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School of Architecture School of Architecture CREDITS CONTENTS I School of Architecture School of Architecture CREDITS CONTENTS Editors INTRODUCTION / 04 "ARCHITECTURE - WHAT NOW? WHAT NEXT?" / 116 Dr. Edna Langenthal DR.EDNA LANGENTHAL RATIONALE Itzik Elhadif ITZIK ELHADIF BENI REUVEN LEVY Editorial Board Prof. Marcel Mendelson, Bar Ilan University, Israel SHAPING THE CONSCIOUSNESS OF THE / 08 URBANISM IN THE REFORMULATION OF / 119 Prof. Gilead Duvshani, Ariel University, Israel PAST IN THE PUBLIC SPACE A DIALECTIC OF INTERPERSONAL RELATIONSHIPS Prof. Beni R. Levy, Ariel University, Israel HOLOCAUST REMEMBRANCE IN BERLIN RACHEL LIKONEN Dr. Ruth Dorot, Ariel University, Israel YAEL CANETTI YAFFE Prof. Perez Gomez, School of Architecture, McGill University, Canada CITY HOLE - ABOUT THE MUNICIPAL / 123 Associate Prof. Jungau Shai, School of Architecture, South East University, China BI-POLARITY OR CENTRALITY? / 30 INSTITUTION, BEER SHEVA Prof. David Leatherbarrow, School of Design and Architecture, University of Pennsylvania, USA POSSIBLE SOLUTIONS FOR THE INTERIOR AVI SRUR Prof. Jeff Malpas, School of Design and Architecture, University of Tasmania, Australia DESIGN OF SYNAGOGUES IN THE Prof. Siamak G. Shahneshin, Zurich, Switzerland IBERIAN DIASPORA Prof. Adam Sharr, School of Architecture, Design and Landscaping, Newcastle University, UK URBAN IMAGE IN THE 21ST CENTURY / 126 DAVID CASSUTO ALON NEUMAN Copyediting Meira Hass (Hebrew) THE ESTHETIC INFLUENCE OF THE CANTILEVER / 48 Michaela Ziv (English) BALCONY IN ISRAEL GILEAD SCHWEID Graphic Design | Studio Keren & Golan Print | Elinir A DANCE-ARCHITECTURAL CREATION FROM / 68 School of Architecture A NIETZSCHEAN PERSPECTIVE: Ariel University LABAN AND SCHLEMMER POB: 3 Ariel YAEL DAGAN Israel 40700 MARINA EPSTEIN-PLIOUCHTCH 03-9066242 EMOTIONAL SPACE IN THE CITY AND ITS / 96 2016 © All Right Reserved EXPANSES – MARC CHAGALL. RUTH DOROT ISSN 2412-656X ISBN 978-965-7632-11-6 2 3 INTRODUCTION In David Leatherbarrow's book Uncommon Ground: Architecture Technology and Topography he claims “Architectural definition starts in the folds of the terrain – As long as architecture is spatial it is necessarily topographical”. Thus, Leatherbarrow rejects the idea that the site exists prior to there being a need to plan, and criticizes the idea of ‘place’ based on theories, especially of the local spirit (“genius loci“) theorists. Unlike the assumption that the site has absolute, prior or predetermined characteristics, Leatherbarrow claims that the site was created by means of the design process, where the architect selectively identifies the conditions and the obvious phenomena of a particular environment. From this point of view, the design is a process of interpretation, both of the site and of its construction. Undoubtedly this approach already exists in spirit in Kenneth Frampton's article 'Critical Regionalism'. Frampton's work retrospectively reviews a select group of modern architects whose work corresponds with the abstraction of technological modernization and with a forecast that is compatible with local materials, orientation, light, texture and climate; it thus emphasizes the importance of the link between the architectural work and the site. In other words, his phenomenological interpretation links art and performance with local site-related tactics. In doing so, his writing discusses historical as well as current conditions and their impact on contemporary practices. These aspects have been raised in the field of art ever since the mid-1960s, when critics of art and design adopted the context of the site as being part of the creative process. When Jack Burnham published ‘Systems Esthetics’ he identified a significant part of the art work that could not be described or appreciated according to the criteria of modern art which, up until that period, had appreciated an autonomous and limited object. In this context, the current issue of ‘Architext’, No. 6, does not unite under a single theme, and its articles open up a discussion that ranges between extremes – from abstraction to concretization, and offers aspects relating to cultural contexts and fields of human activity, all connected with the notion pf place. Thus, Yael Kanetti's article discusses the presence of past consciousness in the urban public space; the importance of what has been made present as the design of memory at a given site, thereby creates a narrative of a national consciousness of the past. 5 David Cassuto's article deals with exposure and discovery, while re-reading the site-location of synagogues on the Iberian Peninsula. The article looks at buildings, although it is uncertain whether all of them were indeed used as synagogues. Some of the buildings have undergone significant transformations and their purpose was altered. Some became churches, museums or even granaries. The design process during which the architect conducts adjustments, conflicts and negotiations, is expressed in controlling the envelope of the building; determining how the climate is regulated; creating the esthetic environment; and choosing the type of boundary between the interior and exterior. These decisions gather into a new representation, in the spirit of the changing time, which is also expressed from the aspect of technology. Gilad Schweid's article examines the phenomenon of the balcony, one of the architectural elements characterizing residential construction in cities in the Land of Israel since the 1920s. Schweid discusses the balcony as an esthetic component, but also as a social and representative component. Yael Dagan discusses in her article the simultaneous influence of ideas from the field of dance and architecture, indicating how dance concepts appear in architectural space and how spatial-architectural concepts appear in dance. This indication presents different possibilities for expressing the same idea. Ruth Dorot's article clarifies the selective inquiry that exists beneath the surface – the emotional space in the works of Marc Chagall; a space that can exist anywhere, as a person's imagination, in a dream, in a fantasy, in memories and even in yearning, by providing the place for his spiritual experiences. Enjoy reading! Dr. Edna Langenthal, Itzik Elhadif, Editors 6 7 SHAPING THE CONSCIOUSNESS OF THE PAST IN THE PUBLIC SPACE A DIALECTIC OF HOLOCAUST REMEMBRANCE IN BERLIN YAEL CANETTI YAFFE Universal history was born in the cities, and became central at the moment of the decisive victory of the city over the village. According to Marx, one of the great revolutionary attributes of the bourgeoisie is its success in "subordinating the village to the authority of the city", whose atmosphere liberates... The city is the environment of history because it is at one and the same time a place where the social force that enables the historical enterprise is concentrated, as well as the location of awareness of the past. [G. Debord, "Society of the Spectacle" Section 176, p. 175, Babel Publishing, 2001] The above text concisely presents the field of study of this article – the manners of presence of the consciousness of the past in the urban public space, and the importance of the urban physical space in shaping a national and private awareness of the past. Architecture and town planning play a crucial role in shaping cultural and national identity, as well as in shaping remembering and forgetting.1 In each period, decisions are made on the question of which buildings and places in the city should be preserved, and whether they can be demolished to make room for new buildings; which events to commemorate and which to "silence", thus allowing them to be forgotten. The city is an entity that exists and emerges in a complex manner, not only in space, but also in time: the urban space exists both diachronically – the city grows, develops and changes over time, and synchronously – different periods in the history of the city exist side by side physically (both in the form of ancient structures of historical importance – and through the urban fabric as it developed over time). Barry Curtis views the city as a metaphor for remembrance; it corresponds to the experience of walking in the city and the act of remembering, and refers to memory, like Walter Benjamin, in the context of past experience. Curtis sees in the city a suitable model for exploring the complex connections between past, present and future.2 One of the most interesting cities in this context is Berlin. Berlin of today is an example of a city that courageously deals with its Nazi past, certainly compared to other cities in Germany and in Europe as a whole. 3 Since the reunification of Berlin in 1989 and its restored recognition as the capital of united Germany, it is possible to find in Berlin itself a large variety of ways of commemorating the Holocaust, which are part of the urban 8 9 fabric: museums such as the Jewish Museum and the Topography of Terror Museum; the objective and the subjective, between the victim and the aggressor. These places – the signs on buildings and near to the location of prominent sites from the period of the Nazi Holocaust Memorial, by the Jewish-American Architect Peter Eisenman, in collaboration with regime (e.g., the bunkers of the heads of government, the location of the Gestapo offices the artist Richard Serra; and "The Stumbling Stones," a project initiated and executed by the and the SS, etc.); memorials and monuments. 4 All these are scattered throughout the city German artist Gunter Demnig – succeed by different means in "capturing" the dialectic tension, and make Berlin an exception
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