DESCRIPTION :  Up for auction is an EXQUISITE ARCHITECTURE BOOK , Being the ARCHITECT's MASTER PLAN for the CITY of JERUSALEM. This PRECIOUS COPY is HAND SIGNED and INSCRIBED with pen by its writer , The world acclaimed JEWISH ISRAELI ARCHITECT of the BAUHAUS school of ARCHITECTURE in DESSAU - ARIEH SHARON .  His book " Planning Jerusalem: The Master Plan for the Old City of Jerusalem and Its Environs " is an EXQUISITE PROFUSION of PHOTOS, MAPS , ILLUSTRATION , SKETCHES , DRAWINGS - Being a MASTERPIECE of architectural design. The JERUSALEM MASTERPLAN was innitiated by the Ministry of the Interior and the Municipality of Jerusalem which have together embarked on a masterplan for the Old City designed to preserve its unique values, status and treasure, past and present. While taking account of modern urban needs, this plan seeks meticulously to safeguard the spirit, the character and the sites of antiquity of this remarkable city.  NUMEROUS colorful and B&W PHOTOS, MAPS , ILLUSTRATION , SKETCHES , DRAWINGS - Quite a few large FOLDOUTS. Written in ENGLISH . Original thick chromo DJ. Original cloth HC . 11 x 11 " . 210 throughout illustrated and photographed pp. Very good condition. Pristine. Tightly bound. Clean. Hardly used if at all . Tears in DJ. ( Pls look at scan for accurate AS IS images ) Book will be sent inside a protective packaging .
 
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SHIPPMENT : SHIPP worldwide via registered airmail of the heavy volume is $ 29 . Book will be sent inside a protective packaging . Handling around 5-10 days after payment. 

Arieh Sharon (Hebrew: אריה שרון; May 28, 1900 – July 24, 1984) was an Israeli architect and winner of the Israel Prize for Architecture in 1962. Sharon was a critical contributor to the early architecture in Israel and the leader of the first master plan of the young state, reporting to then Prime Minister, David Ben-Gurion. Sharon studied at the Bauhaus in Dessau under Walter Gropius and Hannes Meyer and on his return to Israel (then Palestine) in 1931, started building in the International Style, better known locally as the Bauhaus style of Tel Aviv. Sharon built private houses, cinemas and in 1937 his first hospital, a field in which he specialized in his later career, planning and constructing many of the country's largest medical centers.[citation needed] During the 1947–1949 Palestine war in 1948, Sharon was appointed head of the Government Planning Department, whose main challenge was where to settle the waves of immigrants who were arriving in the country, and in 1954 returned to his private architectural office. In the sixties, he expanded his activities abroad and during the next two decades built the Ife University campus in Nigeria. As the city of Tel Aviv rose from three and four storey buildings to multi-storey buildings in the sixties and seventies, Sharon's office designed many high-rise buildings for the government and for public institutions.[citation needed] Contents 1 Early life 2 Architectural studies 3 Tel Aviv in the 1930s 4 Kibbutz planning in the 1940s 5 Urban planning 6 Private practice 6.1 1954–1964: Arieh Sharon, Benjamin Idelson, Architects, Tel Aviv 6.2 1965–1984: Arieh Sharon, Eldar Sharon, Architects, Tel Aviv 7 Critical acclaim 8 Honors and professional membership 9 Published works 9.1 Books 9.2 Articles 10 Exhibitions 11 See also 12 References 13 Further reading 14 External links Early life Ludwig Kurzmann (later Arieh Sharon) was born in Jaroslau, Galicia, Austria-Hungary, (now Jaroslaw, Poland) in 1900. After graduating from high school in 1918, he studied at the German Technical University in Brno.[1] In 1920 he emigrated to Palestine with a group of young pioneers belonging to the “Shomer Hatzair” movement[2] and worked for one year with a farmer in Zikhron Ya'akov. He joined Kvutzat Gan Shmuel in 1921 which evolved into a kibbutz, working as a beekeeper,[3] and later, taking charge of planning and constructing simple farm buildings, cow-sheds and dwelling units. In 1926, on one year's leave from the kibbutz, he traveled to Germany to extend his knowledge in building and architecture.[citation needed] Architectural studies Sharon spent a month in Berlin and arrived at the Bauhaus in Dessau, where he was admitted to the preliminary course – the famous Bauhaus Vorkurs – by Walter Gropius, the founder of the Bauhaus. Sharon studied under Josef Albers, whose teachings were based on letting the student experience different materials, trying them out, and making experiments. Sharon's exercises – turning two-dimensional sheets of paper and metal into three-dimensional shapes – were shown in a Bauhaus exhibition. In April 1927, Hannes Meyer was appointed head of the building department and Sharon was to be greatly influenced by his teacher's pragmatical and functional approach to architecture. In 1928 he and two other Bauhäusler, Gunta Stölzl, head of the Bauhaus weaving workshop and the student Peer Bücking visited the Vkhutemas Academy in Moscow,[4] an avant garde art school with similar aims as the Bauhaus. In 1929, some time after their return, Sharon and Stölzl were married and their daughter Yael was born. In the same year, he received his Bauhaus diploma and was immediately put in charge of Hannes Meyer's architectural office in Berlin, to supervise the construction of the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin.[5] Next to the Bauhaus school buildings in Dessau,[6] it was the second largest project ever undertaken by the Bauhaus.[7] The building underwent an extensive restoration which was completed in 2007. It is a protected building and in 2012 it was proposed for World Heritage Site listing.[8][9] Tel Aviv in the 1930s Workers' Homes, "Meonot Ovdim", 1936 In 1931, Sharon returned to Palestine and opened his architectural office in Tel Aviv, while Gunta Stölzl emigrated to Switzerland with their daughter, Yael. In 1936 the two divorced. Sharon's first commission in Tel Aviv was the construction of four pavilions for the Histadrut (General Federation of Labour) exhibit at the Levant Fair in 1932.[3] These pavilions, for which he had won first prize in an architectural competition, were composed of modular wooden elements, progressively growing in height and length, covered by jute. There followed a series of buildings in the so-called international style which would help define the city's architecture as the "White City."[10] In addition he built residential cooperative housing estates, private houses, the central administrative seat of the Histadrut in Tel Aviv, and in 1936 his first hospital for 60 beds, near Tel Aviv.[citation needed] Sharon's housing estates, known as Meonot Ovdim in Hebrew,[11] were built around large garden patios in the center, a continuous group layout, a public space for the residents, while communal services, such as a kindergarten, laundry, shops, and synagogue were placed on the ground-floor. A distinctive feature of Tel Aviv's townscape are the pilotis on which most of the apartment buildings in the residential quarters are raised.[12] This feature was achieved on the part of several avant-garde architects in the early thirties in a fierce struggle against the existing municipal bylaws. The spacious voids between the pillars created a shaded streetscape, added to the natural ventilation during the hot summer days and connected the pavements with the green areas. Kibbutz planning in the 1940s During the Second World War, building activities in the big towns all but stopped, due to the lack of fundamental building materials such as concrete and iron. Sharon began building simple structures in the kibbutzim, above all community buildings and schools, which were constructed from local materials, like sand, bricks and limestone. The dining hall in a kibbutz forms the center of the community, where in addition to its primary function, the members used to meet on social occasions, cinema or theatre performances, or political meetings. The school communities were built for 200–300 children of several kibbutzim, where the youngsters aged 12–18 lived, studied and worked together. Their layout was, in fact, that of a micro-kibbutz.[citation needed] Sharon's main activity, however, was directed towards planning in the kibbutzim. He designed a great number of outline plans for existing collective settlements and their extensions as well as general layouts for new agricultural settlements, and school communities.[citation needed] Other activities included a series of lectures at the Technion in Haifa, covering subjects such as: Early settlement types in the country The cooperative moshavim The kvutza which later developed into the kibbutz Physical layout of the various types of settlement Social and economic structures and Work organisation, education and cultural activities in the kibbutz[citation needed] Urban planning Arieh Sharon with mock-up of Rambam Hospital, Haifa, 1966 When the State was created in 1948 the overwhelming majority of the population was concentrated in a narrow coastal strip. One of the main tasks of the newly established Government Planning Department, headed by Sharon and directly responsible to the Prime Minister's Office under David Ben-Gurion, was to find solutions for the great waves of immigrants who entered Israel after the declaration of Independence. The team consisted of 180 urban planners, architects, engineers and economists.[13] They set up a National Outline Plan, dividing the country into planning regions in accordance with economic resources, geographic features, communication factors and historical background. The regional structure would be completed by the development of a regional urban center – a medium-sized town. Thus the plan provided for the establishment of 20 new towns, dispersed all over the country and established guidelines for industrial estates to be located close to the new towns. Sharon's plan led to the creation of development towns for example: Beit She'an, Kiryat Gat, and Upper Nazareth.[14] Agricultural regions were planned expanding into the southern Negev desert. A national water plan was set up that would carry water from the surplus areas in the north to the dry, water-poor areas in the south. And a network of National Parks was devised, spreading all over the country, exploiting the existing landscape features, nature reserves and historical sites.[15] At the end of 1953, Sharon was invited by the United Nations to serve as a planning expert in a Seminar on Housing and Community Improvement, held in New Delhi, and afterwards to Burma and Japan.[16] Private practice Sharon returned to his private practice in 1954, and set up a partnership with the architect Benjamin Idelson. From 1965 onwards he worked together with his son, Eldar Sharon, until his death in 1984.[10] 1954–1964: Arieh Sharon, Benjamin Idelson, Architects, Tel Aviv New Beilinson General Hospital Selected buildings: 1950/56 New Beilinson General Hospital, Petah Tikva, for 500 beds 1952/54 Ministry of Defense, Buildings 21 and 22, Hakyria, Tel Aviv 1954/58 Ichilov Municipal Hospital, Tel Aviv, for 300 beds 1954/58 Forum of the Technion Haifa, incl. Secretariat, Library and Churchill Auditorium (competition, 1st prize) 1954/55 Terraced Housing, Nazareth, for new immigrants 1955/62 Regional Hospital, Beersheba (Israel Prize for Architecture) 1958/60 Wingate Institute for Physical Culture 1958 Israel Pavilion at World Expo Brussels with architect Aryeh Elhanani 1959/61 Yad Vashem Memorial, The Hall of Remembrance, Jerusalem with architect Aryeh Elhanani 1959/60 Workers’ Bank headquarters, Tel Aviv 1959/61 Yakin Pektin Factory, Petah Tikva 1961 First Masterplan for the University of Ife, Nigeria 1961/65 Jewish Agency headquarters, Tel Aviv (competition, 1st prize) 1963/65 Sick Fund headquarters, Labor Federation, Tel Aviv 1963/65 Ife University Nigeria, Humanities with AMY Ltd. 1964 Ife University Nigeria, Halls of Residence with AMY Ltd 1965–1984: Arieh Sharon, Eldar Sharon, Architects, Tel Aviv Convalescent Home - "Kinarot", Tiberias Selected buildings: 1965/71 Convalescent Home 'Kinarot', Tiberias 1965/72 Rambam Hospital, Haifa, for 600 beds 1965-68 Agricultural Cooperatives headquarters, Tel Aviv 1966/76 Wolfson General Hospital, Holon, Tel Aviv, competition, 1st prize 1966 Tel Aviv Medical Center, addition to Ichilov Hospital 1966/68 Memorial Museum, Kibbutz Yad Mordechai 1966/70 Geha Mental Hospital, Petah Tikva, for 170 beds 1967 Israel Pavilion Expo 67 Montreal (built by Ze'ev Vered) 1967/70 Ife University, Nigeria, Library with AMY Ltd. 1967/69 Housing estates in Beersheba and Nazareth 1967/72 Medical School, Tel Aviv University 1968/72 University of Ife Nigeria, Institute of Education and Sectetariat, with AMY Ltd 1968/70 Masterplan for the Old City of Jerusalem and its environs. With Arch. David A. Brutzkus 1968 The Ben Gurion Research Center, Midreshet Sde Boker 1969/74 Bank of Israel, Jerusalem (competition, 1st prize) 1970/73 America House, Tel Aviv with architect M. Tintner 1972-76 Ife University Nigeria, Oduduwa Hall with AMY Ltd. 1972/76 Soroka Medical Center, Beersheba, extensions and new wards block, 1200 beds 1972/82 Tel Aviv Medical Center, extension of existing municipal hospital to 1000 beds 1973/76 Gilo Neighbourhood, Jerusalem 1975/85 Assaf Harofe Hospital near Tel Aviv, Masterplan and Nurses’ School, O.P.D. Clinics, Maternity and Pediatrics, and medical facilities 1980 Old Age Home 'Gil HaZahav', Tel Aviv Critical acclaim In Kibbutz + Bauhaus: An Architect's Way in a New Land, Bruno Zevi wrote:[17] Sharon as a man, - as pioneer and citizen, as an artist: could one risk separating such aspects or levels of a single, overflowing personality? Of course, here the architect is privileged; behind his forms, however, one cannot fail to grasp the human, spiritual and social aspirations of a people. This is partially true of all architects, because their work is always involved in a collective context; but for none, or perhaps only for very few others, is it evident in the same degree. In fact, Sharon could have been a driving force in the old-new land's adventure, even without being a leader and an architect; or could have been simply a key-figure in the profession, as he was after the 1948 War of Independence in Ben Gurion's technical office, and later as president of the Association of Engineers and Architects; or, again, he could have been strictly an artist in his own right. The inner meaning of his architecture derives from these pendular alternatives, from the joyful refusal to select one of them, reducing the range of his vital tentacles. Honors and professional membership This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2016) (Learn how and when to remove this template message) Member of town planning committee, Tel Aviv, 1934 Executive member of the Engineers’ and Architects’ Association, 1936 Chairman of the I.I.A., Israel Institute of Architects, 1955 Rokach Prize for Architecture (awarded by the Tel Aviv Municipality), 1960 Leader of discussion on industrial prefabrication at the U.I.A. Congress in London, 1961 Honorary member of Royal Institute of British Architects (RIBA), 1962 Israel Prize, for architecture, 1962[18] Member of Public Health Group of the U.I.A., 1962 Member or the Executive of the U.I.A., 1963–1967 Golden Medal of the Mexican Institute of Architects, 1963 Chairman of the National Council for National Parks and Nature Reserves, 1964 Honorary Member of the Academy of Arts, Berlin, 1965 President of the Association of Engineers and Architects in Israel, 1965–1971 Honorary Member of the Association of German Architects, 1967 Chairman of the I.T.C.C. (International Technical Cooperation Center) World Congress on: Technological Development of Israel and the Developing Countries, and of the I.T.C.C. World Congress: Dialogue in Development, in 1967 and 1970 Honorary Fellow of the AIA - American Institute of Architects, 1970 Member of the Curatorium, Bauhaus Archive Berlin, 1975 Published works Books “Physical Planning in Israel”, Tel Aviv, 1951. “Hospitals in Israel and the Developing Countries”, Tel Aviv, 1968. “Planning Jerusalem: The Old City and its Environs”, Weidenfeld and Nicolson Jerusalem, 1973. “Kibbutz + Bauhaus: an architect’s way in a new land“, Karl Krämer Verlag Stuttgart and Massada Israel, 1976. “University of Ife Master Plan”, Egboramy Co. & Arieh Sharon, Eldar Sharon, 1981. Articles "entwurf für das haus des arbeiterrats in jerusalem", (plans, perspective and description of the project in German), published in quarterly of the Bauhaus, edited by Hannes Meyer: "bauhaus januar 1929", pp. 22 and 23 Planning in Israel in "Israel and Middle East" (Tel Aviv), March 1952 and in “Town Planning Review” (Liverpool), April 1952 Collective Settlements in Israel in “Town Planning Review” (Liverpool), January 1955 Hospitals in Israel in ”World Hospitals (London), Vol. 1”, 1964 Medical Centres and Hospitals in Developing Countries in “Dialogue in Development (Proceedings of the 2nd World Congress of Engineers and Architects in Israel), Tel Aviv 1970 Planning Jerusalem in “Ekistics” (Athens), November 1974. Exhibitions Architecture in Eretz Israel, Habima Theater, Tel Aviv, September 1944. National Exhibition, Tel Aviv Museum of Art, February 1950. Conquest of the Desert (Kibbush Hashemama), International Convention Center (Jerusalem), September 1953. 50 years bauhaus, Stuttgart 1967 (exhib. catalogue pp. 202,203) Tel Aviv – Neues Bauen 1930–1939, Stuttgart 1993, (exhib. catalogue in German by Irmel Kamp-Bandau). White City: International Style Architecture in Israel: A Portrait of an Era, (exhib. cat. by Michael Levin), Tel Aviv Museum of Art, 1984, Jewish Museum (New York), 1984/5 The Israeli Project, (exhib. cat. in Hebrew by Zvi Efrat), Tel Aviv Museum of Art 2001. Solo Exhibition: Kibbutz+Bauhaus: an architect's way in a new land, Bauhaus Archive Berlin, 1976 (exhib. cat.); the exhibition was shown in: Essen, Zurich (1977), Munich, Stuttgart, Hamburg, Mexico City (1978), Washington, New York, Philadelphia (1979) and Chicago (1980). Solo Exhibition: Bauhaus, Kibbutz und die Vision vom Neuen Menschen, Goethe Institute Tel Aviv, 1994. Solo Exhibition: "Who are you Arieh Sharon", HaHalalit, Hayarkon Street 70, Tel Aviv, May 2008. Arieh Sharon – Bauhaus pupil and architect, Exhibition I 15.05. – 14.06.2009, Erfurt, Germany. Part of the Bauhaus 2009 celebration in Thuringia. Kibbutz and Bauhaus Exhibition, 2011–2012, Bauhaus Dessau Foundation, Dessau, Germany. Arieh Sharon: Architect of the State Tel Aviv Museum of Art, 2018. ***** The Israeli Architect Who Planned the Entire Country In a new exhibition at the Tel Aviv Museum of Art, the hand of the creator Arieh Sharon plays the leading role Share in Facebook Share in Twitter Send in e-mailSend in e-mail Go to comments Print article Save Save article to reading list Zen Read Open gallery view “Arieh Sharon: Architect of the State” at the Helena Rubinstein Pavilion of the Tel Aviv Museum of Art “Arieh Sharon: Architect of the State” at the Helena Rubinstein Pavilion of the Tel Aviv Museum of ArtCredit: Yael Aloni Want to read more? GET FULL ACCESS TO HAARETZ. FROM ONLY $1 FOR THE FIRST MONTH SUBSCRIBE NOW Esther Zandberg Esther Zandberg Get email notification for articles from Esther Zandberg Follow Oct 21, 2018 In the soccer world, some may still wonder whether the “hand of God” played a part in Diego Maradona’s legendary goal in the 1986 World Cup, or whether the midfielder’s human hand achieved the miracle. But in the Israeli world of architecture and planning, it’s indisputable that the hand of Arieh Sharon (1900-1984) planned the country – without divine intervention. Any lingering doubts on that score are definitively refuted by a photograph of the architect in the exhibition “Arieh Sharon: Architect of the State” at the Helena Rubinstein Pavilion of the Tel Aviv Museum of Art (curator: Eran Neuman). The image shows Sharon at Haifa’s Technion technology institute, against the backdrop of the university’s Forum complex, which he designed. His chest taut, his gaze direct and penetrating, Sharon’s right arm, fist clenched, is raised high triumphantly. He’s projecting determination, power and unshakable confidence in the bold new world he fashioned with his own hands. >>Urban art: Tel Aviv’s must-see galleries The persona embodied in the photograph is manifestly a visual representation of the notion of “the architect of the state.” It’s also a metaphor for the vast influence Sharon exercised on the national space, and a symbol of the intoxication of power and the hubris of architects. Let our experts analysts wrap up the day's event for you Email * Please enter a valid email address Sign Up Sharon’s raised hand is undoubtedly a fitting image for the unimaginably huge scope of his work, even by a world standard. On display in the exhibition are hundreds of projects planned by his firm over a career spanning almost half a century. With various partners, Sharon took part in every form of construction – residences, hospitals, public and government buildings, universities, and above all, upon Israel’s establishment, he was put in charge of its master plan as head of an extensive team of planners and other experts. Israeli With a Le Corbusier Complex The Profound anti-Semitism of Le Corbusier Israel's Forgotten Design Pioneer The “Sharon Plan” – which urged the dispersal of the country’s population and gave rise to the so-called development towns – is a boundless reservoir of naive faith in the rightness of the chosen way without any signs of hesitation but with plentiful signs of the sin of pride that flexed the architect’s muscles. As far as is known, Sharon is the only architect in the world to plan an entire country. That heavy burden requires at least a clenched fist to grasp it, and sure enough, Sharon’s raised fist (his left hand is also in a fist), is the most spellbinding exhibit in the show, an interpretation worth a thousand interpretations, an image etched in history. Sharon’s hand also stokes thoughts about the mythic status of the hand in the world of architecture. Seeing Sharon’s pose, many architects will undoubtedly associate it with Le Corbusier’s Modulor scale of proportions: a generic human figure with the left arm raised, exemplifying the new system developed by the god of architecture in the 1930s. The system, based on the human body’s proportions, aimed to create a new harmony amid a chaotic world marked by industry, rapid population growth and a need for mass housing. The proportions, based on the golden mean, allowed for unity of scale in all realms, from the design of a chair to urban planning. Arieh Sharon, Le Corbusier and the Modulor merge in another photograph in the exhibition: Sharon is seen imitating the Modulor’s pose in a relief on a concrete wall at none other than the Housing Unit that Le Corbusier deigned in Marseille. That building is the prototype for the post-World War II housing blocks that assumed multiple versions in Israel in Sharon’s time. Truly a cosmic coincidence. Open gallery view Sharon imitating the Modulor’s pose in a relief on a concrete wall at none other than the Housing Unit that Le Corbusier deigned in Marseille. Sharon imitating the Modulor’s pose in a relief on a concrete wall at none other than the Housing Unit that Le Corbusier deigned in Marseille.Credit: Courtesy of the Sharon family Another link in the chain of hands, once more involving Le Corbusier, is seen in an unforgettable photograph of his hand floating above a miniaturized model of the Radiant City – the Swiss-French architect’s proposal for a high-rise neighborhood in the center of Paris and for foisting the modernist order on the historical chaos. The proposal was a deliberate provocation with the aim of honing the idea, but alas it has materialized around the world in thousands of sterile compounds of towers. Paris itself was spared. Another item relating to the myth of the hand is Le Corbusier’s Open Hand Monument, a sculpture he designed in honor of the new Indian city Chandigarh, which he planned. This was originally a small, pleasing painting. Translated into a sculpture, it swelled out of all proportion and looms over the city’s Capitol Complex like a threatening, graceless metal giant. The hand has been replicated in the form of millions of souvenirs and cheap gadgets for visitors. It was Le Corbusier’s organic hand that planned Chandigarh based on the principles of the Modulor, the proportions and the Radiant City. The result is an orderly urban area, more organized than any other city in the subcontinent, but also hierarchic, layered and void of urbanism – another model that spread around the world for good and for ill. Breaking news and the best of Haaretz straight to your inbox Email * Please enter a valid email address Sign Up A mythic hand in its own right in the architecture world is the “free hand,” which holds a soft pencil or a thin marker and produces drawings of graceful buildings all on its own. In the past, skill at free-hand drawing was a source of pride and a gauge of professional excellence. Since computerized drawing began in the 1980s, and more intensively with the emergence of three-dimensional digital software, the free hand has given way to the mouse. The process has been accompanied by tempestuous disagreements between those who argue that computerization leaves more time for thought and enables more efficient planning, and those who lament its infringement on freedom of imagination and spontaneity. Which era has produced better architecture is an open question. Open gallery view World-famous architect Le Corbusier,seen in his office in Paris January 18, 1949. World-famous architect Le Corbusier,seen in his office in Paris January 18, 1949. Credit: ASSOCIATED PRESS Be that as it may, and even as the arguments become raucous, it turns out that the free hand hasn’t yet faded into oblivion: They’re becoming collectors’ items. They’re displayed in museums and galleries at prices almost comparable to the footage of the buildings they depict. A kind of second ‘Israeli Project’ “Arieh Sharon: Architect of the State” is the most comprehensive architectural exhibition here since “The Israeli Project” in 2000. That show, which set forth the foundation stones upon which the state was planned, was held at a time when architecture criticism was in its infancy. The current exhibition is a close-up of the central figure in the “Project” and is on view amid a trenchant public discussion of its themes. It’s an impressive show that’s drawing a decent audience for an architectural exhibition. Still, it doesn’t stir the emotions. All the same, Sharon’s work overall, and the “Sharon Plan” specifically, are more than a collection of historical materials. They’re relevant for the here and now, related to planning crises that are still occurring, to the social polarization that sprang from it, and to the national conflict. But the exhibition doesn’t exit from history and remains in the realm of architectural, national and Zionist nostalgia. Against this backdrop, the exhibition’s loop screening from the documentary “The Ancestral Sin” (the Hebrew title translates as “Salah, this is the Land of Israel”) emerges as a perfunctory gesture. On October 25, two days before the exhibition closes and too late to pick up the gauntlet, a “closing event” will be held that should disrupt the order a little, in which the exhibition catalogue will be launched. **** Arieh Sharon (Poland, 1900 - France, 1984). He began his studies as an architect at the German Technical University in Brno, where he was from 1918 to 1920. In 1920 he emigrated to Palestine where he worked as a farmer in Zikhron Ya'aqov. The following year he moved to Kibbutz Gan Shmuel, where he worked as a beekeeper and building farms and small houses. In 1926 he moved to Germany, where he entered as a student at the Bauhaus, the pioneering school that helped forge the rationalist style of architecture. In the German school he was a pupil of Walter Gropius and Hannes Meyer, and between 1929 and 1931 he worked for the latter. In 1929 Sharon married Gunta Stölzl, textile designer of the Bauhaus, but unfortunately the marriage ended up separating. In 1936 he maintained another relationship, this time with Haya Sankowsky. From 1930, Sharon won numerous public competitions and was dedicated to the construction of cooperative housing, working-class neighborhoods, public buildings and schools. After his return to Palestine in 1931 he was one of the pioneers of modern architecture in this country, along with other figures such as Zeev Rechter and Dov Karmi. With Rechter and Joseph Neufeld he founded the Circle of Architects and started the publication of the magazine "Building in the Near East". In the following decade, Sharon was devoted mainly to the planning of Kibbutzim and Moshavim, always under a communal ideal that included collective dining rooms, town houses, assembly halls, cultural centers, etc. In 1948 he was appointed director of the National Plan Council, in charge of drawing up a national plan for urban planning, to install the thousands of Jewish immigrants from all over the world in several new cities spread throughout the territory. Between 1948 and 1957 twenty-eight new cities were planned, including Beersheba and Ashdod. During 1960, Karminel and Arad were also created. Between 1954 and 1964 he worked with Benjamin Idelson and, since 1965, with his son Eldar Sharon. From 1954, he carried out his most outstanding works such as the Beilinson medical center in Tel Aviv, the Beersheba Regional Hospital, the Israel Pavilion of the General Exhibition in Brussels, the Yad Vashem in Jerusalem or the headquarters of the Jewish Agency for the Land of Israel in Jerusalem. In addition, in 1968 he drew with David Brutzkus the plan of ordination of the old city of Jerusalem and in 1962 he won the Israel Architecture Prize. Arieh Sharon finally died in Paris, France, in 1984. **** ebay5604 folder201