Utopia Nostalgia and Reality - Making Historical Cities Livable Jerusalem as a case study

Ref.: 126
Domaine thématique: 01 Intégrité physique des paysages urbains historiques
Date de réception: 15/11/2008

AUTEURS (*Auteur principal)

GUGGENHEIM, David * (Israël) - Bezalel Academy for Art & Design

RÉSUMÉ

Underlying the thought and concept of design is the perception of architecture as the sequence of where it originates, as well as of outside influences it assimilates, and relates to buildings as parts of an ongoing process, as authentic expressions of time and place.

There is actually nothing new in stipulating locality as a point of departure. On the other hand, there is great importance in emphasizing the fact that the term of locality within the Israeli context has evolved significantly over the years, along with the concept of Israel itself and its inclination towards the geo-cultural region of its location.
The urban surroundings have always been a reflection of the society that created them, and the builder, designers or architects have always been the authentic symbol of this concept. The work, and theory, of the sensitive designer provide obvious evidence of self-defining trends in the present that mark the future.

Today, with one hundred and fifty years of Jewish settlement in Jerusalem, and a century of Zionism, together with a gradual opening up towards our neighbors, we have arrived at recognizing two vital components:
- The relationship to the place, with its layers, history and varied population.
- The acceleration of the process which has turned Israeli society into a commerce and technology oriented society which finds expression in its urban surroundings.
There is no contradiction between these two components. The future, as technological as it may become, is never free of the past or the present.

One of the signs of Israel's maturity is having reached the stage where it can afford to return to the past in order to better progress towards the future.

Israel's past is not only the European past of its Zionist founders, but also that of other cultural and national groups, and of other scenery.

Identity and locality within the Israeli context in general, and that of Jerusalem in particular, are therefore concepts of wide reaching complexity and significance.
Architect Eric Mendelson, one of the greatest European modernists of the 20's and 30's, who designed the Hadassah Mt. Scopus hospital and the Leumi Bank in the center of Jerusalem, as well as other important buildings in Israel, wrote in 1940: "Today, the Land of Israel represents the union between the most modern and the most ancient of cultures. It is a place where intellect and vision, matter and spirit meet. This system, with this approach, governed by this union, has to find interest for both Arabs and Jews. Both are sons to the Semite family".

Today we are at a stage of greater recognition of the need for a fine balance between these seemingly opposing forces: internationality vs. locality and tradition. The two components operate together within reality. There will never be complete balance, and there is no need for such. The cultural reality lies between two poles: the international pole which is reflected amongst others by technology, and the local pole, with its historical and environmental contexts. Israeli society, of which Jerusalem is a major component, moves between these poles, often yielding fascinating combinations and synthesis.

The citizens of many historical cities in the world face the dilemma of how to live daily life at the end of the 20th century and the beginning of the 21st century in a city whose physical features were shaped hundreds of years ago, with historical, social and cultural conditions that are essentially different to those of the present?
Where tourists enjoy the nostalgic-romantic-historical atmosphere, the residents face a daily reality of archaic surroundings and anachronistic infrastructure.

Some historical cities preserve, as a policy, their historical qualities and cultural values. Florence and Venice are prominent examples - they preserve the past, and have become, in a sense, museums. On the other hand there are cities that have almost entirely lost their historical quarters - Acre, Cairo, Istanbul and Nazareth are examples of this hapless situation.

In between these two types are those cities that try to integrate the needs of the modern world with the complex heritage of the past. Despite their differences, they are all living cities, rich in culture, society and architecture. Areas of Paris, Rome, Amsterdam and Barcelona are examples of the attempt to integrate the old and new worlds.

Jerusalem, like other historical cities in the world that are essentially living history, faces these complex problems. Can preservation combine immediate solutions to the pressing problems of the city center? Can Jaffa preserve itself as a living city in face of tourist needs on the one hand and daily needs, such as garbage collecting, on the other?

There is no doubt that these questions are complex, and so are the answers. There are no tested recipes for success. However, the accurate identification of these problems, and the willingness to contend with them through wise and meticulous planning is the correct direction which we should adopt in our planning.
This kind of planning is based on synthesis between the surrounding heritage, present day living and the vision of the future, as well as the appropriate public and financial backing.

Our planning and architecture have to create a new layer with those that exist and at the same time adapt the design to present needs and those of the future. The architectural expression adopts its original and local language: the characteristics of the place, on the one hand, while still emphasizing modern technologies.
Planning that relates to history, scenery and existing physical layers as parts of a whole and not as factors that obstruct development, is not only possible, but vital. One can live in peace with the country whilst developing technologically and financially. For this to be achieved both planners and the various authorities and entrepreneurs have to pay a great deal of attention. It is one of those areas in which the forces of the free market must be monitored lest they become destructive. Piloting the entire planning process, with its economical aspects, has to be backed up by the state or city authorities, which have to function as enlightened ordering parties

This venue of thought creates tools that enable constant development, variety and enrichment of the urban surrounding as a continuous process of growth and change.

Another facet of planning perception is a holistic approach to design - as a continuum of historiosophic perception. We believe that design and architecture are not "autistic', it is not the planning and architecture of objects but of an historic and cultural urban continuum.

Therefore urban and architectural design have to be a combination of urbanism (the environmental context), architecture and panoramic design - as one continuous whole, a single unit, a symphony which has various players and instruments working together in harmony under the baton of a single conductor.

This perspective naturally brings us to the understanding and belief that the client (in urban planning the client is usually the present and future residents which are represented by the city appointees) is an integral part of the design. The dialog of client - planner completes the project. The pairing of client and planner and the level of understanding and communication between them can bring about good urban and architectural design.

BIBLIOGRAPHIE