My Lords, Amendment 16 calls for the design of a new and appropriate memorial. As an aside, before I begin, in my 42 years in Parliament I must have heard hundreds, if not thousands of times the expression “The Government have no intention”. Then, as Harold Macmillan said, there are “Events, dear boy, events” and suddenly the Government have an intention. I move on to my amendment.
Let it be repeated again: everyone in this Grand Committee wants a proper and appropriate memorial in Victoria Tower Gardens to the 6 million Jews who were exterminated in the Holocaust. Let no one suggest that those of us who have vigorously opposed the Adjaye monstrosity and his pokey little bunker are opposed to a memorial which fulfils the demands of the Holocaust Commission, which the Government stopped talking about ever since they accepted this flawed design from a discredited architect. There is no surprise there, since the design fails all the tests set by the Holocaust Commission. The commission wanted a large campus; we get a bunker under the ground. The commission recommended the Imperial War Museum, Potters Field or near Millbank Tower, all locations with lots of space which were offered; we get a small garden which does not want it. The commission wanted something uniquely British; we get a second-hand cast-off rejected by Canada. The commission wanted something to commemorate 6 million murdered Jews; we get 23 things which are meaningless to everyone, and for other genocides as well.
I have heard it said by esteemed colleagues in this Room, for whom I have the highest regard, that the Adjaye monstrosity is a modest little measure and appropriate. One of the important needs in politics in these dreadful times is imagination and wishful thinking, such as thinking that Putin wants peace; that Kim Il Sung is not barking mad; that Vice-President Vance might be a decent guy; and that this project is modest and appropriate.
It has been said that the design must be brilliant because it was selected by internationally renowned architects. Of course they would support it. There is nothing so brutalist, Stalinist or big, shiny and ugly that they will not support. We could have had that big glass
“carbuncle on the face of a much-loved friend”
on the National Gallery if His Royal Highness, the then Prince of Wales, had not criticised it then, but his comment that the National Theatre was like “a nuclear power station” was plainly wrong. I can tell noble Lords, as a Cumbrian, that Sellafield looks 10 times nicer than the National Theatre.
Look how the architectural luvvies despise the beautiful village of Poundbury, which the Duchy of Cornwall describes as
“Architecture of place. Creating beauty and reflecting local character and identity”.
This is the characteristic that seems to drive many architects and critics into apoplexy. It prompts them to hurl the architectural equivalent of curse words, such as mock, twee, faux and, perhaps worst of all, Disneyland. However, a growing body of research also shows a disconnect between what most architects design and what most users actually prefer. For the harshest architects and critics, the problem is much more basic. The village of Poundbury simply commits an unforgiveable offence against the most sacred rule of today’s architectural orthodoxy, which is, “We must not copy the past”. That is what has happened here, although one could say that the Adjaye design is copying the past, as it was rejected in Toronto.
I will shortly turn to other monuments around the world which have six points representing the Star of David or six features which could stand for 6 million murdered Jews. So, like all trendy, overrated architects Adjaye selected something of no relevance whatever to 6 million murdered Jews, but he made it big and shiny—at least it will be, until the bronze tarnishes—and the architectural world oohs and aahs and says “Oh, fantastic, darling”.
I challenge anyone here to tell me that they had heard the numbers 23 or 22 in relation to the Holocaust before Adjaye came up with that completely obscure figure. Not a single person who is Jewish or who has Jewish heritage has ever heard the figures 22 and 23 before in relation to the Holocaust. The internet is awash with Holocaust denial. There is not a single vile denier saying that the 22 countries the Jews were taken from to be exterminated is wrong. Not even the vile deniers had heard it earlier either. What they deny all the time is the 6 million massacred: that is the number we need to have front and centre of any memorial, and this monstrosity is not it. That is why we need a new design for Victoria Tower Gardens, and we can get one quickly.
I do not know how visually to represent 6 million murdered Jews. We all saw the brilliant display of 888,246 ceramic poppies at the Tower of London commemorating our First World War dead. It was magnificent but it took a lot of space, and something like that for 6 million dead Jews would require seven times the space, so that would not work. The most moving memorial I have ever seen is in Budapest, and that is not relevant for here either. It is a row of bronze shoes from Jewish men, women and children on the banks of the Danube where Jews had to stand to be shot in the back of the head to topple into the river, which ran red with their blood.
However, other countries have done brilliantly. After Canada rejected the Adjaye abomination—for noble Lords who have not seen it, it is a series of 23 large concrete fins, the same size as he has pawned off on us here, but that time they were grey, concrete and wavy. There is no explanation given for why Ottawa had to get concrete wiggly ones and we get straight bronze ones. However, after Canada rejected it, it then built a proper memorial with sort of Star of David shapes in it. It is too large for our gardens, but it is authentic, relevant and appropriate. The Czech Republic has a suitable sized monument of two triangles intersecting, resulting in a six-pointed star shape. Both these monuments, I suppose, satisfy the architectural requirement that they are not just old-fashioned copies of the Star of David, but a modernised version of it.
Estonia has a large granite or marble slab with a seven-branched menorah on the bottom half and a stylised Star of David on the top. Athens also has something interesting. It has an irregular, six-sided, white, marble stone in the centre, surrounded by six irregular triangle stones. The one that would fit in perfectly here is the six-point Star of David monument in Gorlice, Poland. It has 12 faces with plaques with writing on them and is about the same height as the Buxton memorial, although a bit wider all round. Tirana in Albania has three beautiful, large, dark marble slabs arranged in a semicircle in a prominent place in the centre, right beside Mother Teresa Square. The three slabs say in Hebrew, Albanian and English:
“Albanians, Christians and Muslims endangered their own lives to protect and save the Jews”.
Albania was the only country in Europe with more Jews at the end of the war than at the start, since it did not kill a single one. It gave refuge to all Jews who reached there. It is a superb memorial. How can the poorest country in Europe, with a GDP of $26 billion, get it so right when we, the sixth-largest economy in the world, with a GDP of $3 trillion, cannot get anything remotely Jewish?
What all these memorials have in common is something Jewish or relevant to Jews, such as the Star of David or the menorah. Therefore, we do not need architects and their weird ideas, we need designers, and that is where this project went wrong at the beginning. An architect cannot design an appropriate monument any more than a designer can make architectural drawings for the technical workings of a bunker. They are different skills, and we all know that a new design competition could come up with monument designs within weeks for something that could be built in six months, a design that reminds us of 6 million murdered Jews. The memorial is not for the benefit of Jews, which was once wrongly stated in this Committee, but for all the rest of us who need reminding of that figure of 6 million. Jews do not need reminding of that. That is why the Adjaye abomination is so wrong. When challenged about the brutal ugliness of it, he said on the BBC on 12 February 2019 that
“disrupting the pleasure of being in a park is key to the thinking”
behind the memorial. No, no, no, Adjaye. Key to the thinking of the memorial is getting across the message that 6 million Jews were slaughtered.
My real criticism of the Adjaye design is not my subjective opinion, which I give the Committee all the time—that it is an abomination, grotesque and ugly—but that his design is irrelevant. All the others I have indicated have something Jewish about them: the Star of David, the menorah, or writing on plaques stating that 6 million Jews were massacred on the face of the memorial, not buried in video screens in a bunker. That is why we need a new design for this garden—a proper, moving memorial to 6 million slaughtered Jews that bears some symbolism of Jewry and the Holocaust. Anything else fails to deliver what the Holocaust Commission asked for. I beg to move.