18).
The newly adopted strategy chooses to represent the losses due to the Holocaust symbolically, by mirroring this absence, leaving it to the visitor's imagination to fill in the blanks. Berlin's Jewish Museum, designed by Libeskind, illustrates this principle; this building, 'organized around a centre which is not' (Libeskind, 1992, pp. 87) deals with the history of absence (Libeskind, 2003, pp. 52) and the void of memory (Libeskind, 2003, pp. 44). This void takes form in empty spaces cutting imposingly through the building (Libeskind, 2003, pp. 56), and in the absence of a visible entrance. (Libeskind, 2003, pp. 54). Libeskind wanted to create a building 'which was not simply a representation of culture and art, but which was itself a mechanism by which visitors could interpret what had developed' (Libeskind, 2003, pp. 54). Through architectural means, like; the brutal material, inward leaning walls (Benton, 2012, pp. 132), use of acoustics, unheated areas and tilted floors (Libeskind, 2003, pp. 54) he creates a sense of displacement and confusion in the visitor, meant to engage his empathy through physical sensations. .
The same fear of representation that characterizes commemorating museums, shapes the German Holocaust monuments, or rather; 'counter- monuments', like historian James E. Young named them because they 'challenge the very premise of the monument' (Young, 2003, pp. 64). The need of a new commemoration model sprung from a distrust of the classic monument, based on different arguments (Young, 2003, pp. 63). Firstly, it is so that the traditional figurative monument, which has been embraced by totalitarian regimes throughout history, is still closely associated with fascism (Young, 2003, pp. 65). Secondly, traditional war monuments intent to glorify the suffering of the victims, in order to redeem it historically (Young, 2003, pp. 63) and this would betray the experience of the survivors.
