MUSEUM DER MODERNE | A Copy of Art
How should Modern Art be observed, in our times? What is the true meaning behind a “Real Work of Art”? Can technology affect the way we look at art? New technologies allow us to create exact replicas of known art pieces, some so detailed that you may see each brush stroke. Can it be possible to follow the same path when it comes to museums? The Garden of Fine Arts - by Tadao Ando, Kyoto, Japan. A garden presenting several grandeur pieces of art, from DaVinci’s “The Last Supper” to Georges-Pierre Seurat’s “A Sunday Afternoon on the Island of La Grande”. The open-air museum presents duplications so identical to their respective originals, an untrained eye would not be able to differentiate the two. The presentation takes place in an open space, certifying one’s confidence regarding the possibility of the aforementioned replicas’ authenticity. Roof-less exposed concrete walls surround most of the museum, revealing atop them the different pieces of art, creating a dialog between the Exterior and the Interior. Museum Der Moderne draws most of its inspiration from The Garden of Fine Arts. Creating an intriguing combination of replicated artworks and interior-exterior dialog, allows on the one hand, the use of replicated artworks, viewable in open-air conditions. On the other hand, the use of original artworks. Presented in proper museum-standard spaces, with adjustable temperatures and replaceable lighting. The questions arise as the viewer wanders around the museum halls. Jumping between indoor and outdoor, questioning his ability to identify what is real and what is not, what is true and what is false.
Spatial Research, 2048: The City as a Hybrid Performance
The project examines how two distinct landscapes between Israel and Lebanon allow for a reexamination of the natural boundaries and their relationship with artificial ones. These contrasting landscapes reveal a new territory—a space that, in the not-too-distant future, will enable the emergence of a hybrid city. This city will integrate new evolutionary processes bridging the rural villages of southern Lebanon with the kibbutzim in northern Israel. The liminal space, created at the intersection of natural and artificial boundaries formed over time, exists independently of the statutory borders we identify using “red lines” on official maps. It is this true boundary that contains an underlying fabric with the potential to foster new architectural connections. This liminal fabric acts as an integrated, intersecting interpretative map defining a novel area beyond everyday reality and the present moment, governed by a set of rules distinct from today’s national laws.
The project proposes a forward-accelerated conceptual exploration of this potential space, envisioning the year 2048 as the starting point for an experimental hybrid process. From this perspective, a new city initiates an evolutionary progression. The site that emerges is a gently sloping, textured enclave that spans both sides of the border and its interior. Within this enclave, the project develops a “city” comprised of three suburban centers—Br’am, Dovav, and Yaron—alongside a cosmopolitan hub that recalls the border as a memory of the past. These three centers undergo a process of hybridization directed toward the “border line.” Consequently, as the interior area of the city moves away from a given center and approaches the border, its form becomes increasingly distorted. At the hybrid junction where all three centers converge, the greatest spatial distortion occurs. The aim of this hybridization process is to impose an evolutionary progression on the city that will ultimately unlock the key to the formation of a potential future space.
