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עמוד:29
97 the column, an arcade or a dome, can be found in buildings of all periods : in the beautiful buildings designed by architect Frank Lloyd Wright during the late 19 th and early 20 th century in the United States ; in the mosques built in the Ottoman period in the th and 15 th centuries in Asia and in the buildings 14 built during the 1920 's and 1930 's in Israel . These patterns were on purpose ignored by the modernists ) in general ( , which resulted in the creation of a physical environment devoid of any emotions and meaning . The loss of a sense of identity in architecture and art is a worldwide phenomenon . There is no difference between contemporary buildings built in Beijing, New York, Barcelona or Tel Aviv . Therefore, I would confidently argue that the end of the Eclectic architecture period in Israel was the end of what may be defined as a unique Israeli architecture , architecture that stemmed out of the local reality . The same provinciality which led to the creation of the superimposed Guggenheim Museum in Bilbao which was certainly not generated by a Spanish reality, led to the design of the Chords Bridge in Jerusalem and the current new addition to the Museum of Modern Art in Tel - Aviv . This of course is only a partial list . The Eclectic architecture is not a matter of nostalgia, but a reminder that there is a different kind of architecture we must pay attention to over and over again . Especially at a time when buildings are created according to ever changing and arbitrary fashions, we must be aware of an architecture that possesses a timeless quality, which by definition is appropriate for today . When creating the new - emptying the bath of water, let's not loose the baby with it The "Music Center and Library" on Bialik Square was built in 1996 on an empty site where before stood the Shenkar residence, built in 1931 and demolished completely by the Tel Aviv municipality in 1994 . My intention was to design a building that would integrate organically with the square . Preserving the spirit of a historical environment does not necessarily mean a fanatic repetition of its language . The key question I asked myself while standing in the square was, what would be the right language that would create a dialogue between the new contemporary building I design, and the historical square, that will preserve and enhance the spirit of the square, which is so human and so right . I adopted none of the conventional approaches ; I was not trying to reconstruct the past nor was I trying to disassociate myself from it by using an architectural language that would impose an entirely new order . Alternatively, I considered any means which I could identify as having the capacity to create and enhance the dialogue . Science Museum ) Old Technion building ( , Haifa, architect Alexander Browald, 1910 . Bayzid Pasa th - 15 th 14 ) century ( , Amasya, Turkey . bottom : Rosenbaum house, Riverview Dr, Florence, Alabama, Frank Lloyd Wright, . 1939
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פורטוגלי, נילי
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