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The dome of the Reichstag
as seen from inside the Berlin Hauptbahnhof (train station) |
After World War II, our parents would never
have considered visiting Germany. They were not able to reconcile their
revulsion toward the Third Reich with the new Germany that subsequently emerged. Nor did they give significant thought to the
suffering that took place for decades under the oppressive Communist regime of
East Germany.
Nearly a lifetime has passed since the end of
the war. Seventy years later, we came to
Berlin to see for ourselves the changes that have taken place in a city that is
willing to confront its past. What we saw was fascinating and affirming.
Ordinary citizen sitting on a bench
observing but not reacting to extraordinary times
(Jews were forbidden to sit on public benches during the Nazi era)
This statue is part of the larger memorial called
Block der Frauen by Ingeborg Hunzinger.
Bebelplatz Public Square
On the 10th of May 1933, Opernplatz (now named Bebelplatz) became the most famous of the many sites of public book burnings. Invited that day by the German Student Association, Propaganda Minister Joseph Goebbels gave a fiery speech condemning "un-German" literature. The events were accompanied by torchlight parades, marching bands, ritualized ceremonies, and bonfires of burning books. An estimated 20,000 books were burned that night. Amongst the authors were
German authors: Heinrich Heine, Karl Marx, Albert Einstein, Bertolt Brecht, Sigmund Freud, Franz Kafka, Joseph Roth, Franz Werfel, Stefan Zweig.
Non-German authors: Victor Hugo, Ernest Hemingway, Helen Keller, Joseph Conrad, D.H. Lawrence, H.G. Wells, Aldous Huxley, James Joyce, Fyodor Dostoyevsky, Vladimir Nabokov and Leo Tolstoy.
10-May, 1933
Today, the memorial by Micha Ullman consists of a glass plate set into the cobblestones of the square, providing a window which looks down into empty bookcases. The plaque translates, “Where they burn books, they will in the end also burn people.” Heinreich Heine (1821)
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| Bebelplatz Public Square |
Mutter mit totem Sohn, Käthe Kollwitz
Neue Wache, is a historical building which has served as a war memorial for different purposes in different times. Today, it stands as a memorial to all who have died in war and tyranny. It contains a single statue — an enlarged version of Käthe Kollwitz’s pietà-style sculpture Mother with her Dead Son with an opening in the rooftop allowing rain and snow to fall on the sculpture.
The backstory is poignant. During World War I when patriotism was at its highest intensity, Kollwitz’s son wanted to fight as a soldier. Because he was only 17-years-old, he needed permission from a parent. His father, a minister, refused permission. Käthe, seeing her son's determination, finally agreed to sign. Two weeks later, their son was dead. Kollwitz never forgave herself or got over the loss.
Neue Wache
Holocaust Memorial - Denkmal für die ermordeten Juden Europas
After many years of debate, the German Parliament decided to build the memorial to honor the memory of the six million Jews who were murdered by the Nazis. The memorial finally opened in May of 2005. Located right next to Brandenburg Gate, the memorial to the murdered Jews of Europe keeps the memory of an unimaginable part of German history alive.
The experience consists of an abstract sculpture garden made up of 2,711 (a prime number) concrete slabs. There is no goal, no end or beginning, no particular way in or out. The memorial was designed by New York architect Peter Eisenman. Your response to this memorial is emotional, not intellectual. Strange.
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| Holocaust Memorial aerial view |
On day two, we went on separate museum tours. I went to the
large and highly regarded technology museum. During both my professional life
and my leisure time, I have had considerable exposure to technology mostly from
an American perspective. The trip through the last 150 years of parallel German
advances provided interesting contrast. The similarities are far greater than
the differences.
As was the case throughout Berlin, there was no attempt to
hide or gloss over the Nazi regime or the war effort in which new technology
played such an important role. As was the case elsewhere in the city, the
displays frequently went a step further to remind the exhibit viewers of the magnitude of propaganda, and the way that ordinary people were swept up by the
nationalism and the war effort. This included the showing of propaganda
newsreels, and recent interviews of both German workers and former prisoners
of war who worked together in aircraft and missile factories.
I got to visit technology that constituted a significant part of my childhood hobby days including
ham radio equipment built by German teenagers. When I was a teenager, I built similar equipment.
In the photograph above, a German study guide for Morse code with the insignia for the DARC (Deutscher Amateur-Radio Club) can be seen behind the equipment. I was a member of the ARRL (American Radio Relay League), the American equivalent to the DARC.
I got to see early computer technology from the days when my father, and later when I worked as a computer programmer. I was 12 or so when my dad explained to me how newly
developed state-of-the-art computer memory worked. The memory was called core. Each binary digit (0 or 1) was stored on a magnetized circular core measuring
about 1 mm. It was a marvel of miniaturization. The tiny cores were hand-wired in square arrays typically 16x16 or 256 cores. Since one Byte usually consists of 8 bits (binary digit), one of these square arrays about
the size of a big postage stamp could store 32 Bytes or alphanumeric
characters. It was a miracle of modern technology and miniaturization. I knew
how they worked. I knew what they looked like. However, I never actually saw one until my
visit to the Berlin Technology Museum.
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| 4 core arrays, hand wired and soldered in place |
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| close up view |
As computers advanced from the 1950’s to the 1960’s, this new
technology allowed computers to manipulate tens
of thousands of Bytes at a time, a huge advance. Of course, that would
require a thousand or so of the hand-wired postage-stamp size core arrays that cost hundreds of
dollars each to make. The museum displays more recent technological advances of computers and memory. The advances of
course are staggering. Consider a smart phone today with 16 Gbytes of memory, now considered low-end.
That amount of memory back then would have covered a half mile square and cost
something like 100 billion dollars.
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| 16 Gbytes and 20 cent coin |
Now, instead of covering a half mile square, the same amount of memory covers about half an inch square, and costs about $10 instead of $100 billion.
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reflections of the Douglas C-47
The plane of the legendary "Rosinenbomber" ("raisin" [candy] bomber) |
The plane on display in front of the museum is the type flown by Colonel Halvorsen during the Berlin Airlift of 1948-1949. (see Berlin wall [coming soon]) He got the idea of dropping candy from his C-47 cargo plane after he gave candy to German kids through a fence at Tempelof airport in West Berlin.
He told the kids his plan to drop candy, and they asked him how they would know which plane was his. He said he would wiggle his wings. Thus he acquired the nickname amongst Berliners of Onkel Wackelflügel or "Uncle Wiggly Wings".
He asked friends to contribute candy to the cause. Small cloth parachutes were made so the kids would not get hurt. He thought he was in deep trouble when he got called into the commanding officer's office. Instead, he was congratulated and the program was expanded. Ultimately, 23 tons of candy were dropped over various places in Berlin.
The aviation portion of the museum is housed in a new, large building. Extensive histories of both commercial and military aviation were presented.
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| earliest aviation |
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| early Lufthansa |
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| later Lufthansa |
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| World War I |
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| World War I |
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| World War II |
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| World War II jet |
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| V2 rocket - wind tunnel model |
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| V2 rocket model - wind tunnel testing |
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| V2 rocket viewed from the top down |
Alte Nationalgaleria
Jessica visited Alte Nationalgaleria (The National Gallery) to view the collection of 19th century German painters. This is some of what she saw:
Caspar David Friedrich
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| Lone Tree, Casper David Friedrich (1822) |
Caspar David Friedrich’s masterpiece Lone Tree is considered an allegory of German history in the early 19th Century. The weathered oak serves as a metaphor for the rigors and hardships suffered by Germany. While battered at the top, the tree still stands and new growths emerge.
Karl Friedrich Schinkel
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Medieval City on a River, Karl Friedrich Schinkel (1815)
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Aldolf Friedrich Erdmann von Menzel
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Flute Concert with Frederick the Great in Sanssouci, Aldolf Friedrich Erdmann von Menzel (1852)
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Iron Rolling Mill, 1875 Aldof Friedrich Erdmann von Menzel
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Max Liebermann
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The Flax Barn at Laren, Max Liebermann (1887)
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Max Liebermann (1847- 1935) was a German-Jewish painter who was the leading proponent of Impressionism in Germany. His un-romanticized paintings of working class shoemakers, peasants, orphans, goose pluckers and netmenders were considered unsuitable subjects by his critics.
Otto Weidt, Workshop for the Blind
Otto Weidt was a German brush manufacturer who during the Second World War employed mainly blind and deaf Jews. Otto Weidt’s efforts the protect his Jewish employees from persecution and deportation saved lives. As danger grew, Otto Weidt searched for hiding-places for some of his employees. One of these hideouts was in a hidden back room which is now part of the museum. Unfortunately, the location was revealed by an undercover collaborator. The workshop, now a museum, is maintained by the German Resistance Memorial Center Foundation.
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| Workshop employees |
Otto Weidt was a German brush manufacturer who during the Second World War employed mainly blind and deaf Jews. Otto Weidt’s efforts the protect his Jewish employees from persecution and deportation saved lives. As danger grew, Otto Weidt searched for hiding-places for some of his employees. One of these hideouts was in a hidden back room which is now part of the museum. Unfortunately, the location was revealed by an undercover collaborator. The workshop, now a museum, is maintained by the German Resistance Memorial Center Foundation.
