Introduction
Dizengoff Center is more than just a shopping mall; it’s a landmark in Tel Aviv that has evolved alongside the city itself. Situated in the City Center at the intersection of Dizengoff Street and King George Street, the center is a symbol of urban dynamism, architectural innovation, and cultural integration. This essay explores the history, architecture, urban planning, and design of Dizengoff Center, and delves into some fascinating facts about its impact on the city.
Dizengoff Center, the first shopping center in Israel, has become a phenomenon, an icon, a city within a city. “The Center” is more than a shrine for consumption or a shopping place, for many people it’s a place they call “a home”.
History
Origins
Dizengoff Center’s history dates back to the early 1970s. It was the brainchild of Arieh Pincus, a businessman who envisioned a shopping and entertainment complex that would revitalize the city’s center. The project was ambitious, aiming to transform the relatively quiet Dizengoff Street into a bustling commercial hub.
Construction began in 1972, and the center officially opened its doors in 1977. The center was named after Meir Dizengoff, the first mayor of Tel Aviv, symbolizing a tribute to his vision for the city. The project faced several challenges, including financial difficulties and public skepticism, but Pincus’s determination saw it through to completion.
Architecture
Design and Style
Dizengoff Center’s architecture is a unique blend of Brutalism and modernism, reflecting the prevailing styles of the 1970s. The architects behind the project, Yitzhak Yashar and Arieh Elhanani, designed the complex with a distinctive look characterized by its use of raw concrete and geometric forms. The center’s architecture was meant to convey a sense of solidity and modernity, aligning with the rapid development of Tel Aviv at the time.
One of the most notable features of Dizengoff Center is its labyrinthine layout. Unlike traditional malls with straightforward linear designs, Dizengoff Center’s layout is complex and multi-level, almost maze-like. This design choice was intentional, aiming to encourage exploration and discovery, as shoppers navigate through a network of interconnected corridors, passages, and bridges.
Key Architectural Elements
- Brutalist Aesthetics: The center’s raw concrete facade and utilitarian design elements are hallmarks of Brutalism. This architectural style, though often criticized for its stark appearance, was chosen for its durability and the sense of strength it imparts.
- Glass Atriums: The use of large glass atriums allows natural light to flood the interior spaces, creating an inviting atmosphere despite the Brutalist exterior.
- Interconnected Bridges: The bridges that connect different sections of the mall are both functional and symbolic, representing the interconnectedness of the urban environment.
Urban Plan
Integration with the City
Dizengoff Center was designed to be more than just a shopping destination; it was envisioned as an integral part of the urban fabric of Tel Aviv. The center’s location at a major intersection ensures its accessibility, making it a focal point for both residents and visitors.
The urban plan incorporated several elements to ensure seamless integration with the surrounding cityscape:
- Pedestrian Accessibility: Multiple entrances and exits connect the center to adjacent streets, facilitating easy pedestrian flow. This design encourages foot traffic from nearby neighborhoods and enhances the center’s role as a community hub.
- Public Spaces: The center includes several public spaces, such as plazas and courtyards, which serve as gathering spots for social activities and events.
- Mixed-Use Development: Dizengoff Center is not just a commercial space; it includes residential units, offices, and recreational facilities. This mixed-use approach enhances the center’s vibrancy and ensures a constant flow of people throughout the day and night.
Impact on Urban Development
The establishment of Dizengoff Center marked a significant shift in Tel Aviv’s urban development. Prior to its construction, the area was relatively underdeveloped. The center’s success spurred further development in the vicinity, leading to the emergence of new businesses, restaurants, and cultural venues.
The center also influenced urban planning trends in Tel Aviv, demonstrating the viability of mixed-use developments and the importance of integrating commercial spaces with public amenities. This approach has since been replicated in various projects across the city.
Design
Interior Design
The interior design of Dizengoff Center is as dynamic as its exterior architecture. The mall’s interior spaces are characterized by their eclectic mix of styles and influences, creating a vibrant and stimulating environment.
- Art Installations: The center frequently hosts art installations and exhibitions, showcasing the work of local and international artists. These installations add a cultural dimension to the shopping experience and reflect Tel Aviv’s artistic spirit.
- Thematic Zones: Different sections of the mall are designed with distinct themes, creating a sense of variety and novelty. This approach not only enhances the aesthetic appeal but also helps orient shoppers within the complex layout.
- Interactive Elements: Dizengoff Center includes several interactive elements, such as digital kiosks, play areas for children, and performance stages. These features make the mall a dynamic and engaging space for visitors of all ages.
Sustainability Initiatives
In recent years, Dizengoff Center has embraced sustainability as a core aspect of its design and operation. The center has implemented several green initiatives, such as:
- Energy-Efficient Lighting: The use of LED lighting and automated systems helps reduce energy consumption.
- Recycling Programs: The center has established comprehensive recycling programs for waste management, encouraging both tenants and visitors to participate.
- Green Roofs: The installation of green roofs helps improve air quality, reduce the urban heat island effect, and provide insulation for the building.
Fun Facts
Historical Trivia
- Cinema Legacy: Dizengoff Center was home to one of Tel Aviv’s most iconic cinemas, the Dizengoff Cinema, which operated from 1977 until its closure in 1993. The cinema was famous for its midnight screenings and cult film festivals.
- Celebrity Visits: Over the years, Dizengoff Center has hosted numerous celebrities and public figures, including international movie stars and politicians, making it a hotspot for fans and media alike.
Cultural Impact
- Fashion Hub: Dizengoff Center is renowned for its vibrant fashion scene, hosting several fashion shows and events throughout the year. It is also home to many local designers’ boutiques, contributing to Tel Aviv’s reputation as a fashion capital.
- Food Market: The center’s food market is a popular attraction, offering a diverse array of culinary delights. From traditional Israeli cuisine to international flavors, the market reflects the city’s multiculturalism.
Architectural Curiosities
- Underground Passageways: Beneath the center lies a network of underground passageways that connect the different sections. These passageways were initially designed for logistical purposes but have since become part of the shopping experience.
- Rooftop Farm: In a unique twist, Dizengoff Center hosts a rooftop urban farm where various vegetables and herbs are grown. This initiative promotes urban agriculture and provides fresh produce for some of the center’s restaurants.
Impact on the City
Economic Contributions
Dizengoff Center has been a significant economic driver for Tel Aviv. It attracts millions of visitors annually, contributing to the city’s economy through retail sales, tourism, and employment. The center’s success has also encouraged investment in the surrounding areas, leading to broader economic development.
Social and Cultural Hub
Beyond its economic impact, Dizengoff Center serves as a social and cultural hub for Tel Aviv. It is a place where people from diverse backgrounds come together, fostering a sense of community and shared identity. The center’s events and activities, ranging from fashion shows to art exhibitions, enrich the city’s cultural landscape and provide a platform for creative expression.
Urban Renewal
The development of Dizengoff Center played a crucial role in the urban renewal of central Tel Aviv. Prior to its construction, the area was characterized by dilapidated buildings and a lack of commercial activity. The center’s establishment catalyzed a wave of revitalization, transforming the neighborhood into a vibrant and desirable part of the city.
Conclusion
Dizengoff Center is more than just a shopping mall; it is a testament to Tel Aviv’s evolution as a modern, dynamic city. Its history, architecture, urban planning, and design reflect the city’s innovative spirit and commitment to progress. Through its economic contributions, cultural initiatives, and social impact, Dizengoff Center has left an indelible mark on Tel Aviv, solidifying its status as an iconic urban landmark.
As Tel Aviv continues to grow and change, Dizengoff Center remains a constant, adapting to new trends and challenges while preserving its unique character. It stands as a symbol of the city’s resilience, creativity, and unyielding drive to be at the forefront of urban development and cultural innovation.
Check out “The Center 2023” by Kobi Farag, Morris Ben-Mayor. The movie The Center discovers the story and the history of Dizengoff Center, layer by layer, from the ground it was built on, to the top floor and the secrets this place withholds.
]]>Ben-Gurion, Slippers & Pigeons:
A New Statue Unveiled in Tel Aviv Old North
Take a stroll down Tel Aviv Old North on the iconic Ben-Gurion Boulevard, famed for its leafy promenade and historic architecture, and you’ll now encounter a new sight: a life-sized bronze sculpture of David Ben-Gurion, Israel’s first Prime Minister, and his wife Paula. But forget grandiose poses and heroic gestures – this statue captures them in a disarmingly ordinary moment.
Beyond the bustling streets and vibrant energy of Tel Aviv’s iconic Ben-Gurion Boulevard lies a new sight: a life-sized bronze sculpture capturing a heartwarming glimpse into the lives of Israel’s first Prime Minister, David Ben-Gurion, and his wife Paula. But forget grand poses and heroic gestures. This statue, crafted by artist Shira Zelwer, transcends expectations by portraying them in a disarmingly ordinary moment.
Forget what you know about statues of national heroes. Picture Ben-Gurion, hands in pockets, casually gazing ahead, while Paula, slippers peeking out, stands next to him, looking towards their former home across the street. A scattering of bronze pigeons completes the scene, evoking the everyday bustle of the city.
Why the slippers and pigeons? Artist Shira Zelwer didn’t want the usual, monumental portrayal. Instead, she aimed to reveal the human side of this iconic couple. Imagine them as any Tel Aviv resident enjoying a moment outside, perhaps discussing the day’s news or simply taking in the city air.
This unique perspective adds a fascinating layer to exploring Tel Aviv, particularly the “Old North” neighborhood where Ben-Gurion Boulevard lies. While this area is known for its charming historic buildings and vibrant real estate scene, the statue reminds us that history wasn’t made solely in grand spaces, but also in everyday moments like these.
The statue serves as a reminder that even figures of great historical significance were, in their private lives, simply ordinary people navigating daily moments. It’s a poignant counterpoint to the grand narratives of history, reminding us that greatness often resides in the quiet moments of connection and shared humanity.
Moreover, the Ben-Gurion statue adds another layer to the rich tapestry of Tel Aviv’s Old North neighborhood. This area, known for its charming historic buildings and vibrant real estate scene, now also offers a window into the personal history of one of Israel’s most iconic figures. So, take a stroll down Ben-Gurion Boulevard, discover this captivating sculpture, and perhaps, you’ll be inspired to see both the history and the humanity that resides at the heart of this dynamic city.
Zelwer, a rising star in the Israeli art scene, deliberately chose to forgo the monumental approach often associated with statues of national figures. Instead, she sought to reveal the human side of the Ben-Gurions. Imagine them as any Tel Aviv couple enjoying a walk, perhaps discussing the day’s news or simply taking in the city air. This relatable portrayal invites us to see Ben-Gurion not just as a statesman, but as a husband, a neighbour, and a fellow resident of Tel Aviv.
The statue serves as a reminder that even figures of great historical significance were, in their private lives, simply ordinary people navigating daily moments. It’s a poignant counterpoint to the grand narratives of history, reminding us that greatness often resides in the quiet moments of connection and shared humanity.
Intrigued? Want to see it for yourself? Ben-Gurion Boulevard is a must-visit on any Tel Aviv trip, offering a beautiful green escape within the bustling city. And now, thanks to this new sculpture, you can experience a slice of Israeli history in a refreshingly relatable way.
Bauhaus Blending Sunshine: Why this Architectural Style Thrives in Hot Climates (Especially Tel Aviv!)
When you think of Tel Aviv, images of luxury real estate bathed in warm sunlight likely come to mind. But have you ever wondered why the city’s architectural style seems so perfectly suited to its hot climate? Look no further than Bauhaus, the iconic movement that left its indelible mark on Tel Aviv’s skyline and continues to influence Tel Aviv real estate to this day.
Bauhaus Basics: Born in Germany in the early 20th century, Bauhaus emphasized functionality, clean lines, and a seamless integration of indoor and outdoor spaces. This philosophy proved a perfect fit for Tel Aviv’s Mediterranean climate, where residents crave light, air, and connection to nature.
Key Features for Hot Climates: Here’s how specific Bauhaus elements contribute to thermal comfort and livability in hot regions:
Tel Aviv’s Bauhaus Boom: In the 1930s, Tel Aviv witnessed a flourishing of Bauhaus architecture. Thousands of white, boxy buildings with balconies and expansive windows sprang up, creating a unique urban landscape. This “White City” earned Tel Aviv its UNESCO World Heritage Site status and continues to attract admirers worldwide.
Modern Relevance: The appeal of Bauhaus extends beyond aesthetics. In today’s Tel Aviv real estate market, buyers recognize the benefits of these sustainable and adaptable designs. Luxury real estate featuring Bauhaus elements often commands premium prices due to their inherent functionality, timeless style, and connection to the city’s heritage.
Considering Tel Aviv Luxury Real Estate?
If you’re drawn to the charm and practicality of Bauhaus architecture, Tel Aviv offers a wealth of luxury real estate options featuring this iconic style. From historic apartments to contemporary interpretations, you’re sure to find a space that perfectly blends modern comfort with timeless design.
Beyond Tel Aviv: The influence of Bauhaus can be seen in hot climates around the globe, from California to Israel’s desert city of Mitzpe Ramon. Its principles of functionality, light, and connection to nature remain relevant, proving that good design transcends borders and climates.
Bauhaus Beyond Borders: How a German Design Movement Traveled the World
The Bauhaus, a revolutionary architecture and design movement born in Germany in the early 20th century, wasn’t confined by national borders. Its ideals of functionality, clean lines, and the integration of indoor and outdoor spaces resonated with architects worldwide, adapting and transforming in diverse cultural contexts. Let’s embark on a journey to explore how Bauhaus manifested in five distinct nations: Venezuela, Mexico, Italy, India, and Iran.
Venezuela: Caracas and the Tropical Reinterpretation: In the 1940s, Caracas embraced Bauhaus principles to modernize its rapidly growing cityscape. Architects like Carlos Raúl Villanueva incorporated open floor plans, expansive windows, and geometric forms into iconic structures like the Central University of Venezuela, a UNESCO World Heritage Site known for its airy, light-filled spaces perfectly suited to the tropical climate.
Mexico: Reimagining Tradition with Modernity: Mexico’s encounter with Bauhaus resulted in a unique blend of European modernism and local vernacular architecture. Architects like Luis Barragán seamlessly integrated open layouts, exposed concrete, and traditional materials like volcanic rock into their designs, creating masterpieces like the San Cristobal House, where indoor and outdoor spaces blur, reflecting Mexico’s deep connection to nature.
Italy: A Dialogue Between Past and Present: In Italy, the Bauhaus influence encountered a rich architectural heritage, leading to a more nuanced interpretation. Architects like Gio Ponti adopted streamlined forms and functionality while incorporating Italian design traditions like vibrant colors and handcrafted details. This approach can be seen in the iconic Pirelli Tower in Milan, where a modern glass facade complements a historical context.
India: Redefining Modernity in a Postcolonial Landscape: In India, Bauhaus principles arrived during a period of national awakening and cultural rediscovery. Architects like Charles Correa adapted the movement’s emphasis on light and ventilation to the Indian climate, while incorporating traditional elements like courtyards and water features. This can be seen in the Gandhi Institute of Ahmedabad, where modern design coexists with vernacular influences.
Iran: A Fusion of East and West: In Iran, Bauhaus encountered a vibrant artistic heritage rich in geometric patterns and intricate details. Architects like Houshang Seyhoun integrated these elements into their modern designs, creating a unique fusion of Eastern and Western aesthetics. This is evident in the Tehran Museum of Contemporary Art, where geometric forms and traditional tilework coexist in a harmonious dialogue.
In conclusion, the Bauhaus story extends far beyond Germany. By examining its diverse manifestations in Venezuela, Mexico, Italy, India, and Iran, we gain a deeper understanding of how a design movement can adapt and evolve in different cultural contexts. Each nation reinterpreted the Bauhaus principles to create unique architectural expressions that reflected their local identities and climatic needs. This global journey demonstrates the enduring relevance of Bauhaus ideals and their ability to inspire architects and designers worldwide.
Note: This essay provides a starting point for further exploration. Each nation’s Bauhaus story deserves a deeper dive into specific architects, projects, and the broader cultural context. Feel free to expand on specific examples or delve into individual countries for a more detailed analysis.
Considering Tel Aviv Luxury Real Estate? If you’re drawn to the charm and practicality of Bauhaus architecture, Tel Aviv offers a wealth of luxury real estate options featuring this iconic style. From historic apartments to contemporary interpretations, you’re sure to find a space that perfectly blends modern comfort with timeless design.
Remember, Tel Aviv real estate is a dynamic market. For expert guidance in navigating your options and finding the perfect Bauhaus-inspired dream home, get in touch with one of our team.
]]>
The new and ambitious Tel Aviv Public Art Programme
The city of Tel Aviv is in the midst of daring public art installation frenzy . Little is said or written about it and you’d be hard pressed to find any information about it in Hebrew, let alone in English.
However, thanks to our close relationship with the artists and curators, we wanted to give you a glimpse of the beautiful art installations propping up around our city.
This bold initiative will eventually count over 30 outdoors installations . So far in 2023, we count 13 new statues.
Location
Artist
Material
Paula and David
The large metal engraving placed on the lawn near the Reading Power Station is actually a monumental replica of an old megaphone, a device that once served the mythical lifeguards of Tel Aviv. A simple tin amplifier that has become, for me, a symbol representing a nostalgic longing for quieter, pre-digital days. “Rescue Unavailable” allegorically refers to the announcement closely associated with the shores of Tel Aviv: “Dear public! At this moment, the lifeguard services have ended…” From this point on, the sole responsibility for our well-being rests with us. The sculpture “Rescue Unavailable” is an amplifier opened towards the sea, resembling a secular version of a shofar (ram’s horn), inviting the viewer to whisper a prayer into it and then listen for the song of the wind passing through it as its response. Curator: Smadar Shindler.NO LIFEGUARD ON DUTY
Location
Artist
Material
“Rescue Unavailable” Sculpture Description
The large metal engraving placed on the lawn near the Reading Power Station is actually a monumental replica of an old megaphone, a device that once served the mythical lifeguards of Tel Aviv. A simple tin amplifier that has become, for me, a symbol representing a nostalgic longing for quieter, pre-digital days. “Rescue Unavailable” allegorically refers to the announcement closely associated with the shores of Tel Aviv: “Dear public! At this moment, the lifeguard services have ended…” From this point on, the sole responsibility for our well-being rests with us. The sculpture “Rescue Unavailable” is an amplifier opened towards the sea, resembling a secular version of a shofar (ram’s horn), inviting the viewer to whisper a prayer into it and then listen for the song of the wind passing through it as its response. Curator: Smadar Shindler.THE GROWING MAN, SOON I WILL GET FAR
Location
Artists
Ilan Goldstein
Material
The Walking Man: A Retrospective
The Journey and Purpose
The man walking is a prisoner of the journey. His only goal is to go far. He challenges the norm, acting as a beacon towards a war not yet realized and an emblem in the medium he traverses, making the environment a medium for communication.
His appearance is earthly and does not allow him to linger in any particular medium. He’s a silent observer, his very presence a statement, with speculations building around him. (From the manifesto by Eitan Bartal and Ilan Goldstein, 1990)
The Beginning and the Message
Starting in the early ’90s as a form of protest by Eitan Bartal and Ilan Goldstein, it was a call to arms against urban establishment controls. “The Walking Man” shed light on the establishment’s ignorance of pressing urban matters that both residents and visitors endured.
Impact on the City
Throughout Tel Aviv, “The Walking Man” amplified issues related to ecology, society, and urban planning, awakening the city to previously overlooked concerns.
Transition and Influence
His journey initiated with graffiti messages across city walls, proclaiming: “I will soon go far”. But he was not confined to walls alone. He featured in local publications and urban installations, even running for mayoral office in ’93, reflecting the city’s changing sentiments and concerns.
Exhibitions and Legacy
Over the years, his influence permeated various exhibitions. Notably, in 2016, a showcase titled “I will soon go far – The Walking Man’s Mark on Urban Activism” graced “The City House”, recognizing and rewarding urban activists.
The Sculpture
Standing tall at four meters, he oversees Shlomo Lahat Square, observing the ebb and flow of city life. The artists share:
Surrounded by perpetual motion, he stands as a paradoxical icon – eager to forge ahead yet rooted in place. His timeless mantra, “I will soon go far”, is a stark commentary on the relentless pursuit of the capitalist world.
Curator: Udi Adelman.
BACKYARD
About
Uri Katzenstein: Statue of the Artist’s Head and Hand
Statue of the artist’s head and hand in fluorescent color, in a listening pose to the sounds heard, near and far. A copy of an identical sculpture created by the artist during his lifetime (collection of the Tel Aviv Museum of Art). The artist’s figure looks beyond the horizon, his head and hand in a listening pose to the distant sounds, to the future to come.
About the Artist
- Uri Katzenstein was born in Tel Aviv in 1951 and died there in August 2018.
- He studied art at the Avni School, a bachelor’s degree in art at Indiana University and a master’s degree in San Francisco.
- After graduating, he joined the new art scene in New York and exhibited in the most important spaces in this field in the 1980s, such as The Kitchen and No-Se-No.
- Upon his return to Israel, he began to focus on sculpture, video, and installation.
- He represented Israel at the Venice Biennale and exhibited in many exhibitions in Israel and around the world: at biennials in Brazil, Poland, Turkey, and Argentina, where he won first place in 2002.
- Following his win of the Sandelson Prize, in 2015 the exhibition Backyard was presented at the Tel Aviv Museum of Art, a semi-retrospective exhibition of his works, which won rave reviews and great success.
- Katzenstein’s works deal with the fluid and flexible nature of man and the turbulent encounter between man and society.
- Katzenstein was born, lived, and created throughout his life in Tel Aviv.
Curator: Oded Edelman
BIKKURIM
Location
Artist
Material
About
Ohad Maromi: Bikkurim Statue
In recent years, Maromi has developed sculptures of figures made of basic shapes such as a cone, cylinder, or cube, which are reminiscent of Russian Constructivism, whose forms link the working man to the machine. The sculpture “Bikkurim” (First Fruits), which will be placed at the new entrance to the HaHorshots Park near Beit Ber, depicts a woman figure carrying a basket on her shoulder. This sculpture will serve as a significant landmark at the entrance to the Beit Ber development area, which was once planted with orange groves. The figure’s pose is reminiscent of Israeli folk dance, harvest ceremonies in Israel, and of course, the celebrations in kindergartens. “I am focused on the body as a site of expression, and by analogy to dance, I think of a lexicon of poses. In the context of public space, I am particularly interested in the ‘civic’ dialogue that takes place between a resident and a monument. The figure in the sculpture “Bikkurim” touches on the Constructivist context and the tradition of images of working people,” says Ohad Maromi.
About the Artist
- Ohad Maromi was born in Kibbutz Metzer (1967).
- He is a graduate of Bezalel Academy of Arts and Design, Jerusalem, and completed his Master’s degree at Columbia University in New York.
- Maromi has won numerous awards and has exhibited solo exhibitions in museums in Israel and many spaces in the United States and Paris.
- Maromi is a multidisciplinary artist whose main focus is sculpture. His figurative and monumental work “The Boy from South Tel Aviv” is on permanent display at the upper entrance to the Israel Museum.
Curator: Aya Miron
A PAIR OF ILLUMINATED
Location
Artist
Material
About
Philip Ranzer: On Migration
Migration, wandering, displacement, and alienation are themes that run through Ranzer’s work throughout his career, alongside his focus on home, partnership, and family, both as personal experiences and as universal experiences. These charged themes are addressed through theatrical gestures, playfulness, and humor.
The stable stance of the figures and the line of light connecting them are expressions of the desire to create human connection and a sense of belonging to a place.
Philip Ranzer was born in Romania in 1956 and immigrated to Israel with his family as a child. He is a graduate of the Avni Art School.
Since the 1980s, he has exhibited in numerous exhibitions in Israel and around the world; the Israel Museum in 1992, the Tel Aviv Museum of Art (2003). He represented Israel at the Venice Biennale in 1999.
Ranzer has been teaching for many years at leading art institutions in Israel and currently serves as the head of the School of Arts at the University of Haifa.
Curator: Edna Moshenson.
KIPPA ('DOME')
Location
Artist
Material
About
Mahmud Kaiss’s Dome
Abstract
Mahmud Kaiss’s sculpture “Dome” is a modern work of art located in Sheikh Bassem Abu Zayd Square in Jaffa. The sculpture is made of hundreds of steel strips that form a lattice of geometric arabesque patterns. The dome is a perfect 4 meters in diameter, and between the arabesque lines are empty spaces that allow you to see the shadows they cast on the ground.
The Sculpture
The sculpture is displayed next to an olive tree in the center of the square. It is made of hundreds of steel strips that form a lattice of geometric arabesque patterns. The patterns are woven into a perfect dome with a diameter of 4 meters. Between the arabesque lines are empty spaces through which you can see the shadows they cast on the ground.
The sculpture is reminiscent of many residential and religious buildings in Israel and the Mediterranean region. Arabesque patterns are an abstract and complex pattern that originally arose as a design solution to the Islamic prohibition on the figural representation of animals and humans. They were used to decorate buildings inside and out, and also appear in holy scriptures and in the rich ornamentation of various objects throughout the Muslim world, as well as in non-Muslim Arab cultures.
Mahmud Kaiss’s “Dome” rests on the ground like a beautiful jewel in which the play of light and shadow and between lines and negative shapes changes with the time of day and the viewing angle. The dome echoes local and universal architectural forms from different periods and cultures. The connection between the spatial form and the arabesque patterns expresses a complexity that strives for perfection.
Curator: Aya Miron
OFTEN NEEDED IN TIME
Location
Artist
Material
About
The Sculpture of Leora Kaplan
Description
The sculpture by artist Leora Kaplan titled “Sometimes There Is a Need for Time” stands majestically as a decorated column, resembling a totem. It rises to a height of over three meters with delicate pastel hues gracing its entirety. It is composed of voluminous sculptural forms stacked on top of each other and decorative patterns etched on its polished and gleaming surface.
Location
The sculpture is located in a square between Yehuda Halevi Street and Railway Street, on the route leading from Jaffa and the first neighborhoods of Tel Aviv, tracing the city’s northward and eastward growth. It marks the historical boundary between the eclectic and naive architectural style of Ahuzat Bayit, Tel Aviv’s first neighborhood, and the International style of the White City buildings, symbolizing a milestone in the city’s urban development. By placing this vertical sculpture at this site, the artist artistically and historically refers to the surrounding architecture, including Beit HaDar, a horizontal building with flowing lines, Beit Phoenix which became an apartment building, and the towers that sprouted around them.
Historical Context
Beit HaDar, built in the 1930s by architect Karl Rubin (1899-1955), was the first commercial building in Tel Aviv, playing a significant economic role in transforming the city into a metropolis as envisioned by its founders. Thus, the location of the sculpture serves as a landmark to the city’s development era and a vantage point for observing urban changes.
The marble sculpture, situated in a public space, is a culmination, refinement, and celebration of the artist’s sculptural language developed over several preceding years. The series of sculptures, designed for interiors and resembling captivating totems, are a result of enthusiastic collection and in-depth research into the history of the Israeli ceramics industry, a flourishing enterprise that spanned decades in the mid-20th century before waning due to changing tastes and ideologies.
The totem sculptures were crafted from ceramic pieces with diverse, intricate decorations, joined together in surprising connections that accentuate their uniqueness and beauty in harmonic balance. They utilized various materials and traditional handcrafting skills from different cultures, acquired from personal experiences and collaborations with various artisans.
The marble sculpture, carved in Portugal, was executed by skilled marble sculptors and adorned with decorative patterns echoing the rich material culture of Israel. The artist’s accumulated knowledge, form, textures, and decorative motifs were translated into carvings and textures on the colorful marble block.
The sculpture’s title, “Sometimes There Is a Need for Time“, is taken from Karl Schwarz’s book “A Guide to Art“, paying tribute to the onset of modern culture and art in the city. Karl Schwarz, the manager of the Jewish Museum in Berlin before the Nazis came to power, was invited by Meir Dizengoff, the first mayor of Tel Aviv, to become the first director of the museum. Dizengoff’s private home, located nearby at Rothschild Boulevard 16, was converted into a museum by architect Karl Rubin, today known as the Independence Museum.
The sculpture, serving as a memorial to the times and places etched within and around it, creates a space for gathering, contemplation, and observation.
About the Artist
Leora Kaplan was born in 1974. She studied at the Midrasha School of Art and the Avni Institute and currently resides in Tel Aviv-Jaffa. She recently showcased a solo exhibition at the KMAC Museum in the United States, at the Center for Contemporary Art in Tel Aviv, and in many group exhibitions.
A REVERSAL POINT
Location
Artist
Material
About
Gal Melnik’s Sculpture Installation at Shatulim Park
About the Installation
A cluster of seven large, colorful sculptures is situated at the entrance of Shatulim Park, a vast park filled with recreational, relaxation, and sports opportunities. Shatulim Park is part of Menachem Begin Park located in the southern part of the city and is integrated into the urban park system of Ganei Yehoshua Company.
The sculptures, made from metal sections, create a sort of square that invites visitors to walk around it, resembling a sculpture garden or a playground, enticing wandering and lingering. The sculptures abstract images from the world of flora, human figures, and architectural details, acting as a visual echo to their surroundings.
Walking around and between the sculptures reveals on one hand a cluster of tall buildings, a well-planned modern neighborhood that has sprung up alongside older and more established neighborhoods. On the other hand, there are walking and biking paths leading to the vast park, lawns, trees, playgrounds, and sports fields. The viewer becomes an active participant in the sculptural arrangement.
Construction and Inspiration
The sculptures were carved from large, heavy aluminum plates that were bent and folded as if they were paper. These flat sculptures, with their sharp outlines, create a dynamic three-dimensional space that changes with the movement of the park visitors and the play of light and shadow throughout the day.
The entire installation acts as a transition point between private and public spaces, reality and imagination, and urban surroundings to nature.
The sculptural installation by Gal Melnik calls to mind the sculptures of the renowned artist Alexander Calder (1898-1978), whose works stand in public spaces in many cities around the world. Calder’s tribute to Jerusalem, dated 1977, is located with a view of the Jerusalem Forest. This large, red sculpture contrasts with the green landscape and is composed of six steel arches, mirroring the surrounding mountainous terrain.
The Title’s Significance
The title “Turning Point” given by the artist refers to the time of year when the Earth’s tilt reaches its peak towards the sun, marking the longest and shortest days in each hemisphere. The title allows one to think of the cluster of sculptures also as a ceremonial site or a mysterious future archaeological site.
About the Artist
Gal Melnik, born in 1988, is a graduate of the Bezalel Academy of Arts and Design (2014) and is engaged in sculpture alongside her drawing work. She had a solo exhibition at the Kav 16 Municipal Gallery (2021), Fresh Paint Fair, and a group exhibition at the Bat Yam Museum (2020). A large selection of her works is placed throughout the Botanika Hotel in Haifa.
SEA ELEPHANT
Location
Artist
Material
About
The Sea Elephant Sculpture
About the Sea Elephant
A sea elephant is a heartwarming creature: its form is bulky and its movement heavy, its proportions are exaggerated and it moves with clumsiness. It’s a kind of anti-hero. Its solitary presence, distant from its home in the ocean, allows us to imagine the remote and strange nature within the city.
Kaslu’s Artistic Vision
The sea elephant rests and makes its slow way to a water source. Kaslu’s sculpture is characterized by the artist’s unique gaze at the tension between the ridiculous and the sublime in nature, in awe of the forms that characterize it and the life present in it.
GERM
Location
Artist
Material
About
Giant Bean Sprout Sculpture
About the Sculpture
A meticulously sculpted giant bean sprout appears in the public space at the Rail Park, as part of its lush vegetation. The sculpture, in its metallic green hue, symbolizes growth and creation, resembling an experiment gone rogue.
Inspiration Behind the Art
The sculpture brings to mind the British legend, ‘Jack and the Bean Stalk’. Like Jack’s magic beans, this sprout emerges as a powerful symbol in the landscape. Additionally, the shape of the sprout, reminiscent of a kidney, connects deeply with the artist’s personal history and her father’s health.
About the Artist: Hila Amram
Hila Amram was born in 1976 and is based in Tel Aviv. Her works often merge science, pseudo-science, and natural wonders. She is a graduate of the Bezalel Academy of Arts and Design and has been recognized with several awards for her innovative art.
DRAWING ON THE SHORE
Location
Artist
Material
About
“Drawing on the Shore”
About the Sculpture
The work is a sculptural environment overlooking the sea. It features three T-shaped hollow structures on pedestals, inviting visitors to immerse themselves in the experience, providing unique views and sounds of the sea and surroundings. Individuals using the sculptures take on a transformative appearance, reminiscent of mythical and hybrid creatures.
About the Artist: Efrat Nathan
Efrat Nathan is based in Tel Aviv. Her history with the T-shape sculpture dates back to 1973, connecting her personal past and memories of her childhood home in Kibbutz Kfar Ruppin.
RUMORS
Location
Artist
Material
About
Description of “Rumors” Sculpture
The sculpture “Rumors” is an acoustic sculpture made of concrete, consisting of a large parabolic plate in front of which are steps and a bench. The sculpture is located next to the promenade to the north of the Reading area, facing the sea.
This type of structure creates a kind of acoustic mirror, an interesting phenomenon that concentrates all the sound waves coming from a certain direction towards a single point, resulting in the amplification of sounds.
Despite the distance from the sea, when sitting on the bench, the sitter is engulfed in a flood of sea sounds, different from how we usually hear the surroundings.
The person sitting feels magic happening around them. They settle down and suddenly they are engulfed in sounds in an unnatural way.
The sculpture captures the waves; it’s a moment when our body is flooded with the sounds of the sea waves. The gaze sinks into the infinity spread out before it, allowing a moment of not just being in front of the world that spreads before us but being inside the world, together with the world.
About the Artist: Niv Gefen
Niv Gefen is an artist who often deals in his works with the way we perceive and participate in the world around us, as well as our relationship with the world and the various phenomena that compose it. The sculpture was primarily created from thinking about one of the main natural phenomena that characterize Tel Aviv, the sea beside which it resides, and which is part of the city’s DNA.
In placing the sculpture, Gefen wanted to create a space and conditions that allow encountering the sea in an enhanced way, through its sounds.
The sculpture allows us to encounter phenomena that are the foundations that compose our world, in which we are surrounded and flooded all the time, and simultaneously also to meet ourselves as part of the complex and beautiful entity that is the world.
Niv Gefen (born 1991) is a sound artist, sculptor, and composer who combines different mediums in his works. His main activity focuses on sound and movement, their relationship, and the spiritual field between humans and the non-human. Most of his works echo our subconscious connection with the environment and the non-human world.
Gefen creates installations and environments that encourage listening and contemplation as an entryway to an encounter with deep, subconscious elements inherent in humans.
Throughout his life, the artist spent long periods in nature, notably significant time in solitude. Over time, he developed a special attention to the different phenomena that make up the world around us. Alongside this, he recognized the value embedded in the possibility of encountering the world through listening and observing those elusive qualities.
Curator: Smadar Shindler
STAR GATES
Location
Artist
Material
About
“Star Gates” Sculpture Description
The sculpture “Star Gates” mimics seven gates, intertwined within each other. Through them, one can pass and view the sea horizon on one side, and Jaffa Port on the other. Its reflective materiality gives the sculpture a shimmering appearance, as the reflections of the surroundings almost make it disappear at a passing glance. The sculpture delves into the idea of spiritual and physical gates – entrance gates for immigrants, victory gates, gates of the heart and soul, gates of consciousness, and astral gates. The monumental form of the sculpture invites the viewer to pass through it and walk within it.
About the Artist: Noa Yafe
Noa Yafe (born 1978) is a graduate of the undergraduate and continuation programs of the Beit Berl School of Art. She has presented solo exhibitions at the CCA Contemporary Art Center in Tel Aviv, the Artists’ Workshops, Kunstraum Kreuzberg/Bethanien in Berlin, Bat Yam Museum, and more. Her works have been showcased in numerous group exhibitions, among them at the Museum für Kunst und Gewerbe in Hamburg, the Israel Museum in Jerusalem, and the Tel Aviv Museum of Contemporary Art. She has been the recipient of several scholarships and awards, including those from Artis, Outset, the Rabinovich Foundation, the America-Israel Foundation, and Bank Hapoalim. Her works can be found in both public and private collections.
Curator: Udi Adelman.
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Tel Aviv Public Art
Architect, Engineer, Entrepreneur, Builder
Engel 7
The building was designed by the architect Avraham Kaviri. Kaviri was born in 1903 in Ukraine and immigrated to Israel in 1922. During the evenings, he studied building engineering at the Montefiore Technical Institute, while during the day he worked as a construction laborer to support himself.
In 1926, he was involved in the construction of the Naharayim power station, and a year later, he traveled to France to study civil engineering at the University of Caen. Among the buildings he erected are: Engel 7, Idelson 13, Shmaryahu Levin 11, Shlomo Hamelech 70, Bar Kochba 50, and Shlomo Hamelech 11 and 38. The plot, covering an area of 597 square meters, was purchased by Meir Arison in February 1935 for the price of 1,100 Palestinian pounds.
The building plans were submitted for approval in May of that year; the construction permit was received less than a month later, and six months afterward, on December 9, 1935, the construction was completed.
The first owner, Meir Arison, was a dominant figure in the economy of the Yishuv. He was born in Zichron Yaakov in 1894 to Moshe and Sarah, early settlers and founders of the colony. Meir studied in the colony and later traveled to Istanbul for studies at a commerce school.
In 1914, he was drafted into the Turkish army and served as an officer. His position enabled him to assist Meir Dizengoff in helping the refugees of Tel Aviv and Jaffa and easing the siege in his hometown after the NILI underground was discovered. Helping Dizengoff paid off, as after the war, the city’s head invited him to manage an export-import office, and over time, he also became a partner in his firm.
Thanks to his talents and impressive language skills, he greatly contributed to private businesses, in particular, and the Hebrew economy in general, even receiving honors and excellence awards for developing foreign relations with Romania, France, and Belgium. In 1946, after his death, the property on Engel Street passed to his heirs.
In 1949, the building was connected to the municipal sewage system, as until then, absorption pits had been used. In the 1950s, three discharged soldiers opened an automatic laundry service in the basement of the building, and in addition, a workshop for producing kippahs operated in the basement.
From a historical value standpoint, the building reflects the great wave of immigration in the 1930s, which required the construction of 3-4 story buildings, replacing smaller houses. The building, like many around it, was built in the International Style prevalent in Tel Aviv during those years—a style that expressed social and cultural perceptions, primarily functionality and catering to the needs of a city undergoing development and growth.
The building has undergone almost no changes over the years until its preservation by “White City Buildings” and has maintained its unique features: it was built in the shape of an ‘H’ (towards its rear facade), with an inner green courtyard for the private use of its residents; its facade is divided into two sections, with only the ground floor differing, and the entrance breaking the symmetry.
Nevertheless, the facade has pleasant proportions; the public interior spaces, such as the entrance and staircase room, were carefully designed, likely by Kaviri, with attention to detail: from the unique railing, through the entrance door, to the lamps—all to preserve the overall harmony that characterized the house.
The building employed sliding windows, which were not typical in the 1930s, and was built using “modern” methods that included the use of angled concrete, select bricks, columns, and washed plaster (Washputz), methods that characterized the International Style.
Avraham Kaviri, the architect, was born in 1903 in Ukraine and immigrated to Israel in 1922. Throughout his career, Kaviri made significant contributions to the development of Israeli architecture. His background in building engineering, which he acquired at the Montefiore Technical Institute, combined with his practical experience working as a construction laborer, provided him with a solid foundation for his architectural practice. Kaviri’s architectural style was influenced by the International Style, which was prevalent in Tel Aviv during the 1930s. This style focused on functionality, simplicity, and the use of modern materials and techniques.
It was characterized by clean lines, minimal ornamentation, and a preference for open spaces and large windows, which allowed for the natural flow of light and air. In addition to the International Style, Kaviri was likely influenced by the Bauhaus school, which promoted the idea that form should follow function. This philosophy placed emphasis on designing buildings that met the practical needs of their inhabitants, while also achieving a high level of aesthetic quality. Kaviri’s designs often featured elements such as flat roofs, white or lightly colored facades, and an overall streamlined appearance, which were typical of Bauhaus architecture.
Another significant influence on Kaviri’s work was the local architectural traditions and building techniques of Israel. He often incorporated elements of vernacular architecture, such as the use of local materials, climate-responsive design, and the integration of green spaces, like courtyards and gardens.
This allowed Kaviri’s buildings to be both environmentally sustainable and well-suited to the needs of their inhabitants. Kaviri’s architectural designs were marked by careful attention to detail and an emphasis on harmony and balance.
He skillfully combined elements of the International Style with local building traditions, creating buildings that were both functional and aesthetically pleasing. His work stands as a testament to the architectural innovation and creativity that characterized the early years of the Zionist movement and the development of modern Israeli architecture.
During the same period as Avraham Kaviri, several other prominent architects were also shaping the architectural landscape of Tel Aviv.
These architects played a significant role in developing the city’s distinct architectural identity, which was characterized by a fusion of International Style, Bauhaus principles, and local traditions.
Yehuda Magidovitch: Often considered the first city architect of Tel Aviv, Yehuda Magidovitch designed many prominent public and private buildings throughout the 1920s and 1930s.
His work includes the Great Synagogue on Allenby Street, the Esther Cinema, and numerous residential buildings. Magidovitch’s style combined elements of Art Deco, Eclecticism, and later, the International Style.
Dov Karmi: A leading architect in Tel Aviv during the 1930s and 1940s, Dov Karmi was known for his functional and modernist approach. He designed several iconic buildings, including the historic “Migdal HaShalom” (Shalom Tower) and the Heichal Hatarbut (Mann Auditorium). Karmi’s work was influenced by the International Style, Bauhaus principles, and Brutalism.
Arieh Sharon: A prominent Bauhaus-trained architect, Arieh Sharon was responsible for designing numerous residential and public buildings in Tel Aviv during the 1930s and 1940s. His work includes the Workers’ Bank Building, the Histadrut Labor Federation Building, and the Hadassah Hospital in Jerusalem. Sharon’s designs were characterized by functionalism, clean lines, and a focus on the needs of the building’s inhabitants.
Shmuel Barkai: Active during the 1930s and 1940s, Shmuel Barkai designed several notable residential buildings in Tel Aviv. His work was characterized by a unique combination of the International Style and local architectural traditions. Barkai’s designs often featured flat roofs, horizontal windows, and an emphasis on natural light and ventilation.
Ze’ev Rechter: Another influential architect of the period, Ze’ev Rechter designed a range of public and residential buildings in Tel Aviv. His work includes the iconic Frug House and the Central Bus Station. Rechter’s architectural style combined the International Style with local materials and techniques, creating a distinctive blend of modernism and tradition.
These architects, along with Avraham Kaviri, played a significant role in shaping the architectural landscape of Tel Aviv during its formative years. Their innovative designs and the fusion of various architectural styles contributed to the development of the city’s unique architectural identity, which is still evident in its many preserved and restored buildings today.
Beit Shik
90 HaYarkon Street, Tel Aviv-Yafo – Beit Shik Project Essence: Local Preservation of a Historic Structure Status: Completed Program: Residential and Commercial Start Year: 2002 Completion Year: 2010 Initiator: Private Project Description:
The project was based on the preparation of a localized TABA (Urban Building Plan) that annulled an expropriation previously made for the purpose of expanding the road, thus allowing for the preservation of the building.
The building was in an extremely dilapidated physical condition, primarily due to its proximity to the sea and chronic lack of maintenance.
The ground floor café was restored to its former state, while the two floors above were adapted for residential use. The addition of two floors atop the preserved building enabled the economically viable preservation process.
Background: Beit Shik, situated opposite the sea at the corner of Bograshov and HaYarkon streets, was designed by architect Avraham Kaviri in the International Style for the Shik family.
The residential building was constructed between 1934 and 1935. In 1937, the ground floor was converted into a café-restaurant. The building’s location along the first line of the seafront, above London Garden, grants it a secondary importance as part of Tel Aviv’s cityscape, as viewed from the sea and the beach.
Perlman House
In March 1939, a letter was sent on her behalf in which she pleaded with the officials to allow her to open shops on the facade facing Bar Kochba Street. All to no avail. On the other hand, approval was granted in 1944 to construct a single-room apartment on the roof of the building.
In the meantime, part of the ground floor was rented to ‘Katz Gallery,’ which exhibited works by Tel Aviv artists. Perlman House – 79 Dizengoff Street, corner of 50 Bar Kochba Street. In 1930, Yaakov Hershkovitz, who owned a shed on the corner plot at the intersection of Dizengoff and Bar Kochba streets, received approval to construct a two-room residential building, with a kitchen and balcony, along with a toilet. After two or three years, the building was sold to contractor Abraham Kabiri and his two partners, who added the two upper floors in 1934. Construction was delayed due to recurring disputes with the neighbor at 48 Bar Kochba Street, who claimed that the partners were encroaching on his property.
The matter of opening shops on the ground floor, as the partners wished, also sparked conflicts with neighbors and the technical department of the municipality. Within a year, the building was sold to Mrs. Mina Perlman. It seems that the savvy sellers did not inform her of the disputes related to opening the shops.
In October 1935, the building engineer she hired wrote a letter to the technical department on her behalf: “…This house has passed to the new owners who knew nothing of the existing situation and accepted the building in confidence that they were allowed to open a shop on the first floor, so why should they now be punished for their lack of knowledge, as if ‘the fathers ate sour grapes and the children’s teeth were set on edge?'”
The small neighborhood where the house is located was called ‘Trumpeldor Neighborhood.’ It was a neighborhood of shacks, situated between the larger and more well-known ‘Nordia’ and the Select Brick Manufacturing Factory, which was adjacent to ‘Tel Nordau’ neighborhood.
Mrs. Perlman’s request to lease a space to a man who wanted to open a bicycle repair shop was rejected. The saga continued for several years. A breakthrough regarding approved commercial spaces occurred during the War of Independence. At that time, demobilized soldiers or war wounded were allowed to open businesses, bending the rules, even in places previously designated for residential use only.
Thus, two discharged soldiers opened a laundry on the ground floor of the building. During the 1950s, ‘Gershon,’ a bicycle repair and sales shop, was operating here, as well as the ‘Yitzhak’ taxi station. The bicycle shop changed owners and remained in business until the 1980s. The taxi station was replaced by a clothing store, and since then, food and fashion businesses have dominated the area.”
Passage Pensak
Tel Aviv’s first elevator and rooftop restaurant.
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Tel Aviv Heritage Pensaks Passage 1920s Culture
Pensak s Passage
Pensak s Passage
Pensak s Passage
Pensak s Passage
Pensak s Passage
Pensak s Passage
Tel Aviv history
Tel Aviv history
Tel Aviv history
Tel Aviv history
Tel Aviv history
Tel Aviv history
1920s Hebrew cultural life
1920s Hebrew cultural life
1920s Hebrew cultural life
1920s Hebrew cultural life
1920s Hebrew cultural life
1920s Hebrew cultural life
Rooftop restaurants
Rooftop restaurants
Rooftop restaurants
Rooftop restaurants
Rooftop restaurants
Rooftop restaurants
Nahalat Binyamin Street
Nahalat Binyamin Street
Nahalat Binyamin Street
Nahalat Binyamin Street
Nahalat Binyamin Street
Nahalat Binyamin Street
Herzl Street
Herzl Street
Herzl Street
Herzl Street
Herzl Street
Herzl Street
Allenby Street
Allenby Street
Allenby Street
Allenby Street
Allenby Street
Allenby Street
Arab-Jaffa style houses
Arab-Jaffa style houses
Arab-Jaffa style houses
Arab-Jaffa style houses
Arab-Jaffa style houses
Arab-Jaffa style houses
European style houses
European style houses
European style houses
European style houses
European style houses
European style houses
Tel Aviv urban landscape
Tel Aviv urban landscape
Tel Aviv urban landscape
Tel Aviv urban landscape
Tel Aviv urban landscape
Tel Aviv urban landscape
Eretz Yisrael Opera
Eretz Yisrael Opera
Eretz Yisrael Opera
Eretz Yisrael Opera
Eretz Yisrael Opera
Eretz Yisrael Opera
Purim celebrations
Purim celebrations
Purim celebrations
Purim celebrations
Purim celebrations
Purim celebrations
Hasharon restaurant
Hasharon restaurant
Hasharon restaurant
Hasharon restaurant
Hasharon restaurant
Hasharon restaurant
Zvi Arieh Pensak
Zvi Arieh Pensak
Zvi Arieh Pensak
Zvi Arieh Pensak
Zvi Arieh Pensak
Zvi Arieh Pensak
Melk & Rosenfeld wallet factory
Melk & Rosenfeld wallet factory
Melk & Rosenfeld wallet factory
Melk & Rosenfeld wallet factory
Melk & Rosenfeld wallet factory
Melk & Rosenfeld wallet factory
Yedioth Ahronoth newspaper
Yedioth Ahronoth newspaper
Yedioth Ahronoth newspaper
Yedioth Ahronoth newspaper
Yedioth Ahronoth newspaper
Yedioth Ahronoth newspaper
Afula Express movie
Afula Express movie
Afula Express movie
Afula Express movie
Afula Express movie
Afula Express movie
Building laws enforcement
Building laws enforcement
Building laws enforcement
Building laws enforcement
Building laws enforcement
Building laws enforcement
Geddes city planning
Geddes city planning
Geddes city planning
Geddes city planning
Geddes city planning
Geddes city planning
Architectural preservation
Architectural preservation
Architectural preservation
Architectural preservation
Architectural preservation
Architectural preservation
Tel Aviv commercial areas
Tel Aviv commercial areas
Tel Aviv commercial areas
Tel Aviv commercial areas
Tel Aviv commercial areas
Tel Aviv commercial areas
Hebrew literary magazines
Hebrew literary magazines
Hebrew literary magazines
Hebrew literary magazines
Hebrew literary magazines
Hebrew literary magazines
Symphonic orchestras
Symphonic orchestras
Symphonic orchestras
Symphonic orchestras
Symphonic orchestras
Symphonic orchestras
Classical dance performances
Classical dance performances
Classical dance performances
Classical dance performances
Classical dance performances
Classical dance performances
Gypsy violinist
Gypsy violinist
Gypsy violinist
Gypsy violinist
Gypsy violinist
Gypsy violinist
Hezkel Ish Kasit café
Hezkel Ish Kasit café
Hezkel Ish Kasit café
Hezkel Ish Kasit café
Hezkel Ish Kasit café
Hezkel Ish Kasit café
Modern Tel Aviv architecture
Modern Tel Aviv architecture
Modern Tel Aviv architecture
Modern Tel Aviv architecture
Modern Tel Aviv architecture
Modern Tel Aviv architecture
Early 20th century lifestyle
Early 20th century lifestyle
Early 20th century lifestyle
Early 20th century lifestyle
Early 20th century lifestyle
Early 20th century lifestyle
Pensak Properties
Pensak Properties
Pensak Properties
Pensak Properties
Pensak Properties
Pensak Properties
Historical Tel Aviv buildings
Historical Tel Aviv buildings
Historical Tel Aviv buildings
Historical Tel Aviv buildings
Historical Tel Aviv buildings
Historical Tel Aviv buildings
Introducing Passage Pensak (The Pensak Corridor): Tel Aviv’s FirstElevator and Rooftop Dining Experience
The Pensak Corridor (Passage Pensak) came into existence in 1924 at 16 Herzl Street, marking the inaugural commercial hub in Tel Aviv and Israel as a whole. The driving force behind its creation was Zvi Arieh Pensak, a Jewish entrepreneur and a distinguished leader within Brooklyn’s Jewish community, comprising roughly 750,000 individuals. Born in 1868, Pensak relocated to Israel during the Second Aliyah at 45 years old. Following the First World War, he successfully constructed and cultivated properties across Eretz Yisrael.
A passionate Zionist, Pensak remarked, “I abandoned my entire family and children, opting to reside in this land. I’ve always believed that every Jew should live in the Holy Land, contributing to the establishment of our homeland in any way possible. I brought significant capital and initiated my trailblazing endeavors by erecting Tel Aviv’s first office building. Despite the substantial financial investment and the toll it took on my health and emotional well-being, I never wavered in my conviction, understanding that such pioneering work demands sacrifices of both health and emotional resilience.”
Initially, the site of the Pensak Corridor (Passage Pensak) served as a parking area for taxis ferrying passengers to Jerusalem. In 1921, Yehuda Leib Magidovich designed and constructed a single-story building on the site, which was subsequently torn down in 1924.
In its stead, the Pensak Corridor emerged, a grand three-story edifice encircling a central courtyard. Each level of the building features a balcony that connects its wings and overlooks the courtyard. The construction concluded in 1925, and two years later, Magidovich expanded the structure by adding a fourth floor and an elevator for transporting goods to the various stores.
Let’s get the conversation going
Shmuel Wilson, a United States immigrant, became the contractor for the project. Before moving to Israel, he inquired of Menachem Shenkin whether there was a demand for building contractors in Eretz Yisrael. Later known as Sam, Wilson became a highly sought-after contractor, renowned for utilizing high-quality materials and innovative construction techniques. He effectively disrupted the construction monopoly held by Arab contractors.
The façade of Passage Pensak was designed in the Neoclassical style, a signature of Magidovich‘s architectural work during the 1920s. As Tel Aviv’s first commercial and office building, it has accommodated numerous shops, workshops, offices, and printing houses over time. The building was also home to Tel Aviv’s first elevator, originally referred to as “ma’aliyah” instead of the modern Hebrew term “ma’alit.” Signs directing people to the elevator are still visible today.
The term “passage” typically refers to a covered arcade or gallery featuring a glass roof and symmetrical façade, used exclusively by pedestrians as part of an urban block in Europe. Thanks to advancements in cast iron and glass usage, these passages were incredibly popular during the 19th century. However, Passage Pensak does not resemble traditional European arcades, as it lacks a glass-covered passageway. Instead, it is more akin to a department store of that era, with multiple departments facing a central interior space.
Historically, department stores were large buildings occupying an entire block, with a façade featuring shop windows and an interior central space covered with glass. Passage Pensak has shop windows facing Herzl Street and an interior space that, although not covered with glass, allows for natural light. Similar to traditional department store façades, Passage Pensak features symmetrical pilasters, balconies, and grand stairs, yet it is neither a department store nor an arcade, as it was designed for offices and shops with separate ownership.
The building’s façade resembles those of department stores found in Europe and the United States. The ground floor entrance is symmetrically centered between four shop windows (two on each side) and features rusticated stonework. Rusticated stone pillars are situated between each window. Above the ground floor, in the center of the building, the stairwell showcases three arched windows, two stories high, with Corinthian pilasters between the windows. The sides also feature two-story-high Corinthian pilasters.
Additional sets of pilasters with flat decorations at the top unite the third and fourth floors (the fourth floor has no windows). Windows are present on the first, second, and third floors, between each pilaster. The first floor has four windows with a continuous balcony, while the second floor has four more windows, with balconies for the two middle ones.
All balconies are made of concrete slabs and rest on lugs adorned with volutes. The railings are composed of iron bars. The third floor features four windows, with a single continuous balcony for the main windows. In the center of the building, a balcony is located above the windows. The entire front of the top floor is adorned with a stylish, rounded cornice.
The name Passage Pensak may have been chosen because it offers a passageway from the entrance into the courtyard. However, the building does not fit the architectural definition of a passage or arcade, and the term was not Hebrew, which was met with opposition at the time. Nonetheless, Passage Pensak was a unique building in the Herzl Street landscape, as most structures in Tel Aviv during that period were two-story, single-family homes or apartment buildings. This three-story building had no garden and was situated directly on the sidewalk.
From the mid-1920s, three-story buildings with at least six apartments each began to be built in Tel Aviv, making neighborhoods more crowded. Streets like Nahalat Binyamin, Herzl, and Allenby became commercial areas, and the garden city landscape disappeared. Houses were built in Arab-Jaffa or European styles.
In the 1920s, Tel Aviv experienced a vibrant Hebrew cultural life with prominent writers, artists, theatres, literary magazines, newspapers, operas, orchestras, and dance performances. Public celebrations were held, and many cafes, restaurants, kiosks, boarding houses, hotels, and workers’ kitchens opened. Pensak’s Passage housed a rooftop restaurant called Hasharon, the first in Eretz Yisrael, which later closed due to an economic crisis. Over time, more businesses opened in the building, including the Pensak Restaurant, a wallet factory, replication factory, plastic workshop, and a coffee bar. In the 1980s and 1990s, some residential units were rented, but they were later evacuated due to opposition from the municipality.
The building’s ownership changed hands multiple times before being purchased by Haya and Yosef Schori in 1990, who managed it through Pensak Properties. In 1993, ownership was transferred to Yehuda Tzadok. The building has not been restored.
Enforcement of building laws in Pensak’s Passage remained strict. The building was constructed with an official permit, but when Pensak closed the balconies without a permit, he was warned and eventually indicted. He later applied for and received permission to add a balcony to the roof and an additional floor.
Today, Herzl 16 bar and restaurant occupies the ground floor courtyard.
Dreaming of Amsterdam
Tel Aviv cycle paths
Tel Aviv cycle paths
Tel Aviv cycle paths
Tel Aviv cycle paths
Tel Aviv cycle paths
Tel Aviv is no different than all other metropolitan cities when it comes to traffic congestion. Some would say it’s worse. If you’ve visited recently you will have noticed that the city is one big building site. The works of the metro are well underway, office towers and residential buildings are propping up at an astonishing pace. All that said, moving around in the city has become challenging and since we are blessed with eternal sunshine, biking has become the preferred means of transportation for a great number of Tel Avivians.
Unsurprisingly, the mayor, Ron Huldai, was re-elected, on the back of a bold Tel Aviv cycle paths agenda. Promising a substantial increase in lanes all round and through the city. That’s great news for most and a nightmare for others. The city is undergoing a major shift and priority is given to the more ecologically sensitive solutions. With the Tel Aviv cycle paths come a flurry of urban improvements such as parks and pedestrianised neighborhoods. A great example is the Park Hamesila in Neve Tzedek. A gorgeous promenade on the Ottoman era former rail tracks. Once a no man’s land where you’d be foolhardy to wander at night is now a beautifully landscaped lane, (no too dissimilar to New York’s High Line), where families gather to picnic and kids run free.
Tel Aviv-Yafo’s flat topography and comfortable climate make for a perfect environment to bicycle in. With the help of a bicycle you can get around the city through the fastest routes, without traffic or parking tickets. The Tel Aviv-Yafo Municipality has made it its top priority to encourage bicycle and scooter riding across the city. Cycling reduces parking issues, decreases traffic and gas expenses. It is cheaper, better for the environment and for the cyclists themselves as it improves fitness and increases bodily adrenaline levels. According to the recently passed ambitious plan , there will 283 kilometers additional cycle paths in Tel Aviv. The project is part of a national master plan aimed at raising the proportion of journeys made by bicycle to 10%.
By 2025, Tel Aviv cycle paths will be increased by 283 kilometers
Planned Tel Aviv Cycle Paths
Existing Tel Aviv Cycle Paths
All is not rosy though…
While were all patiently for the city to turn into a mediterranean bucolic version of Amsterdam, the widespread use of the infamous electric scooters has made leisurely strolling a nerve racking and life threatening activity. The Rothschild boulevard and the boardwalk both boast comfortably wide cycle paths. The small and narrow side streets, however have turned into war zones, where bikes, strollers, scooters, parked cars, pedestrians and cats struggle for their piece of the sidewalks… Like everything, the Tel Aviv municipality has a history of “crossing the bridge when they get there”, but eventually, whole neighborhoods have already drastically improved, especially in Florentine or Shapira.
The project is part of a national master plan aimed at raising the proportion of journeys made by bicycle to 10%.
On Monday, the Tel Aviv District Planning and Building Committee, headed by Eran Nitzan, will discuss the master plan for the Tel Aviv Cycle Paths. The plan, details of which have reached “Globes”, calls for the paving of 758 kilometers of cycling paths, and is one of several plans being promoted as part of a general national plan. The test, however, will be in the execution of the projects in the urban space at the expense of lanes for private cars and parking spots, something in which the Ministry of Transport has not excelled up to now.
The plan is meant to achieve the goals set for the breakdown of the use of different means of transport, according to which 12% of journeys in the Tel Aviv district should be by bicycle, which compares with 3% today. For Tel Aviv itself, the target is 20%, which compares with 7% today. For other local authorities in the district – Azor, Ramat Gan, Ramat Hasharon, Or Yehuda, Holon, Bat Yam, Herzliya, Kiryat Ono, Givatayim, Kfar Shmaryahu, and Bnei Brak – the targets are substantially higher than the current rate of use of bicycles. The planned 758 kilometers of cycling paths are in addition to the existing 251 kilometers, and mostly in Tel Aviv.
Tel Aviv Cycle Paths, Ramat Gan 69 kilometers, Herzliya 90 kilometers, Holon 75 kilometers, with the rest spread over the remaining local authorities. The paths will cross 146 bridges, some of them already in existence and some approved for construction, and the plan proposes adding another nineteen bridges for bicycles. The plan is based on surveys of existing traffic and forecasts of future demand.
Priority will be given to streets in which bicycle traffic is above the regional average, streets that will complement an efficient network of paths without dead ends and that connect to the Ofnidan network of long-range bicycle paths, and that have advanced planning status. The network’s coverage is meant to bring buildings within 250 meters of cycling infrastructure. Coverage on that basis will rise from 42% today to nearly 90%.
The existing rate of bicycle use varies widely between one local authority and another, with Tel Aviv in the lead by a long way. An international comparison presented in the plan shows Tel Aviv towards the top of cities promoting cycling infrastructure, but the rest of the Dan region lags far behind.
The plan was drawn up by the Ministry of Transport, the Planning Administration, and consultants Planet and Eshed, and is part of a more comprehensive national plan that sets out how many kilometers of cycle paths are required in the built-up areas in all of Israel. The budget estimate for the whole network is NIS 8 billion, divided into five-year portions, NIS 2 billion for each five-year period. This substantially raises the investment per capita in cycling infrastructure in Israel, and, unlike various other master plans, this one rests on a budget that has already been partly passed. Cycling networks for the other metropolitan areas – Haifa, Jerusalem, and Beersheva – will be derived from the national master plan, and a network will be completed to cover the central district.
The goal: Ten times more journeys by bicycle
The working assumption behind the national master plan is that it is possible to reach a proportion of 10% of journeys being made by bicycle, compared with just 1% today. The general rate at which bicycle paths are being paved in Israel is low, at just 32 kilometers annually, whereas in Tel Aviv cycle paths are being paved fairly rapidly; half the national total for 2020 was in Tel Aviv. To reach the national target of over 3,700 kilometers of cycle paths will cost nearly NIS 8 billion over twenty years. The budget for the next five years works out at about NIS 39 annually per resident, up from NIS 10 previously. In the leading cycling countries the budgets are higher, even though they already have well-developed cycle path networks. The UK, for example, invests about NIS 50 annually per resident in cycling infrastructure, Germany invests NIS 32-70, and the Netherlands NIS 138.
The plan represents a considerable advance in both planning and budgeting, but the test will be execution, in which the Ministry of Transport is weak, as demonstrated by many transport initiatives.
Even agreements with the local authorities are no guarantee of performance. In 2016, for example, the Ministry of Transport signed a series of agreements with local authorities on paving preferential traffic lanes for buses. Many of the authorities, however, caused difficulties at the execution stage, in some the mayor changed and policy along with that, and some simply started to wriggle out of the agreements. Another initiative is Ofnidan, which the Ministry of Transport undertook, unrealistically, to complete in 2021. In fact, the project is still incomplete, after being frozen during Miri Regev’s period as minister of transport.
Bauhaus Hidden Treasures: Tel Aviv’s Most Beautiful Stairwells
Tel Aviv Bauhaus Staircases
Tel Aviv Bauhaus Staircases
Tel Aviv Bauhaus Staircases
Stairwells are the core of any structure and the students at the Bauhaus School in Dessau were taught that all the elements of building should reflect the founding principles of the institutions. Those principles were applied to everything, whether a chair, a tea pot or a building. Great care was taken when designing the staircases as they constitute a natural buffer, or a transition rather between the outside world and the homes.
Tel Aviv Bauhaus Staircases
Bauhaus Ironwork
Balfour
Freierberg Street
Ha’ Gilboa
Magnet House
Rothschild, 93
The Old Municipality
Spinoza 2
Melchett 15
Tel Aviv Bauhaus Staircases
«No border between art and craft.»
The carpentry of the balustrade, the ironwork of the stair railing, the intricate elliptical walls were all opportunities to showcase the craftsmanship of the people involved in the building. In a pamphlet for an April 1919 exhibition, Gropius stated that his goal was «to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist». It is said in the manifesto, that «architects, sculptors, painters, we must all turn to the crafts!».
«Form follows function».
Tel Aviv Bauhaus Staircases
According to this idea, simple but elegant geometric shapes were designed based on the intended function or purpose of a building or an object. The staircase is probably the one feature with simplest yet vital function. That needn’t have to be boring and the Bauhaus students added new dimensions to the staircases primary role. Some may even say they brought in a spiritual element to their designs in order to elevate the visitor. Spirituality, by the way, was an integral part of the school and permeated through all the designs.
Vassily Kandinsky, for example, who joined the Bauhaus in the summer of 1922, was committed to transcendentalist theories espoused by Austrian philosopher Rudolf Steiner and proponents of the anthroposophist movement. Through non figurative compositions Kandinsky attempted to formulate objective laws for the expression of subjective experiences, and he saw the school as a vehicle for the development of his spiritually.
«Color Theory»
Tel Aviv Bauhaus Architecture
The Preliminary Course at the Bauhaus introduced all first-year students to what were considered the fundamental principles of color, form, and material. Through lectures, demonstrations, and exercises, they were to develop familiarity with the “basic elements” of art and design, including points, lines, and planes; triangles, squares, and circles; and the primary colors. Teachers aimed to promote a shared foundation of aesthetic knowledge among the student body through these investigations.
The Bauhaus masters—each armed with his or her particular theories and interests—spearheaded the first-year studies. Johannes Itten initiated the Preliminary Course in the fall of 1920; László Moholy-Nagy and Josef Albers took over beginning in 1923. Albers led it alone after 1928.
These courses were supplemented by specialized theoretical seminars taught by key Bauhaus faculty, including Gertrud Grunow, Vassily Kandinsky, Paul Klee, Oskar Schlemmer, and Joost Schmidt. The masters agreed that a firm grounding in the principles of form and color was crucial to the development of a new generation of artists. These fundamentals remained at the core of Bauhaus education until the closure of the school in 1933.
Stairwells are the core of any structure and the students at the Bauhaus School in Dessau were taught that all the elements of building should reflect the founding principles of the institutions. Those principles were applied to everything, whether a chair, a tea pot or a building. Great care was taken when designing the staircases as they constitute a natural buffer, or a transition rather between the outside world and the homes.
Tel Aviv is full of those gems. Next time you stroll around Rothschild Boulevard in Lev Ha’Ir, just take a quick peek into some the staircases of Bauhaus buildings. The more run down, the better as they are more likely to have retained some of the original features.
Bauhaus Design Extends Beyond Architecture into a Phenomenal Force
Bauhaus design whose father Walter Gropius thought of design scientifically, with functionality at its core became the single most important design movement. Its influence reached beyond the architecture in Germany and Tel Aviv, much in the same way that Cubism revolutionized art. And of course it started with the architecture, the enveloppe.
The principles that underpinned the elaboration of a building or house made their way inside and the Bauhaus students were expected to design any space in wholistic manner, from the structure all the way to the door handles, the colors and the art. Gropius did see a distinction between the artisan and the artist. The same way the artisan would craft a chair with a clear functional goal, emphasized the function of the object, the simplicity of forms, and a lack of extraneous ornamentation or decoration.
Art was taught at the Bauhaus school with the objective to let students penetrate into the essence of things and understand abstraction; «the Basics of artistic design», which are, in fact, the theory of the design and the famous course on the “Theory of Color”. In this course, artists like Kandinsky taught the theory of color from the history of development of various color systems to modern psychology of perception of color.
The premise of the theory, which was then later developed, lied on the identification and distinction of seven color categories: hue, light-dark, cold-warm, complementary, analogous, saturation, and extension.
Wassily Kandinsky, who pioneered abstract art in the early 20th century, had a rare trait called synaesthesia, which blurs the senses and allowed the Russian painter to associate colours with certain sounds and moods. Red, he heard as a violin; yellow, as a trumpet; and blue, the sound of a heavenly organ.
Furniture design was approached with the same scientific method as art. Teachers at the Bauhaus introduced the distinction between “matter” and “material”. The study of matter consisted of the comparison of different materials relative to each other, whereas the study of materials pertained to the properties of a single material. This approach allowed for the discovery and use of new materials in furniture design, to improve performance, durability and cost.
Can functional Bauhaus design be beautiful?
In a lecture given in 1932, the transcription of which appeared in the review Werk (Breuer, 1932), Marcel Breuer attempted to distinguish between modern and fashionable. For the Bauhaus architect and furniture designer, one of the fathers of modernism, the drive for innovation– of the object, of the habitat, of life – drives, under the pressure of logic and of passion, modernism.
Fashionable objects, on the other hand, would be the product of a mood, of a “healthy boredom” which arises from our need for entertainment and variety. To confuse the two would be harmful: the modern movement runs the risk of running out of steam, explains the author, because it will have been defended “with a narrowness of mind which, in order to appear modern at all costs, has succumbed to the allure of fashion “.
Ludwig Mies van der Rohe
Not all architects shared Breuer’s opinion. Charlotte Perriand, who worked with Le Corbusier, understood that the a home decor should spark joy and happiness. She then coined the expression “fonctionalisme excessif” whereby the quest for the ultimate came at the expense of esthetics. Charlotte Perriand would never have submitted to this excessive functionalism. For her, living should be a pleasure, a celebration renewed every day, and for that it was necessary to have a friendly space.
The male dominated movement became synonymous with austerity. The ideal living space would count the bear minimum. It did however change design for ever.
Our Bauhaus Inspiration Board
4 Tel Aviv Architecture Studios You Need to Know
Tel Aviv is ever changing. Building towers are popping out all the time. On our street alone in Florentine there are two projects growing out of the ground. With the real estate boom that we are experiencing, architects came under high demand. We’ve witnessed a new crop of architects emerge. Away from the now established and highly praised Pitsou Kedem, Ilan Pivko and Asaf Lerman, these architects come with a more intimate and tailored approach to design, one that is sensitive to the environmental and social impact of their creations and most importantly that is inclusive rather than exclusive. Here are four of our ultimate favorite architects in Israel today. We love them because we’ve either worked with them or met them personally and frankly one of the main pain points when working on a construction or a renovation is not be heard or understood by the architect. Like a family doctor, a family architect is someone who empathizes with your concerns, your aspirations and finds a way to adapt their tastes and principles to yours.
Levi Oren Architects
The Tel-aviv based practice specializes in architecture, planning and interior design for industrial, residential and commercial projects.Their work entails attention to details, from concept to execution and creative approach that produces timeless results. Having lived and studied in Paris, Oren was influenced by the esthetics of the French capital. A fluent French speaker and an insatiable art fan, Oren’s work is clearly infused with the tasteful boldness so typical of Parisian contemporary architecture. Levi and Oren both aspire for the architectural holy graal, timelessness. Through the use of Bauhaus functionality principles coupled with bold contemporary features and even Botta inspired manipulations, Levi and Oren manage to create spaces and structures that inspire both confort and playfulness.
Their approach is what we’d qualify as anti-bling, or the opposite of “show-room” style homes. Instead they induce luxury through their elaborate juxtapositions of textures, light and color.
Each one of their project is a highly intimate process where no detail is ignored and the results are stunning.
RUST is a young Tel-Aviv based design studio, developing architectural and interior projects in a wide range of environments ranging from small to large scale that engage in issues of creativity and knowledge, realism and imagination, function and culture. RUST best embodies the Tel Aviv way of life. Bold, fun and intimate, their designs reflect the energy of the city. Small buildings, adaptations of Bauhaus architecture with splashes of industrial chic and campy hot pink tiles are a playful take on the vibe of the city. An architecture studio that feels more like a gaming start-up RUST architect do not impose architectural dogmas; they bend them instead. Each project is a new and exciting challenge. The challenge lies in finding the most creative solutions for the various systems, applications, and of course the comfortable appearance and customized detailing.
SHAGA
ARCHITECTS
99 Ben Yehuda Street,
[email protected]
+972-58-4411727
Salty Architects
