ABSTRACT
Interestingly, Weinberg appointed a documentary filmmaker as Head of Exhibitions and, rather than a curator and in a move which freed the project from a collections-based orientation. The rise of pseudo-scholars denying the Holocaust meant that the team would dismiss any content about which they could not be absolutely certain. It also meant that symbolism and metaphor would have no place in the exhibition and art was limited to public spaces. At macro design stage, the team began to map the narrative on to the already designed building in order to create the basic circulation route. At this point, as well as considering building and storyline, the team began to consider the needs of visitors. Multiple designs were assessed, amended by the team and integrated in the narrative. Some testing of particular elements was carried out with focus groups and with an advisory council of Holocaust survivors.
