Draft:Eretz Yisrael Style
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Eretz Yisrael architecture is an architectural style created in Land of Israel by the first Zionist architects who worked there - Alexander Baerwald, Yosef Barsky, Akiva Aryeh Weiss, Baruch Papermeister and others. Their architectural style, which developed mainly in the first two decades of the twentieth century, is characterized by an effort to produce a synthesis between Western European architecture and local Arab architecture. This effort expressed the belief of the people of the Second Aliyah in their ability to wake up in the Land of Israel and become an organic part of the local culture - a belief that was also expressed in their Arab-like clothing; in the adoption of "local" professions such as guarding, grazing and agriculture locally; in their desire to learn the language and customs; and the like.
The two most prominent buildings of the period (and style) are The Technion building in Haifa (Berwald) and the Herzliya Gymnasium in Tel Aviv (Barsky). The first floor of the house of Akiva Aryeh Weiss at the corner of Herzl and Ahad Ha'am in Tel Aviv is another example, as well as other buildings by Barsky and Brewald: Merhavia's yard, the real school and Brewald's private house; The "Herzl" house in Yer Huldah and the Yemeni houses in Kerem Ben Shemen of Barsky.
The architectural characteristics of the Eretz-Israeli style are:
- Paintings
- Symmetrical compositions
- High visual load
After the British occupation of the Land of Israel and the disturbances in 1921, there was a conscious distancing from the local Arab style, and the creation of the "Electic Style in the Land of Israel" Only a few of the architects of the eclectic style continued to draw inspiration from the local style, and the most prominent among these were Yosef Minor (designer of the Beit Bialik, which is not symmetrical) and Yehuda Magidovich in some of his works.
References
[edit]- ^ Dolev, Diana (1998). "Architectural Orientalism in the Hebrew University – the Patrick Geddes and Frank Mears Master-Plan" (PDF). Assaph: Studies in Art History. 3 (12): 217–234. Archived from the original (PDF) on 2011-07-24.