a massive podium. Here the temple works as a monumental icon and the real action is hidden within the podium.

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Bernard Tschumi, â&#x20AC;&#x153;Alesia Museumâ&#x20AC;?, France, 2012 The project marks an archaeological site in central France and commemorates the history of the battle between Julius Cesar and the Gauls in 52 B.C. Bernard Tschumi defines architecture as an interrelation between space, event and movement.

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Johannes and Walter Krüger, “Tannenberg Memorial”, Polen, 1927 - 49 The Memorial commemorated fallen German soldiers of the second Battle of Tannenberg in 1914, in 1934 Reichspräsident Hindenburg and his wife was buried within the monument. After the end of WW II, the government of Poland demolished the monument and reused the granite to build a Soviet War Memorial in Olztyn and for the new communist headquarters in Warsaw. The monument was a symbol of military power.

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Luigi Brunati, “Italian Sailor Monument” Brindisi, Italy, 1933 The monument consists of a 54m tall structure and a chapel at the base. It is built of a local solid stone of a golden colour. In 1954 a marble ‘Our Lady’ statue was placed at the top. The monument functions as a memorial to fallen soldiers, as a viewpoint and as a local icon.

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James McMillan, â&#x20AC;&#x153;The National Mallâ&#x20AC;?, Wahington, D.C., 1901 The National Mall is a 90-meter wide vista planned in 1901. The Mall is green area lined with trees planted with a distance of 50 feet. This is a monumental core in Washingotn DC and streches from The White House in north, via The Washington Monument to The Jefferson Memorial in the south. In the east-west axis it stretches from John F. Kennedy Centre for the Performing Arts via The Washington Monument to the Kapitolium.

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Henry Bacon, “Lincoln Memorial” Washington, D.C, 1917 The monument is a memorial to the 16th president of The United States of America. It is shaped as a classic Greek Temple and is surrounded by 36 columns, one for each of the 36 states in the Union at the time of Lincoln’s death. It is build of Yule marble from Colorado. The interior of the memorial is divided into three chambers divided by Ionic columns. A 5,6m tall statue of Abraham Lincoln is situated in the central chamber.

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Alekseuy Shchusev, “Lenin’s Tomb”, The Red Square, Moscow, 1926 The Monumental architecture in Russia is often more colossus (or sculptural) than architectural. But Lenin’s Tomb is architecture, symbol and sculpture in one. The Kremlin Wall behind, the mausoleum and the coffin inside are all constructed in red granite, which symbolises a unification of power, state and revolution. The pyramid shape draws its reference to ancient architecture. And symbolises power, glory and the permanence and durability of the communist society.

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References ‘Den Store Danske Encyklopædi’, 1996, Danmarks National Leksikon A/S ‘Oxford Advanced Learner’s Dictionary’ 7th edition, 2005 Fest, Joakim, 1999; ‘Speer - The final Verdict’, Alexander Fest Verlag, Berlin Heathcote, Edwin, 1999: ‘Monument Builders – Modern Architecture and Death’, Academy Editions, Great Britan Kirkpatric, Robin, 2003; ‘Dante: The Divine Comedy’, Cambridge University Press Lu, Andong, 2010; ‘The telling of a spatial allegory: the Danteum as narrative labyrinth’, Architectural Research Quarterly (ARQ), vol. 14, number 3, 2010, Cambridge University Press Lynton, Norbert, 2009: ‘Tatlin’s Tower – Monument to Revolution’ , Yale university Press, New Haven and London McGrath, Brian and Gardner, Jean , 2007: ‘Cinemetrics – Architectural Drawing Today’, Wiley-Academy McLain, C., 1980: ‘Imaginary Apparatus: Film Production and Urban Planning in New Your City 1966-1975’ Pearson, Christopher E. M., 2009: ‘Monuments of Genius’, Parkstone Press International, New York, USA Schneider, B., ‘Daniel Libeskind - Jewish Museum, Berlin:: Between the Lines‘, 1999, Munich : Prestel Schuldenfrei, Robin, 2012: ‘Atomic Dwelling – Anxiety, domesticity, and post war architecture’, TJ International Ltd, Padstow, Cornwall Schumacher, Thomas L., 1975; ‘The Danteum, A study in the architecture of literature’, Princeton Architectural Press Tschumi, Bernard, 1981: ‘The Manhattan Transcript’ , London: Academy Editions Unwin, Simon, 2010; ‘Twenty Buildings Every Architect Should Understand’, Routledge, New York.

Monument of Anxiety - Analyzes