"Libeskind has called the project "Between the Lines" because it is a project about two lines of thinking, organisation and relationship.  One is a straight line, but broken into many fragments; the other is a tortuous line, but coninuing infinitely.  These two lines develop architecturally and programmatically through a limited but definite dialogue.  The also fall apart, become disengaged, and are seen as separated.  In this way, they expose a viod that runs through this museum and through Architecture - a discontinuous void.

The four aspects of the project according to Libeskind/

The first aspect is the invisible and irrationally connected star which shines with absent light of individual address. The second one is the cut of Act Two of Moses and Aaron, which as to do with the not-musical fulfilment of the word.  The third aspect is that of the deported or missing Berliners, and the fourth aspect is Walter Benjamin's urban apocalypse along the One Way Street.
 
 

The building goes under the existing building, crisscrosses underground and materialises independently on the outside.  The existing building is tied to the extension underground, preserving the contradictory autonomy of both the old building and the new building on the surface.  The past fatality of the German Jewish cultural relation in Berlin is enacted now in the realm of the Invisible.  With its special emphasis on housing the Jewish Museum, it is an attempt to give a voice to a common fate - to the contradictions of the ordered and disordered, the chosen and not chosen, the vocal and silent.

The new extension is conceived as an emblem, where the invisible, the void, makes itself apparent as such.  The void and the invisible are teh structural features that have been gathered in the space of Berlin and exposed in an architecture in which the unnamed remains in the names which keep still.
 
 

In terms of the city, the idea is to give a new value to the existing context, the historical context, by transforming the urban field into an open and what Libeskind calls a hope oriented matrix.  The proposed expansion, therefore, is characterised by a series of real and implied transformations of the site.  The compactness of traditional street patterns is gradually dissolved from its Baroque origns, and then related diagonally across to the housing development of the sixties and the new IBA projects.

The museum is a zig-zag with a structural rib, which is the void of the Jewish Museum running across it.  and this void is something which every participant in the museum will experience as his or her absent presence."