Oregon Holocaust Memorial - The Metropolitan Field Guide

Introduction
Precedent
Study
OREGON
HOLOCAUST
MEMORIAL
The Design
Design
Analysis
Reactions to
the Memorial
Bibilography
History of Landscape Architecture
Kenny Helphand
Winter 2007
Reported By:
Kelly Brenner
Erik Carr
John Gonzales
Page
# Thomas
Sarah
TABLE OF CONTENTS
Introduction
INTRODUCTION
Synchronology
2
3
PRECEDENTS
Washington DC
Boston
Miami
San Francisco
Garden of Stones
4
4
5
5
6
6
THE DESIGN
Design Origins
Design Introduction
The Design Team
Design Evolution - Team Ideas
Design Evolution - Preliminary Designs
Construction Documents
Design Drawings
Construction Sequence
7
7-8
9-11
12
13
14-15
16
17-18
19-20
DESIGN ANALYSIS
21
REACTIONS TO THE MEMORIAL
Authors Reactions
Letters (Katz, Kulongoski)
22
22-24
25
BIBLIOGRAPHY
26-27
IN CLOSING
28
Precedent
Study
The Design
Design
Analysis
Reactions to
the Memorial
Source: Kelly Brenner
Bibilography
Page 1
INTRODUCTION
Introduction
The Oregon Holocaust Memorial Coalition had its beginnings in 1994, when a
local group of Holocaust survivors formed the Oregon Holocaust Survivors,
Refugees and Families Committee (OHSAF). They organized with the purpose of
memorializing their loved ones and other millions murdered in the Holocaust by
erecting a Holocaust Memorial in the city of Portland, Oregon.
Precedents
The Design
The Oregon Holocaust Memorial Coalition operates under the aegis of American
Jewish Committee, Oregon Chapter, as an ecumenical group with the purpose of
facilitating the building of the Memorial.
The Holocaust Memorial will serve as a permanent reminder of the Holocaust,
where millions of Jews were systematically murdered by the Nazi government
of Germany from 1933-1945 because they were Jews. Many others were murdered because of their political beliefs, their physical and mental disabilities,
their sexual orientation or because they spoke out against these atrocities.
A site in Washington Park has generously been donated by the City Portland
with the unanimous support of the City Council, adding Portland to the list of
major U.S. cities with such a monument.
The memorial design is a group project designed by artists Tad Savinar and Paul
Sutinen; landscape architects Marlene Salon, John Warner and Marianne Zarkin,
and historian Marshall Lee.
Source: John Warner
From the square, the visitors will move along "The Walk", a Belgian stone path
inlaid with black granite bars suggesting the train tracks that led victims to the
Nazi death camps. Upon traveling the length of path, visitors enter the Memorial
Plaza paved with camas stone and encounter the Witness Wall.
The inner "Witness Wall" will feature excerpts from interviews with survivors
living in Oregon. The circular story wall terminates with a container holding
soil from the main killing camps in Europe brought back by Oregon survivors,
bringing into focus the reality that a physical part of that very real history is
located on this site.
The Oregon Holocaust Memorial will become a reality with the completion of
construction and dedication ceremony planned for the Spring of 1998.
The outer "Memorial Wall" will be engraved with names of family members,
friends and others who were murdered in the Holocaust. The back side of the
path at this point is lined with a seating arc allowing the visitor a moment to
reflect and read the memorials.
Visitors will begin at a "Town Square". A wall, sitting in a plaza edged with European-style lampposts, will be engraved with the Holocaust history. The square
will be strewn with bronze objects (among them, a teddy bear, a book and an
article of children's clothing) evoking a hasty departure.
The Memorial acknowledges the courage of the Righteous Gentiles and Liberators and culminates with a final statement which urges each viewer to take
responsibility toward helping create a world where the rights and liberties of all
people are protected. A message to "Remember, Reflect, and Enlighten".
Design
Analysis
Reactions to
the Memorial
Bibilography
Page 2
SYNCHRONOLOGY
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Introduction
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Precedents
The Design
Design
Analysis
Reactions to
the Memorial
Bibilography

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



Page 3
PRECEDENT STUDY
Introduction
WASHINGTON DC
story telling by utilizing the senses of sight, smell and touch.
Ralph Appelbaum Savage Lecture
Other ways in which the memorial museum interacts with the architecture is
in the implementation of a rail car that was actually in use during the concentration camps. Since the circulation dictates the story, the railcar was purposefully placed so visitors could walk into the railcar and recall what it was like to
be taken from your home and dropped off in the middle of nowhere. It is also
at this time people begin to notice that they are getting closer to one another
because the hallways are getting narrower and the air conditioning is less
intense. Adding these features to the design was a very emotional component
for many visitors and second routes, as well as alternate exits, were installed so
that survivors would not have to ever enter the railcar or, if it was needed, they
could return to the main lobby at any time.
"Architecture is about telling a story; a journey." Ralph Appelbaum, renowned museum exhibition designer, offered this reply during a question and answer session
after giving a lecture for the Architecture and
Allied Arts Savage Lecture Series. What
Appelbaum was suggesting is how architects
can better design spaces that stimulate the
senses. United States Holocaust Memorial
Museum embodies the idea that museums are
places that contain story that participates with
the architecture rather than having the
Source: James P. Blair/CORBIS
architecture disappear into the background.
Using his award winning design of the United States Holocaust Memorial Museum
as an example, Appelbaum explained his design philosophy on how to form spaces
into places that have strong atmosphere and have a sense of procession or journey.
"The [United States Holocaust Memorial] museum is a play with three acts [one for
each floor] and the story becomes the circulation," says Appelbaum when describing the general layout of the museum, "The architecture responds to the artifacts
and not the other way around." Early on in the design process, the architects realized that people desired to physically feel connected to the Holocaust which meant
that the artifacts; shoes, shirts, photographs, needed to be tangible to the
public. This method of display
meant that artifacts, such as the
hanging uniforms in the main entry,
would not be housed behind glass or
contained by the floor, making the
architecture bend to accommodate
for display ultimately aiding in the
Source: Jables80
Providing sensory architecture is not a
new phenomenon nor is it solely a design
technique for exhibition designers. How
ever, unlike other architectural works,
museums and memorials that design
around our faculties enrich our experience and leave a lasting impression. In
concluding his lecture, Ralph Appelbaum
said that, "Museums are a great social
cure to forgotten wars." I would add that
great museums do more, they make us
remember.
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Source: Javier Pes
Page 4
PRECEDENT STUDY
Introduction
MIAMI
BOSTON
BASIC INFORMATION
Name: The Holocaust Memorial
Location: 1933-1945 Meridian Avenue, Miami Beach, FL 33139
Architect/Sculptor: Kenneth Treister
Quotes: "... that in spite of everything I still believe that people are really good
at heart." ~ Anne Frank
BASIC INFORMATION
Name: New England Holocaust Memorial
Location: Carmen Park, Congress Street, Boston, USA
Architect: Stanley Saitowitz
Awards Won: The American Institute of Architects' 1998
Henry Bacon Medal for Memorial Architecture, The
Boston Society of Architects 1997 Harleston Parker
Award.
Quotes: "A Beacon of Memory and Hope"
According to the Friends of the Memorial homepage, the
Source: .Heather.
design of the New England Holocaust Memorial, designed
by architect Stanley Saitowitz is, "A beacon of memory and hope." Located on the
Freedom Trail in Carmon Park, Boston, the site offers an unique look into American ideals and freedoms as compared to the freedoms of a people who suffered
one of the greatest tragedies of the modern era; The Holocaust. Comprised of six
internally illuminated 54 foot glass towers, one for each major concentration camp,
the memorial center, drawing upon metaphor, has been described as a"'modern
menorah" juxtaposed against the surrounding city. Upon further inspection of each
tower, the glass is fritted with sequences of numbers that recall the tattoos given
to victims of the camps, a total of 6 million in all. Steam is present within each
chamber, a haunting feature that draws upon the horror of the gas chambers, fogging up the glass here and there during
cold seasons of the year as it is open to the
public year round. Dedicated in October of
1995, the memorial has won two major
awards both The American Institute of
Architects' 1998 Henry Bacon Medal for
Memorial Architecture and The Boston
Society of Architects 1997 Harleston Parker
Award.
Source: Stillframe
February 1990 The Holocaust Memorial
of Miami was opened to the dedicated
and opened to the public. Designed and
sculpted by Kenneth Treister, the memorial was a collaborative effort with the
City of Miami and the Holocaust Memorial Committee. The goal of the memorial was to memorialize the millions of
Jews lost, provide a space for the survSource: scurzuzu
ivors to grieve and embody the horrors
that were The Holocaust for further education and remembrance.
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Similar to other memorials, The Holocaust Memorial of Miami contains pools
of water, statuary, sculpture and the ever popular black polished stone panels
with quotes and inscriptions etched into its surface. A pictorial chronology of
events from 1933 to 1945 can also be found within the memorial. The most
striking feature within the memorial would have to be the use of one hundred
horrifying bronze sculptures of
humans in pain and anguish, swirling around the wrist of an oversized
hand reaching for the sky. Many
visitors have found this to be overpowering and very emotional.
Source: Murielle-Joann
Page 5
Introduction
SAN FRANCISCO
BASIC INFORMATION
Name: The Holocaust
Location: Lincoln Park, San Francisco
Architect/Sculptor: George Segal
1984 marks the opening date of San Francisco's
"The Holocaust," located in Lincoln Park across
from the Legion of Honor Park, overlooking the
Source: hyperbolicpants
Pacific Ocean. Many visitors do not know of its
existence, though the few who do are initially caught off
guard when they first visit the site. Designed by notable
sculpture, George Segal, the memorial is composed of ten
bronze human figures, painted in white, strewn about
the ground in an unfriendly manner. There is no metaphor, in this design as its in your face attitude reminds
you of the horrible tragedies that occurred during the
war. In the foreground a man stands alone clutching a
barbed wire fence, probably the most elementary image
of the Nazi concentration camps. However blunt the de
sign; it is not disgraceful or distasteful. A replica of
Segal's design is also on display, in plaster, at the Jewish
Source: vincent.m
Museum in New York.
GARDEN OF STONES
"Amidst the mass of stone the trees will appear as fragile, vulnerable flickers of
life - an expression of hope for the future. The stones are not mere containers.
The partnership between tree and stone will be stronger for having grown from
the stone." Andy Goldsworthy, noted sculptural designer and mastermind of the
Garden of Stones at The Museum of Jewish Heritage, offered this reply when
commenting on his garden design. Funded by the Public Art Fund, The Garden of
Stones was completed on September 17th, 2003 as focal point of the Robert
M. Morgenthau Wing. Working with the most basic materials; wood, stone,
and earth, Goldsworthy wanted to create a garden that commemorated the
victims of The Holocaust and honored the survivors. Goldsworthy initially
started on the design in 2002, searching the northeastern United States for the
perfect flawless boulders for the 4,150-square-foot space. Many of the stones
that made it in the final design were taken from farmlands and forests though
some were found in abandoned quarries. Working with the boulders pleased
Goldsworthy because he felt that each stone had its own story to tell of hardship, change and movement - all feelings he wished to embody within his
design.
After completing his search, Goldsworthy began the final layout. The design is
comprised of 18 hollowed out stones, each with a dwarf oak, Quercus prinoides, planted inside. Some of the stones are very large and are placed to create
narrow pathways. Traditionally a Jewish grave will have a stone placed on top
in remembrance of love ones lost. The number of stones used also has significance in that the number corresponds with the letter "chai" in Hebrew which is
apart of the popular toasting "L'chaim" meaning "to life!" With the addition of
the tree in each boulder, Goldsworthy has created a representation of life and
death capturing the essence of hope within each element. Overtime the dwarf
oaks will grow and become one with the stone base, truly becoming a living
memorial.
Something to note is that the memorial has
no apparent Jewish insignia nor does it
contain other familiar memorial elements
such as statuary, plaques, or photos. Goldsworthy's space is not supposed to be a destination only visited once and then forgotten;
it is a space that is to be revisited and experienced differently over time as the garden
ages.
Source: Joygantic
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Page 6
DESIGN ORIGINS
Source: John Warner
Source: John Warner
Miriam Greenstein had grappled with the terrifying memories that all Holocaust survivors must carry. With the help of time and distance, she was
eventually able to open up to her family & friends & share the horrific burden
she has shouldered since youth. Sensing an opportunity to educate future generations, Miriam worked with other Portland area survivors, including Alice
Kern & Jane Rosenbaum, to create the Oregon Holocaust Survivors, Refugees &
Families (OHSRAF) organization in 1994.
Central to the organization was a desire to create a space where survivors
could find solace, and the loved ones who perished so long ago might finally
find a place of eternal rest. Building upon earlier sentiments within the city
to create a memorial to the Holocaust, including those of former-Mayor Bud
Clark, OHSRAF approached landscape architect Marlene Salon to help develop
a plan that would make the memorial a reality. Marlene Salon was a Holocaust
survivor herself, rescued after being left for dead in the mud of Auschwitz &
later cared for by nuns from a local charity group.
With the backing of OHSRAF, Marlene organized a design team consisting
of John Warner & Marianne Zarkin (both landscape architects), Tad Savinar
(graphic design), Paul Sutinen (painter), Marshall Lee (Pacific University historian), and John Laursen (typesetter). The team selected a site in Washington
Park that was subsequently approved (perhaps prematurely) by the Portland
city council in 1995. One condition applied to the proposed site required a
more densely planted barrier along the street in order to accommodate neighborhood livability issues. After the city's endorsement was received, OHSRAF
reorganized as the Oregon Holocaust Memorial Committee (OHMC) with Jane
Rosenbaum elected chair. The local chapter of the American Jewish Committee, headquartered in New York City, adopted the OHMC as an ecumenical
project and allowed the new group to use their (501)(C)(3) tax-exempt status.
Just as quickly as the city's support was garnered, an unexpected chorus of
neighborhood opposition sent the project into a contentious eight-year cycle
Introduction
Precedent
Study
The Design
of legal maneuvers & delays. The Arlington Heights Neighborhood Association
(AHNA), located within the confines of Washington Park, wrote a letter of concern
to the city in regards to the proposed location of the memorial & the lack of public
input in the selection process. The OHMC, hoping to quickly resolve the issues with
the association, invited 54 area households most directly affected by the project to
a neighborhood meeting to explain their position. Surprisingly, not a single invitee
attended.
By 1997, the neighborhood's grievance with the project was attracting greater publicity, as was the list of honorary members represented on the Holocaust memorial committee. The high profile list featured former Senator Mark Hatfield &
then Governor John Kitzhaber, but the inclusion of Portland City Councilor Jim
Francesconi & Chief Parks Planner John Sewell raised a conflict of interest debate.
Councilor Francesconi soon resigned his honorary seat & ordered a new siting process for the memorial; one that many believed was ignored during the initial stages
of the project.
Design
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Bibilography
Eight years earlier, the Portland city council had crafted a policy to address the
siting & review process for seven different types of memorials. With regards to a
memorial garden project such as the Holocaust Memorial, reviews were required
by the Park Bureau planning staff, the Metropolitan Arts Commission, the Design
Review Commission & finally by Park Bureau managers with the final decision made
by the Park Bureau Director. Once the string of reviews was completed & a decision
issued, citizens could first appeal to the city councilor in charge of the Parks Bureau,
and then to the city council as a whole.
Page 7
In 1998, after the required reviews & two nonrequired public meetings, Parks Director Charles
Jordan recommended approval for the Holo
caust memorial, a decision he based on the
proposal's adherence to the siting policy & the
Washington Park master plan. The AHNA
appeals were unsuccessful at which point they
took their case to the Oregon State Land Use
Source: Kelly Brenner Board of Appeals in September 1998 claiming the city failed to follow their own siting policy & that of the Washington Park
master plan, specifically the memorials relationship to the existing sculptures
"Coming of the White Man" & "Sacajawea" In addition to these grievances, the
neighbors' arguments focused on other common NIMBY themes including excessive automobile traffic, the disturbance of the tranquil park setting by large school
groups, and parking limitations. Unique to Holocaust memorials, however, was the
argument that neighbors simply did not want to have a visual daily reminder of
the atrocities committed during the Holocaust.
The city was found in violation for their handling of the public process & eventually the two sides were involved in negotiations with mediator Sam Imperati.
After a failed search for a suitable alternative to the site at Washington Park,
mediators & the city council recommended that the existing design be revised in
order to shield the memorial from the view of adjacent neighbors. Calls to rotate
the design met with stiff resistance from the design team members who reported
in a memo to the OHMC that the "logic of the existing design & substance of the
memorial cannot be replicated on the adjacent site".
Nevertheless, the city Parks Bureau revised the original design in an attempt to
sidestep any further litigation & spur the memorial to completion. Design Team
members reviewed the city's revisions in 2000 & responded with a list of unacceptable changes including the creation of a cut bank in the meadow, an exit path too
close to the main entry, replacement of the level main walk with a 5% ramp, a 2nd
retaining wall behind the memorial, potential root damage to an existing mature
Sequoia, and most striking, the site would not have an ADA accessible entrance
from the street. Some portions of the pathway would even exceed 15% slope!
After continued legal wrangling, the matter appeared to be headed to the Oregon State Supreme Court in Salem. However, the case was not heard after the
homeowner's association failed to submit necessary paperwork & subsequently
agreed to end the appeals process.
On October 29, 2003, Councilor Francesconi presented resolution 1280 to
"authorize agreements with the American Jewish Committee & the Oregon
Holocaust Resource Center, Ltd. To construct, operate & maintain a permanent public memorial in Washington Park to victims of the Nazi Holocaust".
Ground was broken on February 2, 2004 and nearly ten years after initially
proposed, the dreams of Miriam Greenstein & her fellow Holocaust survivors
were realized at the memorials dedication on August 29, 2004.
Highlights of the dedication ceremony included an invocation by Catholic
Archbishop John Vlazny, a reading by Rev. Ross Miller in memory of all who
perished & a performance of "Cry Out & Shout" by the Ecumenical Choir.
Beyond the speeches & ceremony, however, was a recognition of the weight
shouldered by all Holocaust survivors to carry on when so many did not. Reflecting on the interweaving journeys of both the survivors and the memorial
itself, Jane Rosenbaum, who chaired the OHMC through its first nine years of
existence & whose family was forced to flee the chaos of Kristallnacht, stated,
"Each survivor has risen to meet the challenge of forging a new existence".
Rabbi Larry Halpern (South Metro Jewish Congregation), who along with his
wife Rabbi Ariel Stone-Halpern (Congregation Shir Tikvah) accompanied survivors to the death camps in order
to retrieve ashes from the mass graves, poignantly summarized the obligations
of all in attendance, "We and all who
come this way might - by the beauty &
power of this memorial - also be
changed, be charged to go forth
remembering the humanity of all who
live, & demanding for them the rights
& dignity we expect for ourselves".
Source: Kelly Brenner
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Page 8
DESIGN INTRODUCTION
Introduction
Source: Sarah Thomas
During the summer of 1994, the first steps were taken by a small group of dedicated survivors to memorialize the victims & loved ones who perished at the hands
of the Nazi Holocaust. Following a city council resolution designating a location
for the memorial in Washington Park, the Oregon Holocaust Memorial Commission was created with the mission "To dedicate themselves to immortalizing in
stone not only the past history of genocide, but to teach current & future generations that we each have a responsibility to recognize & then help eradicate the
hatred & bigotry surrounding us daily."
The members of the OHMC saw themselves as role models for their children &
grandchildren, in addition to the community as a whole, being placed in a unique
position to share experiences & teach the lessons of respect & acceptance. In the
memorial's message from the survivors, they collectively state, "In recent years
this group of Holocaust survivors who wanted so badly to forget, to blend in, and
to put the past behind us, has responded to the rising threat of neo-Nazism. After
decades of total silence about the past - and at the risk of renewing our pain - we
were compelled to speak up, to tell the truth about what happened to us during the
Nazi reign of terror from 1933 to 1945."
The design team assembled to take on this emotionally sensitive & uniquely challenging project included landscape architects John Warner, Marlene Salon &
Marianne Zarkin, artists Tad Savinar & Paul Sutinen, Holocaust historian Marshall
Lee and typesetter John Laursen. In laying out the teams' goals for the design,
attention was placed on remaining "respectful of Washington Park's existing ambiance, design standards, & maintenance & vandalism concerns; to be respectful
of the adjoining neighborhood residences; to create a garden where the names of
Precedent
Study
those who perished in the Holocaust could be memorialized." In addition, it
was imperative to both survivors & the design team that this be a reflection of
Oregon & the unique attributes of the state - a memorial that allowed visitors
to identify with its surroundings in order to personalize the space.
Keeping with the underlying concept found in most memorials, the Oregon
Holocaust Memorial (OHM) leads the visitor through a series of experiences,
both physical & emotional. After visiting memorials in Miami, San Francisco,
Boston & New York, designers felt that many of these sites, while dealing with
an obviously disconcerting topic, were too emotional, and rather than telling a
story to the visitors, left many feeling sickened by the imagery. By listening
to the local survivors, the design team was moved to create a design that was
about quiet & rest; a place to reflect upon a heart-wrenching memory shared
by all survivors - the moment when they were separated from their families &
friends.
The Design
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THE TOWN SQUARE
Visitors begin their progression through the memorial by entering a small
plaza complete with cobblestone pavers, a wrought iron city street lantern &
benches for sitting. Bronzed artifacts lay scattered about, powerful symbols
that remind us of the last chaotic moment families shared together before being separated. A series of history tablets called out in the earlier designs were
moved to the memorial wall & replaced by the benches for seating.
The cobblestone is actually Belgian blocks brought to Portland as ship ballast
& later used to pave the city's streets. These remnants, gathered in a north
Source: Sarah Thomas
Page 9
Portland park, are considered a national landmark & required special permission from the Landmark Commission in order to be used in the OHM.
The selection of the bronze artifacts (casting performed by the Walla
Walla Foundry) was based on the stories shared by the survivors, including
Chella Kryszek who donated the menorah. Other items were donated or
purchased through local businesses such as the violin from Schuback Violin, the eyeglasses from Reynolds Optical & the book from the rare book
collection at Powell's Books. Other items had to be located through an
Internet search including the suitcase found at a California prop company,
and the Steif teddy bear.
THE WALK
The placement of the fallen objects slowly pull visitors further down the
main walk - an 82' long path leading to the Memorial Wall. The Belgium
block paving is soon interrupted by the repetitious placement of 8' long
granite bars, each 8" wide. The railroad symbolism goes beyond mere
visual cues & builds a metaphor that is felt in each step of the
visitor. The regular spacing of the granite does not match the
average gait of humans resulting in a forced movement, one
that leaves the visitor feeling out of step.
The paving & patterning of the walk abruptly ends with the transition
to compacted quarter minus gravel. The choice of material was very
particular to survivors as the gravel was a literal reference to their
arrival into the concentration camps. They were also very adamant Source: John Warner
that water elements not be featured in the design since there was never enough water
to go around in the camps.
The wall consists of 14 bronze plaques placed within the Camas basalt, each with a
quote from one of the survivors. The texture of the plaques resembles that of burlap
with painstaking effort made to avoid a duplicated appearance. The text is in first
person and details a survivor's memory tied to the moment of their separation from
family members. Each quote transitions the abstractness of a past event into a very
real, & very personal experience for contemporary visitors.
The textual history, originally placed in the Town Square, was relocated to the end of
the Witness Wall on slabs of Nero Absolute granite. The granite, which came from
South Africa, is noted for its clarity, reflection & lack of imperfections. Landscape
architect John Warner was present as the tablets were cut from a huge 40-ton block
at the Cole Spring Granite Company in Minnesota.
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THE STONE VAULT
Source: John Warner
From the wall...
Introduction
THE WITNESS WALL
Source: Kelly Brenner
In 1997, a contingent made up of
survivors, their children, Rabbi Larry
Halpern, Rabbi Ariel Stone-Halpren &
Source: John Warner
Mr. Warner, traveled to each of the death camps,
& with permission from the government, took soil
samples from the mass graves where the ashes were
dumped.
A small pine coffin, built by Leslie Aigner in the
Jewish Tradition, was wrapped in a Jewish prayer
shawl & entombed in a vault beneath the wall. All of
Page 10
Introduction
the survivors participated in the quiet burial, touching the coffin before it was
encased in concrete & covered with a large stone - the top of which can be seen
at the base of the wall.
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THE MEMORIAL WALL
The granite used for the history slabs is continued on the backside of the memorial & is etched with the names of family members lost to local survivors.
It took Helen Thomas two years of research to compile the entire list of names.
John Laursen of Press-22 created the text for the wall - a custom variation of
the Minion Italic font. Each letter was individually kerned, sandblasted with
paint & then sealed. Over 25 samples were tried before agreeing upon the final
variation.
Breaks in the granite slabs, along with the overall curvature of the memorial,
cause reflections to "disappear" as one moves to the next section; a powerful
visual element knowingly included by designers.
Concrete benches line the path allowing for a place to sit, reflect & read the
names etched upon the wall.
An understated exit allows visitors to leave the memorial without encountering
those arriving from the main walkway.
The Design
Design
Analysis
Source: John Warner
PLANTING CONSIDERATIONS
The design was sited to ensure the protection of all existing vegetation, including
a dominant mature Sequoia giganteum. A small expanse of lawn creates a stark
juxtaposition to the lush plantings encompassing the rest of the memorial. The
existing Rhododendrons & Azaleas were supplemented with new plant materials in
order to create a thick backdrop for the memorial & shield the view from neighboring residences.
Reactions to
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Bibilography
The planting design took into account alternative sight lines in order to address
security concerns by law enforcement officials.
From the wall...
Source: Kelly Brenner
Page 11
THE DESIGN TEAM
Introduction
The design team consisted of Landscape Architects John Warner, Marlene Salon,
and Marianne Zarkin Conceptual artist Tad Savinar, Typographer John Larsen
and Historian Marshall Lee.
JOHN WARNER
John Warner is a Landscape Architect and was a principle
with Atlas Landscape architects beginning in 1997. During
the design and development of the Oregon holocaust memorial John was one of the leading architects. John is currently
is the owner of John Warner and associates. John has created
and implemented many design around the Portland Area
including Cathedral Park, Federal plaza, reclamation projects
at Haag Lake, downtown Plan for Mazola Montana.
Source: John Warner
MARIANNE ZARKIN
Marianne Zarkin a landscape architect whom has worked with several firms in
the northwest area was influential in the development of the memorial. She is also
noted for her work with the Smith and Bybee Lake project, and the city of Lake
Oswego project. Marianne along with John Warner and Marlene Salon put in a
lot of work into the Holocost Memeorial. Currently Marianne is a principle with
Marianne Zarkin Landscape Architects.
MARLENE SALON
Marlene Salon is a landscape architect who has a specialty in garden design. She is
one of the key contributors early on and is actively involved with the renovation
and implimentation of the memorials original design. Marlene is very involved
many garden societies through out the Portland area. Marlene is "committed to
designing spaces that are appropriate to context and responsive to human needs
and maintenance requirements". Marlene works include extensive work in Crystal
Springs Rhododendron Garden, Columbarium Courtyard Plan and many small and
large estate projects in the Pearl District.
TAD SAVINAR
"Tad Savinar is an artist based in Portland, Oregon, who has focused much of
his work on urban design teams, master planning exercises, downtown revitalization plans, urban waterfronts, and regional infrastructure projects. Current
projects include: Phoenix/East Valley Light Rail, Seattle Sound Transit Light
Rail, Oregon Holocaust Memorial, Oregon Botanical Garden, The Columbine
High School Memorial, and the Salmon/Main Plan-one million square vertical
feet of housing, retail, residential, religious, and museum use over four contiguous blocks in the core of downtown Portland"
JOHN LARSEN
John Larson a typographer was responsible for formatting text and the writing of the Oregon Holocaust Memorial Book that was passed out when the
dedication took place in on 29th of August 2004. John's key contribution was
to ensure the words on the stone where correctly implemented. The texture on
the background of the bronze plaques in the inside arc were burlap sacks that
were set up by john. John was also very involved in public events leading up
to the memorials implementation.
MARSHALL LEE
Marshall Lee was the historian responsible for the creation of the story boards
in the memorial. He also collected Quotes from the 16 survivors that were at
the dedication. Most of the bronze plaques in the inside arc are quotes from
survivors.
From the wall...
Precedent
Study
The Design
Design
Analysis
Reactions to
the Memorial
Bibilography
Source: Kelly Brenner
Page 12
DESIGN EVOLUTION - TEAM IDEAS
Introduction
Precedents
The Design
Design
Analysis
Reactions to
the Memorial
Source: John Warner
Bibilography
Page 13
DESIGN EVOLUTION - PRELIMINARY DESIGNS
Introduction
Precedents
The Design
Design
Analysis
Reactions to
the Memorial
Bibilography
Source: John Warner
Source: John Warner
Source: John Warner
Page 14
DESIGN EVOLUTION - PRELIMINARY DESIGNS
Introduction
Precedent
Study
The Design
Design
Analysis
Source: John Warner
Reactions to
the Memorial
Source: John Warner
Source: John Warner
Bibilography
Source: John Warner
Source: John Warner
Page 15
CONSTRUCTION DOCUMENTS
Introduction
Precedent
Study
The Design
Design
Analysis
Source: John Warner
Source: John Warner
Source: John Warner
Reactions to
the Memorial
Bibilography
Source: John Warner
Source: John Warner
Source: John Warner
Page 16
DESIGN DRAWINGS
Introduction
Precedent
Study
The Design
Design
Analysis
Reactions to
the Memorial
Source: John Warner
Source: John Warner
Bibilography
Source: John Warner
Page 17
Introduction
Precedent
Study
The Design
Design
Analysis
Reactions to
the Memorial
Source: John Warner
Source: John Warner
Bibilography
Source: John Warner
Page 18
THE CONSTRUCTION SEQUENCE
Introduction
After the architects complete the design and the green light is given, the
most exciting phase, to actually build the site as planned, can begin. The
contracting team for this project was Walsh Construction Company of
Portland, Oregon.
Precedents
The Design
The stages of construction for this site are permitting, infrastructure, the
vault, the memorial, hard surfaces work, landscape work and the finishing
touches. The project was started in February with the dedication ceremony on August 29, 2004.
Design
Analysis
The construction crews began by applying for all the appropriate permits
required for construction. The silt fences were placed in the appropriate
locations and access routes to the site were constructed to accommodate
the need for heavy equipment to move materials. Excavation to build a
proper foundation was implemented and aggregate brought in to accommodate the loads. All coarse grading took place at this stage. This site
required walls, paving, pathways, a memorial and a mammoth bench to be
constructed, with every preparation made. Guide lines were spray painted
and staked to insure proper placement. The entire project entailed a sequence of marking through each stage of the construction process.
Reactions to
the Memorial
Bibilography
This is a very special site in that it site required a vault to be installed
to accommodate ashes and soil from Europe and then placed in a wood
coffin to be buried under a corner stone of a massive 25-ton boulder. A
ceremony took place by the survivors of the Holocaust with each placing
soil on the vault.
Following the burial ceremony, all of the hard surfaces were placed on
the site. The stone stacked wall behind the memorial was partially built
before the vault and the corner stone were placed. The memorial itself
would be fully constructed before completing the other hard surfaces, a
result of the need for more heavy equipment later in the project. After
the vault stone was placed and the memorial foundation poured, Walsh
Source: John Warner
Page 19
Introduction
constructed the block walls to accommodate the granite slab
inscribed with text. On the inside arc they laid a combination
of squares and rectangle stones and bronze plaques with quotes
from the survivors. The outside arc received large black slabs
of granite listing those who died and the end slabs that tell the
story. After all the final touches were made to the memorial,
the benches were installed for visitors to sit and contemplate the
inscribed names. By this time the crews were ready to lay the
foundation for the large bench to face the memorial. The concrete bench was formed in Boring, Oregon and assembled on site.
After the bench was the finally installed, the construction of the
railroad pathway was set to begin. Each cobble stone was carefully selected to insure a proper look and fit. Other than the light
pole to be installed, the rest of the work was fine grade on gravel
work.
Precedent
Study
The Design
Design
Analysis
Reactions to
the Memorial
At this point all the irrigation work was installed and the medium to fine grading implemented. The help of a light excavator
was used to move around soil quickly and efficiently. Finally,
grass and plants were installed, along with clean up, final touches
and removal of silt fences. A good cleaning and dusting of bark
was applied along with any other finishing touches. Marlene
Salon, one of the lead landscape architects, said plant installation
is ongoing and not expected to be completed until the winter of
2008.
Bibilography
Source: John Warner
Page 20
DESIGN ANALYSIS
Memorials hold a unique place in the fields of architecture & landscape architecture. To build a space that can accurately interpret past memories while also protecting its meaning through its future evolution is truly a challenge for even the
most skilled designer. As James Young states in The Art of Memory, each memorial "reflects both the past experiences and current lives of their communities,
as well as the state's memory of itself. On a more specific level, each also reflects
the temper of the memory artists' time, their place in contemporary aesthetic
discourse, their media and materials". Based on our own questions, we analyzed
the meanings behind the Oregon Holocaust Memorial as well as the application of
those meanings to future generations.
A quick search of the nation's numerous Holocaust memorials unveils a large
variety of reasons & motives behind their installations. The spectrum upon which
memorials are located is extensively branched & diverse, ranging from the most
figurative to those of an abstract nature, some with powerfully disconcerting imagery & others much more subtle & understated. Within this spectrum also exist
many memorials & sculptures that are quite possibly better known by their creator
at the expense of those it was created to memorialize.
The design for the Oregon Holocaust Memorial appears to reflect a reaction by
its designers against the overtly horrific imagery found in some memorials such
as George Segal's Holocaust or Kenneth Treister's 72-foot-tall outstretched arm in
Miami. Instead, they spoke - and listened to - those survivors driving the memorials creation. What resulted was a sacred space crafted from the memories of
children (as the survivors were mere children when this tragic fate came to call), &
now stands as a teaching environment where all may bring their children & grandchildren.
The Oregon Holocaust Memorial serves as a piece of documentary art, producing
a narrative that encourages discovery, reflection & contemplation. It is a place
of mental interaction; rather than shielding our eyes, we engage the events that
transpired, asking why they occurred, or how they came to be. It is the beginning
Introduction
of a progression that forces us to think deep within ourselves & ask how we
would have reacted had we lived during those dark days. And then the reality
hits - how did we respond to the ethnic cleansing in Yugoslavia? What are we
doing about the present-day genocide in Darfur?
During its conceptual phase, some within Portland's Jewish community questioned the need to spend so much money on a physical memorial while the city's
under-funded schools struggled to exist. Could that money not be better spent
creating an in-class Holocaust education program? Upon the memorials completion, it became clear that the strong educational component instilled within
the design itself had wiped away those earlier hesitations.
A concern regarding the memorials location in relation to Washington Park's
other landmarks was also a point of debate. Many of these other monuments
project a timeless character, one that is replicated in the Oregon Holocaust Memorial through its simple, understated design & the selection of quality materials, such as granite, cobblestone & basalt, that offer durability & reflect those
found elsewhere in the park,
Most importantly, perhaps, it is the strikingly personal quotes from survivors
that will carry this memorial forward into future
generations. Our ability
to identify & create an
emotional attachment
with our fellow human
beings is something that
will not change. It is
through this emotional
connection that the memorial will educate, enlighten
& challenge the future
generations of Oregonians.
Source: John Warner
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Design
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REACTIONS FROM THE AUTHORS
Introduction
Precedents
"Our precious life rests not on our ability to see what makes us different, one
from another, but rather on our ability to recognize what makes us the same.
What ultimately defines us is the moral strength to believe in our common humanity, and to act upon this belief."
The quote above, the last of the many words etched into the final panel of polished stone at The Oregon Holocaust Memorial, left quite an impression upon my
psyche when I walked back to the parking lot. This trip will be my first trip to
the site but hopefully not my last. I have been to many memorials, for war, death
and suffering; some were even other Holocaust memorials. The Oregon Holocaust
Memorial was different than the other places I had visited; it was quiet.
My favorite portion of the site was the polished semi circular stone with words
finely etched. The reflection was astounding and I saw myself in each panel as
I read the words. Later I would find out that the letters were placed and painted
by hand, a feat that amazes me still. As I continue around the backside of the
memorial, I noticed my reflected, almost ghost-like figure, disappear and reappear creating an eerie if not haunting effect. It is almost as if with each step I
take, my figure disappears with the names I had just read if for only a moment.
Sarah E. H. Thomas
Design
Analysis
Reactions to
the Memorial
Unlike most memorials, Oregon's decision in creating a commemorative space did
not include the stereotypical statue surrounded by a pool of water in which you
approach by a parterre of flowers during the spring and bushes during the fall.
Oregon's model was subdued and focused on the placement of elements stone and
artifacts of bronze in a story telling manner that encompasses the site as a whole.
The flora was comprised of familiar northwest plants, just beginning to taste
spring. However, even with the beginning of springtime just around the corner,
the memorial persuades you to venture further, interacting with the pieces on
display.
"[If] memory is a way of holding on to the things you love, the things you are,
[and] the things you never want to lose," The Oregon Memorial did a perfect job
of reflecting that sentiment (Kevin Arnold). As I engaged the site, my eyes immediately looked down at the cobblestone path and the bronzed artifacts strewn
about before me. A menorah, a doll, worn-out luggage and a lamp post immediately catch my eye and puzzle me. It was not until I noticed the stuffed bear that
I understood that these items represent relics that were left behind or tossed aside
when a family was uprooted from their home during the Holocaust. It made me
think of what items I might have left behind.
The Design
Bibilography
Source: John Warner
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REACTIONS FROM THE AUTHORS
My Personal Experience of Oregon Holocaust Memorial
Today is the first day of spring and I will visit The Oregon Holocaust Memorial. The air is cool since the passing of a front and the sun is out with a
cool moister in the air, crisp and clean. This memorial will be the first time
in my life I will visit a Holocaust Memorial. Approaching the memorial, I
quickly notice how well the memorial grounds blend into the surrounding
environment. As I enter from the parking lot to the north, there is a large
stone to my left. The stone has a polished face with inscribed lettering with
an unfinished rough edge and the inscription of the park's name, "The Oregon
Holocaust Memorial".
arranged to represent train tracks. The site on one side seems to be a train depot
and the other, the main memorial. The main memorial is arranged in an arc and the
inside arc is fitted with beautiful black polished marble with many inscriptions arranged randomly on the wall with rougher basalt stone around them. I see a stone,
which I call a cornerstone, at the foot of one side and the other is a polished marble
column. The inside track has the story of the memorial with quotes and the outside
has the names of people who died and their families. The outer wall was encompassed by stone benches for one to contemplate and reflect. I cannot help but feel
sad, I believe this memorial helps a person to reflect, remember and honor those
who died unjustly in one of life tragedies. As I walk around I believe the design and
layout is well incorporated into the landscape surrounding. The site is not overbearing and very respectful of the surrounding environment.
Introduction
Precedents
The Design
Design
Analysis
John L Gonzales
The landscape all around is a typical northwest planting arrangement. I feel
a little awed as I walk up because I start to see the layout of the memorial
with a lamp post and a huge stone bench. The closer I approach I am a little
puzzled because of all the artifacts around the site. Upon closer observation, I understand all clearly and develop a lump in my throat. The artifacts
take you back to a time in place where the unthinkable human travesties had
happened. I stopped to carefully take in all around me the things on display
before me. I saw a broken fiddle, damaged spectacles, an abandon doll, a
crushed mini menorah, a ripped book and a worn-out old suit case. There is a
contrast in the feeling in this place since its spring out and the flowers in the
trees and surrounding begin to emulate spring. The articles take you back to
remember what had happened so long ago with a feeling that is undesirable
which brings me to understanding that these items had belonged to someone.
The artifacts are simulating the items left behind by persons at a train station. The evidence suggests that they were forced to leave behind some precious items. My mind starts to imagine scenarios based on what I have seen,
heard and read.
Reactions to
the Memorial
Bibilography
As I was standing there, I had my camera and began to take pictures as I felt
moved. The place where I stood simulates a train station and the stones were
Source: John Warner
Page 23
REACTIONS FROM THE AUTHORS
Introduction
Personal Impression:
Hidden Discovery
Recalling my first visit to the memorial two years ago, while jogging through Washington Park, I remember somehow missing the signs identifying the site & allowing
curiosity to lead my exploration. The large granite slabs, an open lawn & cobbled
path, a single ornate lamppost and one by one, the discovery of the bronzed artifacts
left behind. I remember that moment when the realization of where I was hit me,
when the intensity of this sacred site stole my breath triggering a rapid-fire connectthe-dots of the space, the materials and the artifacts. It was amazing how quickly
the sublimity of Portland's West Hills turned into the emotional sanctity of St. Peter's
or Wounded Knee. The large mature trees enclosing the site were not just trees but
more of a conduit to the sky above. And the sky was not merely the sky; it was
heaven. A place to look & ask why?...and how? Those same questions we all ask
when visiting a site such as this.
Walking down from the parking lot the first thing I saw was a group of
school kids following a guide around the wall from my elevated view. As I
walked downhill and entered the site, the first thing that greeted me was a
black, shiny plaque on the ground that stated "Oregon Holocaust Memorial".
That small, stunning piece of rock was a good indication of what was yet
to come. As I entered the town square I immediately noticed many of the
relicts that had been left scattered around the area and it wasn't until my
second time around that I noticed the rest of the relicts I missed the first
time. The view of the wall is spectacular as it's framed by giant Douglas Fir
trees that dwarf the size of the wall. It's not until I walked up to the wall
that I realized how large the wall itself really is. Majestic, made from black
granite, the wall reflects everything. But it was the setting that really awed
me set in with the native Pacific Northwest plants, especially the firs. I also
thoroughly enjoyed the relicts lying around, especially the violin for reasons
I can't identify. It's very well hidden from the rest of Washington Park and
until recently I never knew it was even there even though I visited the park
a great many times. The combination of being hidden, set into the native
landscape and the reflective wall is an amazing combination and incredibly
awe-inspiring.
During my second visit to the site two weeks ago, I returned with the tools of a
designer. I noticed how the background plantings focus my view upon the Memorial
Wall, how the walk feels like a slow progression into oblivion, and how the scale remains human & encourages contemplation. But when I reflect upon the memorial, it
will always be that first emotional visit that instantly comes to mind. The discovery,
the profound sadness and those two unanswerable questions...why?...and How?
Erik Carr
From the wall...
Precedent
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The Design
Design
Analysis
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Bibilography
Kelly Brenner
Source: Kelly Brenner
Page 24
REACTIONS FROM THE GOVERNOR AND MAYOR
Introduction
Precedents
The Design
Design
Analysis
Reactions to
the Memorial
Bibilography
Source: John Warner
Page 25
BIBLIOGRAPHY
American Jewish Committee. "The Oregon Holocaust Memorial." Portland:
Oregon Holocaust Memorial Coalition, 2004.
Arnold, Kevin. "Memory Quotes." Think Exist.com: Finding quotations was never
this easy! 20 Mar. 2007. <http://thinkexist.com/quotations/memory/>.
"Before The Land Use Board Of Appeals Of The State Of Oregon" Google.com.
28 Dec. 2006. 10 Mar. 2007. <http://luba.state.or.us/pdf/2001/dec01/01099.
htm>. Path: Cached Text.
"Best of 2004 Winners Oregon." McGraw Hill Construction: Northwest Construc
tion. 18 Mar. 2007. <http://northwest.construction.com/projects/>. Path: 2004
Top Projects - Oregon.
Blair, James P. 2007. 20 Mar. 2007. <http://www.nationalgeographic.com/
walkingtours/Washington_DC_Walking_Tour/dct05.html>.
"Creativity and Place-Making" Smart City Radio 15 Sept. 2002. 3 Mar. 2007.
<http://www.smartcityradio.com/smartcityradio/>. Path: Past Shows.
Fagin, Helen N. Phd. The Holocaust Memorial. 20 Mar. 2007.
<http://www.holocaustmmb.org/>.
"George Segal Monument." The Center for Holocaust and Genocide Studies Uni
versity of Minnesota. <http://www.chgs.umn.edu/>. Path; Virtual Museum of
Holocaust and Genocide Studies; Public Holocaust Memrials.
Glade, Peter H. "President's Column." MuLTNoMAH. Vol. 52; Num.2. Feb 2007. 5
Mar. 2007. <http://www.mbabar.org/docs/newsletters/ml_feb2007.pdf >.
Introduction
---. "Holocaust Memorial Finished" Jewish Review. 47.1 (2004).
Hayes, Tahira. Et. Al. "Crossing the Abyss: From Auschwitchz to Oregon" uore
gon. edu. 2005. 10 Mar. 2007. <http://odp.uoregon.edu/projects/04-05/cross
ing/#>. Path: The Story.
Heather. Flickr.com. 9 Dec. 2006. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=318241328&size=l>.
Precedents
The Design
"Holocaust Memorial Council." The Library of Congress. 30 Sept. 1996. 18
Mar. 2007. <http://www.artsusa.org/events/2003/convention/overview/006.
asp#twentysix>. Path: The Library of Congress; THOMAS Home; Committee
Reports; Search Results.
Design
Analysis
Hortsch, Dan. "Holocaust Memorial dispute steps up to state." The Oregonian. 16
Feb. 1999: B2.
Reactions to
the Memorial
hyperbolicpants. Flickr.com. 3 Jul. 2005. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=23402242&size=o>.
Bibilography
"IN THE COURT OF APPEALS OF THE STATE OF OREGON" FindLaw for
Legal Professionals. 12 Jul. 2000. 18 Mar. 2007. <http://caselaw.lp.findlaw.
com/scripts/getcase.pl?court=or&vol=A107895&invol=1>.
Jables80. Flickr.com. 15 Nov. 2006. 20 Mar. 2007
<http://www.flickr.com/photo_zoom.gne?id=298488383&size=l>.
Javier Pes. Flickr.com. 20 Mar. 2007. <http://www.chr.org.uk/Museums/futu
reintro.htm>.
Haist, Paul. "Memorial Gets Final Green Light." Jewish Review. 46.5 (2003).
Joygantic. Flickr.com. 25 April, 2006 < http://www.flickr.com/photos/joygan
tic/tags/goldsworthy/>
---. "Work Begins on Long Delayed Oregon Holocaust Memorial." Jewish Review.
46.13 (2004).
Milton, Sybil, and Ira Nowinski. In Fitting Memory: The Art and Politics of
Holocaust Memorials. Detroit: Wayne State Univ Pr, 1992.
Page 26
Muriell-Joann. Flickr.com. 18 Nov. 2005. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=64585426&size=o>.
onetwofuccyou. Flickr.com. 11 Feb. 2007. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=387712202&size=o>.
Portland City Council Agenda. Daily Journal of Commerce. 28 Oct. 2003: 25.
"Public Arts Preconference Speaker Biographies." Americans for the Arts. 17
Oct. 2006. 18 Mar. 2007. <http://www.artsusa.org/events/2003/convention/>.
Path: Convention Overview; Speaker Biographies; Tad Savinger.
Row, D.K. "A committee approach slays Chinatown's dragon" OregonLive.com.
11 Feb. 2007. 3 Mar. 2007. <http://caselaw.lp.findlaw.com/>. Path: Search;
design development oregon holocaust memorial.
Ryan, Alison. "Year after unveiling, Oregon Holocaust Memorial designers re
visit." Look Smart: Find Artciles | 10,000,000 Articles; Where To Look For
What You Need. 29 Aug. 2005. <http://findarticles.com/p/articles/>. Path:
FindArticles; Publications; Free; Business & Finance; Daily Journal of Commerce (Portland, OR); Aug 29, 2005.
"San Francisco's 'Off-the-Beaten-Track' Memorial Places - National Aids Memo
rial Grove" Only In San Francisco: The Official Visitors' Site For San Francisco. 15 Mar. 2004. 20 Mar. 2007. <http://www.sfcvb.org/ >.
<http://www.flickr.com/photo_zoom.gne?id=60299040&size=o >.
"SWAC Speakers 2005" Arizona Commission on the Arts. 5 Mar. 2007.
<http://www.azarts.gov/swac/pastspeakers.htm>.
"Tad Saviner." ASLA Oregon | 2002 Design Awards Jury. 15 Dec. 2005. 18
Mar.
2007. <http://www.aslaoregon.org/events/2002-jury.html>.
"Tad Savinger Resume." PDX Contemporary Art. 18 Mar. 2007.
<http://pdxcontemporaryart.com/main/artists/resumes/Tad_Savinar_re
sume.pdf>.
Introduction
Precedents
The Design
Design
Analysis
The New England Holocaust Memorial. 20 Mar. 2007.
<http://www.nehm.org/intro.html>.
vincent.m. Flickr.com. 2 May 2006. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=139584715&size=o>.
Warner, John. Personal Interview. 9 Mar. 2007.
Reactions to
the Memorial
Bibilography
Young, James E. The Art of Memory: Holocaust Memorials in History. New
York: PRESTEL, 1994.
---. The Texture Of Memory. Ithaca: Yale University Press, 1994.
scurzuzu. Flickr.com. 12 Mar. 2007. 20 Mar. 2007.
<http://www.flickr.com/photo_zoom.gne?id=419677206&size=o>.
"Special Interests: Oregon Holocaust Memorial." Walsh Group. 5 Mar. 2007.
<http://www.walshconstructionco.com/adobe/ORHolocaust.pdf>.
Spilka , Abby R. "Garden of Stones." Museum of Jewish Heritage. 20 Mar. 2007.
<http://www.mjhnyc.org/pressroom/museum_pressroom_a.htm>.
Stillframe. Flickr.com. 5 Nov. 2005. 20 Mar. 2007.
Source: John Gonzales
Page 27
Introduction
"Every year there are fewer and fewere of us. When we're gone, the Holocaust
Memorial will be there to speak for us.
The Memorial will stand as a symbol of awareness, to educate present and future generations in Oregon to understand the dangerous consequences of racism,
hatred and prejudice and help to prevent its existence everywhere."
Precedent
Study
The Design
~Oregon Holocaust Survivors, Refugees & Families
Design
Analysis
Reactions to
the Memorial
Bibilography
Source: John Warner
Special thanks to John Warner for his time, energy and
all his help with this project.
-John, Erik, Sarah, Kelly
Page 28