Daniel Libeskind: We studied exactly where the old buildings stood and how to access them and be able to see them visually and also cross—move across them from—this is within the camp itself.

Daniela Sandler: So this one would be with the water.

Daniel Libeskind: Yes, yes. So in truth we struggled to make it very realistic, and we worked a lot with—I mean it was a real project until they put the police back and then there was no project, there’s no possibility of any project. Once you put the police, it’s a security area, it’s got walls just like before, you can’t access it, and you cut off this area from the triangle of the death camp. So it means you really disallow the public to understand the implicit implication of this whole site in the center of the city, with all this infrastructure. The houses are regular houses, they are regular houses, except they are houses for killers.