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International Architecture Competition | Association for the Construction of a Holocaust Memorial in Lyon,

in collaboration with: Anastasia Kapoli



The proposed composition is presented as a spatial narration of distinctive entities. Investigating tools, interventions, and methods to perform memory within a mnemonic configuration of a systematic trauma. Cognition of a mnemonic apparatus, in a constant research of spatial events to repeat the trauma, projecting the will to a wider timeline. Space and time constitute an apparatus through memory towards the continuous existence of the past, in future presents. Symptoms of subjective interpretations are engaged in the presence of memory places, in spatial syntaxis, provocated by the very nature of the proposed mnemonic apparatus.

A sovraposed series of symbolisms through spatial interpretations, are interacting with the potential visitors. The apparatus is compelled by the belief of acting on multiple aspects. Human scale is incised as conformation, in a variety of spatial qualities aiming to englobe the corresponding behaviours of a visitor, standing, seating, walking. A mnemonic event, a spatial ritual inscribing the mourn of existence towards revival. A chor(e)ographic process of memory events to constitute a funerary state, rejecting time’s linear perception.The above mnemonic intervention is performed through the attempt to form the following spatial configurations: crepidoma, path, sepulcher, threshold, memorabilia wall.



Tracing the crepidoma, is proposed a distinctive surface as a mean to absolve the presence of the mnemonic apparatus from the context. The crepidoma separates the spatial and time condition from the physical and chronological surrounding.


A seemingly linear passage crossing the crepidoma, willing to form the main itinerary of the apparatus. Ascending and descending, the path arises a narration in spatial terms. 


While the path is proposed initially as a sloped narrow passage, at its end is transformed to a sepulcher. The itinerary projects, a process to death and a hope to resurrect.


Reinterpreting the sepulcher, a threshold coincides where the slope reaches its maximum elevation. After the landing by the threshold’s contribution, no direct contact with the sepulcher is possible. The visitor, following the spatial itinerary, will not be aware of the narration’s end. 

Memorabilia Wall

Before entering into the sepulcher, the mnemonic apparatus, is asking for the visitor’s most valuable objects. An obsessed collection of objects, embraces commemoration. The grid is fulfilled with the burden absorbed by the objects. 

The mnemonic apparatus is a spatial transcription of the trauma, inviting potential visitors to experience it. Avoiding misled narrations of the historical event, the apparatus provokes an interpretation of suffering.

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