Encounters- The Vernacular Paradox of Israeli Architecture

Introduction
by Architect Ami Ran

		Architecture's most compelling feature is its endless capacity to absorb criticism and yet survive. "Frozen Music", according to Goethe, but - more than any other artifact - architecture lives, breathes and grants life without regard, and

beyond personal taste, fashions, wills or aspirations. Paradoxically, while conflict is often a destructive force, for architecture it is the very source of life. The tension between old and new, small and large, alike and different, is what gives architecture, a medium static by nature, its ability to change and evolve. The more varied its features, the richer its contents. It may be said that the uniqueness and perhaps beauty of Israeli society, stems from the vast diversity of its sources. Beyond the historical or human factors that brought its six million inhabitants to live together, Israel serves as a cultural melting pot; its influence is far beyond its physical size. For the main religions, this place is central, a spiritual hub which millions aspire to reach. At the heart of all this complexity, with its spiritual aspects and physical expressions, stands "Architecture". As a cardinal organ of society, architecture compromises between approaches, digesting its endless sources, assimilating differences and enabling the continuous flow of life within and beyond borders. Parallel to the ongoing multifaceted Arab-Israeli conflict, is a permanent dialogue between Arabic architecture and her Israeli cousin. The first - rooted in the vernacular, ancient, and formed by native skills passed from father to son. The second - rich with knowledge and technology, but struggling to find its connection to the place. Aware of the advantages of Arabic architecture, for years Israeli architects have been quoting formal "local features" such as arches, domes and "indigenous" building materials. The results were often an accumulation of forms, lacking in relevancy and expressing neither the content of the building nor its physical surroundings.

The general feeling among architects was of discontent. Searching for identity, many sought answers in far away countries - from America to Japan. Beyond the acquisition of technology, this search contributed little to the formation of an

"Israeli architecture" - an architecture characteristic of this direct and irreverent society, a society eager for both functional convenience and relevant spiritual content. The general feeling among architects was of discontent. Searching for identity, many sought answers in far away countries - from America to Japan. Beyond the acquisition of technology, this search contributed little to the formation of an "Israeli architecture" - an architecture characteristic of this direct and irreverent society, a society eager for both functional convenience and relevant spiritual content. Only lately have architects comprehended that the starting point for such architecture is in "the place". Rich in experience (though not innocent of mistakes) in neighborhood renewal, in the creation of "build-your-own" neighborhoods, and in rapid, large-scale construction to absorb massive immigration, these architects have now reached the point where they can create worthy, contextual architecture. The essential transition in this approach to traditional Arabic architecture, is a result of the shift to a different spatial deployment. Fewer large masses dominating their surroundings; more flowing sequences of structures which both connect to the existing and allow for future development. Less formal unity; and a more unified code, open to a wide variety of interpretations. The exhibition "Encounters"presents a selection of buildings whose starting point was physical, climactic, spiritual and cultural drives. Exposed to criticism, these buildings not only exhibit clear architectural trends but a realistic way of thinking which will lead, finally, to a crystallization of a proud Israeli architectural identity. Not an international or pseudo local-architecture, but a native architecture speaking a decisive and intelligent language. An architecture of many sources, but one which forms both a compromise and a testimony that every conflict can be resolved. ENTER EXHIBIT This exhibition was produced by the Public Affairs Division of the Israel Ministry of Foreign Affairs. Curator: Architect Ami Ran Assistant Curator: Architect Alan Cohl Photography: Itsik Marom Administration and Production: Rachel Ben Aharon Production Assistant: Shlomit Shalgo Design: Architecture of Israel Consultants: Architect Samir Gazmawi, Architect Osvaldo Stav