Although not a very known fact, there was a significant number of Jewish soldiers taking part in the Third Reich army. The subject itself is a confusing one and the idea of a memorial to be placed on the Nazi party's former realms seemed to us to be even more conflicting. Therefore in this proposal we chose to place the memorial on the lake, disconnected from the party's institutions, in an 'extra-territorial' space, accessible only by boat.
The very concept of devising a physical building to house the rich written collection of an errant people was a conceptual tour-de-force. We decided to focus on the very decision of placing the building in Jerusalem and explore the Jerusalem stone as a starting point. The 'quarry' became the generating image, a reference to the seminal character of the Jewish literary corpus.
We opted for open-ended architectural language and compositional principles, reflecting the open-endedness of the Jewish tradition. Chief Designer in the team of Prus Architects (invited team)
(invitation to second stage of competition, 1994) This proposal was prepared following an invitation to participate in the second stage of the International Competition for the design of the New Campus of the University of Cyprus in Nicosia. The site was was placed along the 'Greek'-'Turkish' 'border', hinting that the University campus should in some way act as a healing factor in this long political dispute. Our proposal envisioned a quadrantal division of the territory, based on existing 'facts on ground': the open fields, the forest, the agricultural plots, and the adjacent village. The proposed campus was placed in the center of the cross, the University dorms located between the village and the main public buildings of the campus.
The competition goals were to explore the main Tel-Aviv Boulevards. We saw this competition as an opportunity to find a nexus to the unclear and diffuse urban structure of Tel-Aviv. Our proposal included connecting the three main boulevards enhanced as a main spine, the extremities of this arch reaching the sea. This new combined boulevard would define an 'inner' and an 'outer' city. Along the boulevards, we allowed buildings to regroup as larger structures, more suitable to a main boulevard. The space between buildings, and the wasted 'pilotis' floors were filled to create new commercial spaces that could enhance the street experience. (with H. Schwartz and A. Sivan)
Menahemia is a historical agricultural village located in the Jordan Valley, crossed by the Jordan River. The Masterplan envisioned a sustainable town for a future population of 10.000 inhabitants, keeping it's agricultural character and natural resources. The Masterplan included provisions for friendly tourism, small industries related to the agricultural theme, small-scale hotels, a gate for the village, infrastructure. In order to mitigate the summer extreme hot weather conditions, we proposed the creation of natural lakes, by exposing shallow groundwater.
Client: Ministry of Housing, Israel) (with Leonardo Kelijman and Osnat Olsewer)
This private house in the Lotem village of the Galilee was planned in a very favorable site, a southern slope that faces a forest and olive groves. Since the climate in this region is comfortable most of the year, we soon decided that the house was to be designed around a south-facing outdoor space covered by a pergola. The interior main social spaces were put in line with this outdoor space and the view to the facing hills, interior and exterior areas thus completely interlocked.
(with the collaboration of Claudia Hunter and Arch. Nethanel Haziza)
In this experimental complex of two buildings built in the German Colony neighborhood we decided to explore the traditional Jerusalem architectural language, adapting its components to present-day stone technology.
This proposal for a 34-apartment condominium located in the German Colony of Jerusalem called for an articulated volume that could echo the existing urban texture. Elements of the local architectural language were incorporated in the building: half octagons, cornices and vertical windows. The irregular plot shape was unified by a broad curve in the front facade. The front facade steps back as a way to scale down the building and to create Sukkah-balconies.