The Channukka market in the glazed courtyard of the Jewish Museum evokes the familiar traditions of Channukka, whilst at the same time reflecting the contemporary perspective of the Jewish Museum. A single module is repeated 16 times which can, through geometry, mechanical performance and grouping manifest many variations and thereby accommodate different sale and display requirements. The starting point is a simple rectangular wooden hut, whose form is distorted to create a spatial mediator between the rectilinear simplicity of the Kollegienhaus and the dynamic movement of the roof of Libeskind’s Sukka enclosure. The module appears different from each side, so that its grouping appears like a townscape in miniature, like an eastern European Schtetl.
The material and colours of the modules amplify the drama of the opening houses. The exterior is warm dark oiled timber, the interior painted in one of a palette of bright colours. This little community of adaptable architecture has become an integral part of the Museum‘s equipment, used for many other events during the course of the year, particularly in the Sukka and the Museum Garden.
The main major characteristic of the module is a diagonal that splits it into two pieces, connected at one corner with a hinge. This allows it to be opened up, expand and ultimately become an articulated wall.
Four basic positions are possible
– Closed. The closed module is a discreet enclosure with sales counter and space for one person to sit inside.
– Ajar. A clear separation of interior and exterior, but just open enough to allow comfortable circulation in and out.
– Bracketed. The hinge can be opened up far enough to create an niche inviting visitors to go inside and look around.
– Open. When the hinge is opened to its maximum, the entire interior is oriented to outside as a linear sequence of display and walls.
Three modules have been built for use in the garden,equipped to resist intemperate weather.