MEMORIAL ARCHITECTURE

AND ITS ROLE IN SOCIAL RECONSTRUCTION

Seminar and Technical Writing

PA493

Submitted by:
Priyanjita Adhikari (114AR0002)

Supervised by:
Prof. Simantini Behera

DEPARTMENT OF PLANNING AND ARCHITECTURE

NATIONAL INSTITUTE OF TECHNOLOGY, ROURKELA

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Abstract
This report explores the aesthetics of remembrance. In this report, the relationship between memory and
memorial architecture is examined. The objective here is oriented towards a general comprehensive study
of the meaning in memorial architecture and the importance of memory in that meaning. Remembering is
a vital activity that gives identity to our past and defines our present. Memory is of selective nature: a
complex system between oblivion and memory. Personal and social memories are always subject to
construction and negotiations. They are blurred and imperfect, not permanent.
In modern societies collective memory is negotiated in the values, beliefs, rituals and institutions of the
social body. These memorials make the visitors see, feel and experience about the past. They are there for
generations to come and thus convey their message till it stands.

Key words:
Memorial architecture, memorial typology, space, aesthetics, impact

1. INTRODUCTION 2. AIMS AND OBJECTIVES

Ever since the ancient period there is a need to
upgrade the memory by creating the bond
between memory and space. The essence of
such "art of memory" consists of imaginary
contents of memory codified in compressed
images associated with the formula of the
structure of space with which the images are
combined. Such an approach would represent
the very beginning of the realization of complex
Architecture of Memory".
Memories are often related to a material object
that represents the semiotic signifier and the
memory of that moment, which will not be
repeated, becomes highlighted. Actually, the
memory is mainly needed as an intermediary,
signifier; in this study, it is a Memorial
building, which is a document, evidence of the
past, an archive that will be transmitted to
future generations. If one accepts the
importance of memory and remembrance
within the mechanism of presenting memorial
architecture, it is necessary to comprehend the
approach to structuring the space of
remembrance.
Mental representation becomes the physical
form of the memorial and locus becomes the
place where that form exists. This basic
definition covers not only conventional
commemorative structures, which are erected
to preserve the memory of the past, but also
existing buildings or natural formations, which
are dedicated to remind the observer of a
specific event or person. Considering that
memorial architecture provides a long lasting
remembering about a chosen subject, this study
argues that the analysing method derived from
that architecture makes it possible to evaluate
memorials in terms of the remembering the
propose.
The memorial has some elements that play a
major role to symbolize the ones to be
remembered for. So, the study will be mainly
dealing with finding and knowing out those
elements that plays their part in the completion
of the memorial. The main objective of this
study is as follows:
To explore and understand memorial
architecture.
To understand various typologies of
memorial architecture
To analyse the effectiveness of memorials
in creating specific modes of remembering
for their observers
To assess memory and remembrance in
presenting important concepts that
establish construction of space, architecture
and memorialization
3. LITERATURE REVIEW
What is memory?
Memory beings where history ends. History is
not continuous. It is made up of starts and stops,
of presences and absences. The presences are
the times when the active living is in motion
whereas the absences are the times when the
active living is dead, which form the voids
filled with memory.
Memorialization as a representation of
remembering past experiences bridge the
relation between memory and architecture.
Memorial architecture provides the stage in
which it brings people together to unite
individual memories into a collective memory.
What is memorial architecture?

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Memorial architecture for the dead is a uniquely
emotional type of design and often reveals
much about a certain culture or group of people.
Especially in the case of ancient tombs,
archaeologists can learn about past societies'
customs and beliefs by examining their burial
spaces.
Memorial architecture provides the stage in
which it brings people together to unite
individual memories into a collective memory.
Memorial typologies
Form and Symbolism: The memorials of this
type are characteristics of form and
symbolism. These types of monuments use
symbols which may be simple to chaotic. The
meanings reflected by the elements create a
sense of monumentality. Various forms like
walls, pillars, arches might be used to create
a sense of monumentality and conveying
message to the general public. The memorials
may also use inscriptions and also graphic
method to transfer the meaning.
Sites that utilize unifying and recognizable
Historical remarks: The third type of the
markers that embody important meanings are
monumental. Visitors to the Vietnam
Memorial in Washington, D.C. recognize it
as and refer to it as the Wall. This long black
reflective marble Wall is the core element of
this site and has 58,226 names inscribed
within it.
Figure 1. Vietnam Veteran Memorial,
Washington, D.C.
Landscape: The second typology of the
memorial is the landscape forms. The
landscapes create the narrative journey.
There are paths, waypoints, monuments,
symbols, and many other features, that have
got the meanings. The landscapes, thus
created give the glimpse of narrative journey.
The landscape creates the series of events.
These landscape forms tend to go further than
non-landscape monuments in facilitating a
range of perceptual experiences and
consequently of moods at one memorial site.
To the visitor, the landscapes evoke different
emotions and associations.
The Franklin Delano Roosevelt Memorial at
the National Mall is an excellent example of
this type. This memorial covers over 7 acres
and utilizes distinct rooms to present the
four terms that Roosevelt served as President.
Figure 2. Franklin Delano Roosevelt Memorial
memorial is a historical marker. These sites
exist at a site of primary importance to the
person or events being memorialized. Thus
there is respect to the site as the site itself
speaks about the past and the lost ones. The
ruins, the fragments, of the past tell a story
about that. A visitor can easily get the
information through these real artifices.
Those fragments may be the ruins of the walls
or even the house or the natural elements like
trees, the open field, and so on; those have
really seen those events. These are the
markers of the past and the proofs of the past.
These ruins make the site monument al. This
does not necessarily detract from the meaning
of these memorials, but those that do exist
where critical events took place often have
elevated importance to the meanings of that
memorial and are often considered inherently
sacred.
The Audey Murphy Monument exists at the
site where his plane crashed.
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 Figure 3. Audey Murphy Memorial
Case study 1 The Vietnam Veteran
Memorial Wally by Maya Lin
Figure 4. Vietnam Veteran Memorial Wall
This is one of the most visited memorials in
Washington, D.C. The memorial was designed
in 1908 by Maya Lin and completed in 192. It
stands as a reminder of the lives lost in the
controversial and tragic Vietnam war.
Abstract Minimalism of war memorial
design
It was initially held as a competition which was
won by Maya Lin. The criteria to be fulfilled
were:
Reflective and contemplative in
character
Harmonize with its surroundings
Contain the names of all who died or
remain missing
Make no political statement about the
war
The final design was a basic modest V-shape
structural wall constructed as flushed with the
landscape.
Figure 5. Competition entry by Maya Lin
Figure 6. Aerial view of the Vietnam Memorial wall
Analysis of Symbolism and Aesthetics
The memorial contains symbolism for every
intervention at the site. To cut a wedge in the
land is parallel to the concept of violence of war
and the healing process that follows after war.
The reflectivity of the polished black granite
walls with the names etched on it acts as the
heart of the design, symbolic of both the
consequences of war, those who are no more
and those who are affected by it.
Using chronological order to etch the names of
the deceased on the wall is an attempt to be
symbolic of the chronology of the dates of
casualty. Along the walk, the path descends,
thus increasing the number of names etched.
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Social impact
This memorial successfully helps in
creating a private conversation with each
person, no matter how public and no matter
how many people are present.
Reflection, the memory and identity of a single
individual are understood when visitors engage
with the wall up close. The micro/macro scale
works at many points in the overall project
including etched names and the spatial form of
the memorial.
Figure 7. Visitor praying in front of the Vietnam
Veteran Memorial Wall
Case study 2 National Holocaust
Monument by Daniel Libeskind
Figure 7. Aerial view of the National Holocaust
Monument
Centrally located at the corner of booth and
wellington streets across from the Canadian
war museum, this 0.79-acre site connects the
museum to the historic centre of the capitol city.
The monument is designed to honour the
millions of innocent men, women and children
who were murdered under the Nazi regime and
recognize those survivors who were able to
eventually make Canada their home.
The monument is an experience that combines
architecture, art, landscape and scholarship in
ways that create an ever-changing engagement
with one of the darkest chapters of human
history while conveying a powerful message of
humanitys enduring strength and survival.
Abstract Minimalism of holocaust memorial
design
Monument is conceived as an experiential
environment comprised of six triangular,
concrete volumes configured to create the
points of a star. The star remains the visual
symbol of the Holocaust a symbol that
millions of Jews were forced to wear by the
Nazis to identify them as Jews, exclude them
from humanity and mark them for
extermination. The triangular spaces are
representative of the badges the Nazis and their
collaborators used to label homosexuals,
Roma-Sinti, Jehovahs Witnesses and political
and religious prisoners for murder.
The Monument is organized with two physical
ground planes that are differentiated by
meaning: the ascending plane that points to the
future; and the descending plane that leads
visitors to the interiors spaces that are dedicated
to contemplation and memory.
Figure 8. Inclined triangular walls in the National
Holocaust Monument
Six triangular concrete forms provide specific
program areas within the Monument: the
interpretation space that features the Canadian
history of the Holocaust; three individual
contemplation spaces; a large central gathering
and orientation space; and the towering Sky
Void that features the eternal Flame of
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Remembrance, a 14-meter-high form that
encloses the visitor in a cathedral-like space and
frames the sky from above.
Figure 9. The Stair of Hope rises from the central
gathering space, cuts through a dramatically inclined
wall and points at the upper plaza towards the Parliament
Buildings; a gesture that recognizes and acknowledges
the Canadian survivors who have contributed much to
Canada and who continued to play an important role in
exposing the dangers of state sponsored genocide.
Figure 10. Organisation of spaces
Case study 3 The National September 11
Memorial by Michael Arad
The design involved two large square pools on
the sunken site, with waterfalls cascading into
the centre, where the depth is unclear. Victims
names from the 2001 and 1993 attacks are cut
into bronze panels along the two pools. A grove
of trees will continue to be planted an grow to
define the original footprints of the two World
Trade Centre buildings.
Figure 11. Aerial view of the National September 11
Memorial
Analysis of symbolism and aesthetics
The two voids serve to remember the event
ensuring as a historical marker. The recessed
pools at the foot prints of the twin towers
reflects the idea of absence. The surrounding
deciduous trees symbolizes rebirth and growth.
Waterfall cascades into the recessed pools of
the two voids create a space of reflection. Water
and trees thus symbolizes hope. The listing of
the names of the victims is in no particular
order, but encompass the perimeter of the pool,
inscribed on the bronze panels. The primary
aesthetic is created here by the emptiness in the
form of contemplative spaces and voids.
Figure 12. Waterfall cascades into the recessed
pools of the two voids are the elements that tie the
National September 11 Memorial together
4. CONCLUSION
Looking at the various memorials studied it
seems that the memorials are extraordinary
places in the public realm which tries to capture
the memory of the past. In a way it tries to
incorporate the history that should not be
forgotten by us. In the past memorials as
monuments have served as markers of territory,
power, human achievement and actions.
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Memorial architecture is not only meant to
represent the sympathy of the city or country
towards a person or an event but it should also
inspire the public to move forward, to confront
the past and allow it to affect how the collective
identity will address the future. In a way
memorials are the structures or spaces which
are associated with the people in terms of their
emotional, social, cultural and historical values.

5. REFERENCES
"National Holocaust Monument / Studio Libeskind"
10 Oct 2017. ArchDaily. Accessed 20 Nov 2017.
<https://www.archdaily.com/881316/national-
holocaust-monument-studio-libeskind/> ISSN 0719-
8884
Vladimir Gintoff. "Spotlight: Maya Lin" 05 Oct
2017. ArchDaily. Accessed 20 Nov 2017.
<https://www.archdaily.com/774717/spotlight-
maya-lin/> ISSN 0719-8884
Karissa Rosenfield. "National September 11
Memorial Museum / Davis Brody Bond" 11 Sep
2012. ArchDaily. Accessed 20 Nov 2017.
<https://www.archdaily.com/272338/national-
september-memorial-museum-davis-brody-bond/>
ISSN 0719-8884