THE BOSTON HOLOCAUST MEMORIAL – ARCHITECT: STANLEY SAITOWITZ

“Look at these towers, passerby, and try to imagine what they really mean – what they symbolize – what they evoke. They evoke an era of incommensurate darkness, an era in history when civilization lost its humanity and humanity its soul . . .”

“We must look at these towers of memory and say to ourselves: no one should ever deprive a human being of his or her right to dignity. No one should ever deprive anyone of his or her right to be a sovereign human being. No one should ever speak again about racial superiority… We cannot give evil another chance.” ELIE WIESEL


“I hope that visitors to the Memorial take away with them the ungraspabale nature of the Holocaust, the completely overwhelming, inexplicable dimension of dimension. And coupled with that, a sense of hope that survival and the building of this memorial make possible.”

Stanley Saitowitz, Architect

Some think of it as six candles, others call it a menorah.
Some a colonnade walling the civic plaza others six towers of spirit.
Some six columns for six million Jews, others six exhausts of life.
Some call it a city of ice,
others remember a ruin of some civilization. Some speak of six pillars of breath,
others six chambers of gas.
Some think of it as a fragment of Boston City Hall,
others call the buried chambers Hell.
Some think the pits of fire are six death camps,
others feel the shadows of six million numbers
tattoo their flesh.

Stanley Saitowitz, Architect

The Memorial design features six luminous glass towers, each reaching fifty-four feet high, and each lit internally from top to bottom. Six million numbers are etched in the glass. These numbers represent the six million Jews murdered in the Holocaust and are suggestive of the infamous tattoos the Nazis inflicted on many of the victims.

Visitors walk a black granite path through the Memorial, passing under the towers. At the base of each tower, a stainless steel grate covers a six-foot deep chamber. On the wall of each cham- ber is inscribed one of the names of the six primary Nazi death camps: Majdanek, Chelmno, Sobibor, Treblinka, Belzec, and Auschwitz-Birkenau. At the bottom of the pits, smoldering coals illuminate the names of the camps.

Always suggestive, but not literal, the New England Holocaust Memorial design arouses countless acts of memory, response, and understanding – as many as there are visitors to the Memorial itself.

100 YEARS’ ANNIVERSARY 1909-2009 TEL AVIV

Tel Aviv, the first modern Hebrew city, was founded on April 11, 1909. On that day, several dozen families gathered on the sand dunes on the beach outside Yafo to allocate plots of land for a new neighborhood they called Ahuzat Bayit, later known as Tel Aviv. The city expanded rapidly with massive waves of immigration in the 1920s and 30s, also bringing about a boon in Bauhaus-style architecture.

Tel Aviv’s status as the region’s most creative, liberal and tolerant city received was furthered when Yafo joined the municipality in 1949.

Throughout the decades, the city has flourished to become Israel’s business and cultural center and has developed a unique atmosphere fusing Mediterranean and urban elements.

“One hundred years later, the vision of our city’s founders – who looked at the sand dunes and saw the potential for a vibrant city – has been realized,” says Mayor Ron Huldai. “Tel Aviv-Yafo is a thriving global city that 400,000 resi-
dents are proud to call home.”

THE WHITE CITY OF TEL AVIV

In July, 2003, UNESCO, the United Nations Educational, Scientific and Cultural Organization, proclaimed ” The Whi- te City”, the unique urban and historical fabric of Tel Aviv- Jaffa, a World Cultural Heritage site. By this proclamation, the world recognized the special architectural qualities of the buildings, streets, squares and avenues of Tel Aviv.

Tel Aviv

"Bruno House, Tel Aviv © Yigal Gawze" Fragments of a Style – International style Architecture in Tel Aviv

Tel Aviv, the first Hebrew city in modern times, was foun- ded in 1909 and was built on the sand dunes north of the ancient port city of Jaffa. Its style was innovative, tailored to the needs of its residents, to their life styles and the climatic conditions of the region. “The White City”, the world’s largest grouping of buildings in the International Style, also known as Bauhaus, was planned by the famous Scot, Sir Patrick Geddes. About 4,000 buildings were constructed in this area, beginning in the 1930’s until the establishment of the State of The “White City” is located between Allenby Street in the south, Begin Road and Ibn Gvirol Street in the east, the Yarkon River in the north, and the Mediterranean Sea in the west.

The buildings of “The White City” were designed by Jewish architects, who had studied in Europe before their immigration to Palestine, which later became the State of Israel. This group created a new architectural language, which is rich and diverse, characterized by its asymmetry, functionality and simplicity. The balconies, building pillars, flat roofs and “thermometer” windows became the trade marks of the city.

“The White City” is the story of Tel Aviv, from its beginning to today and is a wonderful opportunity to savor the experience of life in Tel Aviv, in the past and the present.


The Herta and Paul Amir Building

TEL AVIV ART MUSEUM

The Herta and Paul Amir Building, a six-level building was designed by American architect PRESTON SCOTT COHEN known for his inventive use of light and geometric forms. This new 195,000 sq. feet building will double the exhibition space of the Tel Aviv Art Museum. The Herta and Paul Amir Building is slated for completion in 2009 in conjunction with the 100th anniversary of Tel Aviv’s founding.

Established in 1932, the Tel Aviv Museum of Art has grown to become an international cultural center with an extensive series of exhibitions yearly of Israeli and international art, architecture, and design as well as permanent and loan collections spanning the major movements in international Modern art, Israeli art from the 1920s on, and a selection of 16th through 19th century art.