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SABBATH PLUS ONE Jerusalem +

Under the Eucalyptus Tree

“Daughters of Jerusalem, I charge you by the gazelles and by the does of the field: Do not arouse or awaken love until it so desires.” Song of Songs 2:7

We’re on a mission so of course it makes sense crossing the Holy Rubicon to reach the place of Christ’s salvific crucifixion, resurrection and ascension. “We are the people of the resurrection!” beams Reverend Andy Rider, Area Dean of Tower Hamlets London. “We are Easter people!” During the post Paschal season, one can almost hear the soaring descant of Regina Coeli from Pietro Mascagni’s Cavalleria Rusticana. Benjamin Disraeli (Disraeli: A Biography, 1993) believed, “The view of Jerusalem is the history of the world; it is more; it is the history of heaven and earth.” Simon Sebag Montefiore (Jerusalem: The Biography, 2012) concurs, “The history of Jerusalem is the history of the world, but it is also the chronicle of an often penurious provincial town amid the Judean Hills. Jerusalem was once regarded as the centre of the world and today that is more true than ever.” Israel’s first Prime Minister David Ben-Gurion (A State at Any Cost: The Life of David Ben-Gurion, 2019) named it the “Eternal Capital”. Teddy Kollek (Mayor and the Citadel: Teddy Kollek and Jerusalem, 1987), Mayor of Jerusalem in the late 20th century, leads with, “Jerusalem has always projected a metaphysical image.” The ancient Babylonian Talmud (circa 500) gets it: “He who has not seen Jerusalem in her splendour has never seen a desirable city in his life.” In Natural History (77) Pliny the Elder exalts Jerusalem to be “… by far the most famous city of the East and not of Judea only”.

Katharina Galor and Hanswulf Bloedhorn open The Archaeology of Jerusalem: From the Origins to the Ottomans (2014) with, “Jerusalem first appears in the written sources as a Canaanite city at the beginning of the second millennium BC.” Moshe Safdie observes in Jerusalem: The Future of the Past (1989), “Jerusalem the Golden is the Jerusalem of yellow-gold limestone.” Henry Van Dyke (Out-of-Doors in the Holy Land, 1908) calls it “a metropolis of infinite human hopes and longings and devotions”. We’re reminded of the words of Paula Fredriksen (When Christians Were Jews: The First Generation, 2018), “It [Jerusalem] was probably the most beautiful city that any of them [Jesus and His followers] had ever seen.” They resonate with Stewart Perone (Jerusalem and Bethlehem, 1965), “Its beauty is bewildering, the accumulated treasure of more than three millennia.” Celestial and terrestrial, natural and supernatural, sacred and secular, universal and personal, Jerusalem is truly the interface of heaven and earth. Jerusalem, the intersection between the then, the now and the not yet. Jerusalem in all your treasured totemic totality, lift up your gates and sing! Rivers clap your hands! Daphne du Maurier writes in her short story The Way of the Cross (1973), “The lights were burning bright in the city of Jerusalem.” They continue to burn bright. Our pilgrimage gathers pace. To repeat the title of singer songwriter Amy Grant’s modern day song of ascents, it’s Better than a Hallelujah.

“And everyone who calls on the name of the Lord will be saved; for on Mount Zion and in Jerusalem there will be deliverance, as the Lord has said, even among the survivors whom the Lord calls.” Joel 2:32

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architects Architecture Design Developers

SABBATH PLUS ONE Santiago Calatrava + Chords Bridge Jerusalem

Nathan the Prophet and Zadok and Abiathar the Priests

“Praise Him with the sound of the trumpet: praise Him with the psaltery and harp.” Psalm 150:3

Spanish-Swiss architect Santiago Calatrava has designed over 40 bridges – Dublin has two (James Joyce and Samuel Beckett) – but The Chords Bridge was the first to carry both trains and pedestrians. Completed in 2008, it arches over a traffic junction next to Barchana Architects’ Yitzhak Navon Railway Station in northwest Jerusalem. A 188 metre high cantilevered pylon provides mathematically rigorous support for 66 steel cables which hold the bridge’s 30 metre long deck. Santiago relates, “The Jerusalem light rail train bridge project started with the idea that we had to create a very light and very transparent bridge which would span a major new plaza at the entry to Jerusalem.” His work is a stimulating addition to the cityscape, capturing the spirit of the age montaged onto an indigo sky. The Chords Bridge is clad in Jerusalem stone which accords with the architect’s penchant for pale. “Calatrava’s geminal iconoclastic experiments with structure and movement spring out of a long historical tradition,” shares Alexander Tzonis in Santiago Calatrava: The Poetics of Movement (1999). Make that implied, potential and physical movement.

“The architect compares the final result with the form of a musical instrument such as a harp with its cables as strings,” explains Philip Jodidio in Calatrava Complete Works 1979 to Today (2018), “an apt metaphor in the City of David. According to Moshe Safdie in Jerusalem The Future of the Past (1984), “What Bach did with the fugue, we must learn to do in architecture. I feel architecture can, however rarely, move us as deeply as music can.” Sometimes architecture really is frozen music, accompanied by a light cordial on the rocks. At the Cathedral of St George the Martyr, the Mother Church of the Anglican Diocese of Jerusalem, The Very Reverend Canon Richard Sewell hoped, “We might hear the chord that calls us up to dance!” Or the voice of harpers harping with their harps. Sourires d’été en musique.

“You strum away on your harps like David and improvise on musical instruments.” Amos 6:5

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv)