TBH

The aim of this proposal is to try to address these issues, by creating a space that takes away the traditional role of opposing cities living in fear and hatred of the other. In a way, this proposal takes away the necessity of a municipal line, creating, instead, a place that can thrive in the creativeness that is Dada and Art, and be respectful of the culture and history of the Palestinians.

We based our initial design proposal on an embracing linking gesture, one that can be visualized as two hands coming together. The palm of each hand represents the hilltops where Ein Hud and Ein Hod are; the area where the fingers are entwined represents the two spaces coming together in the valley. In this way, we hope to neutralize the issues that dictate much of current design strategies in Israel/ Palestine. By allowing people to come together in the valley, the security that was necessary is no longer. The area in the valley begins to rely on the towns on the hilltops to provide the security from the outside, allowing for a space that is used equally by Israelis and Palestinians, fostering interaction on a personal and individual level.

By developing in the valley between Ein Hud and Ein Hod, we hope to create a space that would not necessarily function as a city on its own, but rather as a place that people can come to together and meet each other apart from their respective nationalities. Rather than creating a third city, or allow for the further growth of either Ein Hud or Ein Hod without addressing the other, we propose to extend both cities into the valley, and create a third space that represents and is influenced by both spaces.

This third space becomes a place where artists and people live and work together, encouraging cultural diversity. The linking gesture on the topography becomes the catalyst for a multifunction center and other spaces, becoming the area where people meet publicly. The multifunction center serves also as the main biennale hall, a place where artists can come together to work in a creative environment, and the citizens of the new Ein Hud can come see what their neighbors and friends are working on. Much like other traditional biennale spaces, for two weeks every year, the international community would be invited in, not only to look at the various art pieces created by the residents of Ein Hud, but also to see how a new kind of environment, one that allows for artists and non-artists to interact, especially in such a politically charged area, is reflected in art.

Ein Hud itself would be developed further along the hilltop, allowing for natural growth of the city and its inhabitants. Most of the existing buildings are left as is, to be sympathetic to the existing conditions, and to make sure the proposal works with the community instead of against it. The pen area would be moved further across the hilltop, maintaining its dual function of serving as the boundary to the west. Housing built along the slope of the hill would embrace the hill, rather than fighting against it. Various housing typologies could be used, ranging from single storey to multi-storey, allowing for aesthetic and economic diversity. Each housing unit would allow for either artist or non-artist inhabitants. The open floor plans loosely define areas meant for working/living and sleeping, defining spaces as common areas, so they can be used as a common room or an artist’s studio.

Rather than demolishing the hill and rebuilding it as a man made “natural object,” we have decided to embrace the hill, and the steepness of it. We propose to build alleyways along with pedestrian and vehicular pathways that utilize steps and inclines to allow for ease of movement. In addition to local cities such as Jerusalem, city planning of this nature can be seen in Italian cities such as Siena and Matera.

By introducing housing units that are useable by people of different occupations (i.e., artist v. non-artist) and of different economic backgrounds, there is no longer set “zones” within the city where people of similar backgrounds are impelled to live together. The new center of the new Ein Hud is made up mainly of spaces for the biennale program. This would include not only the main multifunctional center, but various studios, such as film, computer art, music, printmaking, photography, fashion design, painting, sculpture, etc. The space would also include support programs such as galleries, hotels, restaurants, etc. Although there would be a market space as well as a small clinic and school, many of the other functions would be served by Ein Hud and Ein Hod, thereby maintaining the connection with the original city centres.

Many artist communities operate so that an artist or two are invited to live in provided housing for anywhere from a few weeks to a year, and in return, they are asked to produce work for the funding institute, teach some classes, or allow people to come and see how they are working. Other places function so that many artists are invited to come live and work together. Minimal living areas that mainly consist of a sleeping area and a studio, with a small kitchenette area are provided. These live/work spaces are supplemented by a common area that allows for all the artists to come together in a creative environment. These spaces usually include a common dining room and living room, gallery/ performance spaces and a library. We wish to include these ideas in our proposal, to allow for various artists who would stay for various amounts of time to be able to come into the space, promoting diversification of art and culture.

In addition, we would like to create a space that encourages site-specific art, much in the same way that our proposal is very specific to the condition that led to the creation of Ein Hud and Ein Hod. This would allow the space to become an evolving piece of art in itself. Site-specific art has an importance of its own – as Donald Judd has written: It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again. Somewhere a portion of contemporary art has to exist as an example of what the art and its context were meant to be. Somewhere, just as the platinum¬iridium meter guarantees the tape measure, a strict measure must exist for the art of this time and place. This will create a unique space, one that allows for many different kind of artists and art.

Our proposal will become a landmark within Israel promoting various kinds of art and becoming a testament to both Palestine and Israel, marking the beginning of a time when communities begin working together in a seamless territory to create an art that speaks of a future that embraces two cultures.