ÐÏà¡±á>þÿ +QSþÿÿÿ&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥ÂM ø¿0Fbjbjâ=â= ³Ó€W€Wq7ÿÿÿÿÿÿl´´´´(Œ^Œ^Œ^8Ä^D`Œ(\ôh azm0m0m0mí‡xe|á‘@·ó¹ó¹ó¹ó¹ó¹ó¹ó$Äõ ä÷ŽÝó!“¯…>í‡!“!“Ýóñ˜´´0m0mòó.ñ˜ñ˜ñ˜!“ü´à0m0m·óñ˜!“·óñ˜ôñ˜å Fïê”€»ò0m”a@Ý ß?‚Ä(dCŒ^•°ÿíT»òü ô<\ôSîhrøÍ—$rø»òñ˜((´´´´Ù Technion – Israel Institute of Technology Faculty of Architecture and Town Planning Department of Landscape Architecture, 1998 The Independence Garden in Tel-Aviv - Renovation Final Project in Landscape Architecture Instructors: Prof. Gideon Sarig Arch. Judy Green Landscape Arch. Zofia Rosener-Sela Submitted by: HYPERLINK "mailto:independencegarden@shimid.com?subject=The Independence Garden" \o "Send email to Shimi Dahan" Shimi Dahan Contents TOC \o "1-3" \h \z HYPERLINK \l "_Toc68626814" Final Project – Introduction PAGEREF _Toc68626814 \h 3 HYPERLINK \l "_Toc68626815" Independence Garden in Tel-Aviv – Introduction PAGEREF _Toc68626815 \h 3 HYPERLINK \l "_Toc68626816" Site Analysis PAGEREF _Toc68626816 \h 4 HYPERLINK \l "_Toc68626817" Overview PAGEREF _Toc68626817 \h 4 HYPERLINK \l "_Toc68626818" Circulation and Audiences PAGEREF _Toc68626818 \h 8 HYPERLINK \l "_Toc68626819" Site Analysis Summary PAGEREF _Toc68626819 \h 14 HYPERLINK \l "_Toc68626820" Masterplan PAGEREF _Toc68626820 \h 15 HYPERLINK \l "_Toc68626821" Aims and Objectives PAGEREF _Toc68626821 \h 15 HYPERLINK \l "_Toc68626822" Masterplan PAGEREF _Toc68626822 \h 17 HYPERLINK \l "_Toc68626823" Connecting the city and the sea PAGEREF _Toc68626823 \h 18 HYPERLINK \l "_Toc68626824" Securing the public open space as a garden PAGEREF _Toc68626824 \h 19 HYPERLINK \l "_Toc68626825" Enhancing cultural values and local qualities PAGEREF _Toc68626825 \h 20 HYPERLINK \l "_Toc68626826" Concepts and Design PAGEREF _Toc68626826 \h 21 HYPERLINK \l "_Toc68626827" The sea – background and appeal – contemplation PAGEREF _Toc68626827 \h 21 HYPERLINK \l "_Toc68626828" Kurkar - a diverse building material PAGEREF _Toc68626828 \h 21 HYPERLINK \l "_Toc68626829" Circulation PAGEREF _Toc68626829 \h 22 HYPERLINK \l "_Toc68626830" Continuance PAGEREF _Toc68626830 \h 23 HYPERLINK \l "_Toc68626831" Profiling – cross sections PAGEREF _Toc68626831 \h 23 HYPERLINK \l "_Toc68626832" Screening and revealing PAGEREF _Toc68626832 \h 23 HYPERLINK \l "_Toc68626833" Archetypes PAGEREF _Toc68626833 \h 24 HYPERLINK \l "_Toc68626834" 1. The Sea PAGEREF _Toc68626834 \h 24 HYPERLINK \l "_Toc68626835" 2. The Cave PAGEREF _Toc68626835 \h 24 HYPERLINK \l "_Toc68626836" 3. The Harbour PAGEREF _Toc68626836 \h 25 HYPERLINK \l "_Toc68626837" 4. The Promontory PAGEREF _Toc68626837 \h 25 HYPERLINK \l "_Toc68626838" 5. The Island PAGEREF _Toc68626838 \h 25 HYPERLINK \l "_Toc68626839" 6. The Mountain PAGEREF _Toc68626839 \h 26 HYPERLINK \l "_Toc68626840" 7. The Sky PAGEREF _Toc68626840 \h 26 HYPERLINK \l "_Toc68626841" The Independence Garden – Renovation – Summary PAGEREF _Toc68626841 \h 27 HYPERLINK \l "_Toc68626842" Appendix A – Plant species PAGEREF _Toc68626842 \h 28 HYPERLINK \l "_Toc68626843" Garden Vegetation: PAGEREF _Toc68626843 \h 28 HYPERLINK \l "_Toc68626844" Cliff Vegetation: PAGEREF _Toc68626844 \h 29 HYPERLINK \l "_Toc68626845" Appendix B PAGEREF _Toc68626845 \h 30 Final Project – Introduction The project concluded the course of study for a degree of Bachelor of Landscape Architecture in the Department of Landscape Architecture, Faculty of Architecture and Town Planning at the Technion – Israeli Institute of Technology, Haifa, Israel in 1997/8. The project spanned two semesters of the fourth and final academic year. The former included a site analysis and proposals of a programme and a masterplan and the latter dealt with design alternatives, sketch and detailed design and principle details and concluded in a formal presentation to the department, guests and the project instructors, Prof. Gideon Sarig, Arch. Judy Green and Land. Arch. Zofia Rosener-Sela. The formal presentation requirements were a summary of the site analysis, a masterplan, a landscape layout and detailed designs of at least three locations. The presentation sheets – originally in A0 format and reduced to A3 – can be found in HYPERLINK \l "_Appendix_B" Appendix B or on the project website: HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Independence_index.htm" \o "Shimi Dahan - Online Portfolio"www.shimid.com Independence Garden in Tel-Aviv – Introduction My first visit to the Independence Garden was on a Saturday morning walk with my parents to the adjacent Atarim Square. We parked on Hayarkon St. and crossed the garden on our way to the square. It left a strong impression on me with its labyrinth of overgrown vegetation, sea scent and very few other visitors. The visit to the derelict and unwelcoming garden was saved only by an ice cream at the new Atarim Square before it became synonymous with failure and dodgy businesses. My choice of the Independence Garden as a final project followed studying Tel-Aviv’s urban design and undertaking Atarim Square regeneration academic project. The garden’s prime location on the seashore and within the East-West streets’ layout brought up an intriguing contrast between its urban importance and its rundown state and lack of popularity. Between the attractiveness of its landscape assets and the surprisingly few visitors. Between its huge potential and the perplexing negligence of the Tel-Aviv municipality. The idea emerged from the perception that renovating the Independence Garden could reveal a hidden treasure and present it to the citizens of Tel-Aviv and to the local residents as a public park with a unique coastal character and a significant size that could link the city to the sea, provide an amazing observation point to the Tel-Aviv Promenade and could act as a regeneration catalyst to the whole “Little Tel-Aviv” urban district. As part of the project, I wanted to return to the garden’s cultural origins as a free and open space that provides human needs such as refuge, solitude, contemplation as well as a place for informal communal activity and events. Site Analysis Overview The Independence Garden is a public open park, 20 acres in size and lies to the North of Tel-Aviv’s seashore. The garden was opened to the public on 2nd November 1952 as part of the celebration of the independence of the State of Israel. It is the only public park along Tel-Aviv’s hotel strip and seashore that features a unique coastal character and vegetation – the fruitful work of Abraham Karavan, who was the city gardener at the time (also father of Dani Karavan the renowned environmental artist). The garden boundaries are defined by the beach and Tel-Aviv Promenade to the West, Hayarkon St. to the East, Havacook St. to the North and Atarim Sq. to the South. At the heart of the garden, lies the Hilton hotel, which was not a part of the original design and is the source of many of the problems affecting the garden’s appearance and function. However, for the project I have redefined the garden boundary to include the above as well as the adjacent part of Hayarkon St., junctions to the east, the beach and breakwaters to the west and the marina entrance to the South. The extended boundary has enabled me to transform the segregated garden and its setting and propose overall solutions to its current boundaries’ issues, as shall be explained. There are several main features in the garden (see original layout – HYPERLINK \l "Figure1" Figure 1) such as the Kurkar cliff (local sandstone) facing the sea, the entrance steps and terrace in front of Nordau Boulevard, an orchestra platform, an inactive Muslim cemetery, several observation points, Kurkar-gravel paths and strips of dense shrubs and trees bordering the amenity grass areas of various sizes and a rundown playground. Additionally, there are also several sculptures, with the most noticeable being a seagull memorial, which was erected to commemorate the Tel-Aviv born pilots who lost their lives in the 1948 Independence war, the “Peace Gate” by Pietro Cascella, and Dov Feigin’s red sculpture. The combination of a modern design, neglect, overgrown vegetation, informal gravel paths and views of the sea give the Independence Garden its wild and untamed character and render it unique and interesting. However, at the same time, it keeps away visitors who complain about the lack of sense of security, caused by the dense vegetation and neglect. Figure SEQ Figure \* ARABIC 1 - The garden’s original design as published in the invitation to the opening ceremony The area of the garden, south of the Hilton Hotel was renovated in 1995 as a minor local garden and was renamed the Spiegel Garden (see HYPERLINK \l "Figure2" Figure 2). The different appearance is a result of increased turf area as a substitute for large shrubs, reshaping and raising the Athel trees’ canopies, the use of tarmac paths and favoured short depth views. The smaller scale has produced a tidier, more inhabited space, which consequently attracts mothers with toddlers and small numbers of tourists from Atarim Square. Of course, the fact that the Hilton Hotel divides the Independence Garden so drastically allowed the establishment of the Spiegel Garden with such a different character and effectively as a separate garden. This grim decision is quite unsettling since I trusted the Spiegel Garden landscape architects to have achieved the character they had been aiming for, but have instead discarded the Independence Garden’s uniqueness and originality and have served to strengthen the Hilton Hotel’s stance in the garden. This to me indicated putting the needs of the Hilton above that of the public interest. The garden’s structure can be best described by the relationship between its topography, climate conditions, geographic and historic context and the vegetation and circulation layouts of the original design. The earliest archaeological findings in the site are fortifications dating back to Alexander the Great as well as a tomb associated with Sheik A-Nabi. At the beginning of the 20th century, the land known as the “Abu Gazla lands” was uninhabited and far away from “Ahuzat Bait” that was established in 1909 and was later renamed Tel-Aviv in 1934. In 1903 those that succumbed to the cholera plague in Jaffa were buried around the existing tomb and the Muslim cemetery still exists but it is walled and inaccessible. As part of his urban masterplanning of Tel-Aviv in 1925 and the town’s plans to expand northwards to the Yarkon River, the new port and westwards to the seashore, Sir Patrick Gedes conceived the grid of streets perpendicular to public open beaches. The existing topographical environment has resulted in laying streets along the sand dunes between the Kurkar sandstone ridges that ran parallel to the seashore (see HYPERLINK \l "Figure3" Figure 3). The perpendicular streets were then carved through the ridges to allow the sea breeze to penetrate. The beaches were envisaged to be open and accessible. This hill, whose owners had refrained from selling to the Jewish settlers, has been vacant even after Tel-Aviv had expanded to the north and around it. The Tel-Aviv council planned it to be a public recreation area for the benefit of its citizens. Between 1938 and 1942, the local council managed to purchase part of the land from its owner’s beneficiaries through direct negotiation and expropriated the rest. During the Second World War and the British Mandate, the Royal Air Force built a service camp and sanatorium on site. In 1947 the Tel-Aviv local authority managed to purchase all the camp facilities from the British, which after their departure, were used as summer camps and warehouses. Between 1947 and 1950 it was also used as a training camp for the “Hahagana” forces (who later became the Israeli Defense Forces). During the Independence War, the facilities were used as a temporary hospital and later as a charity organisation centre for Israeli soldiers. When it was finally decided to clear out the site for planting, the local council’s environmental department had demolished all the buildings except the Muslim cemetery and the newly built Nordau-Plaza hotel, located at the North end of the site, in front of Nordau Boulevard. During the Independence Day of 23rd April 1950, the municipality held a ceremony to celebrate the beginning of planting, during which the mayor named it the Independence Garden. The city gardener, Abraham Karavan, had found it extremely challenging to create a garden on a site exposed to high temperatures, aridity and saline winds. He covered the cliff facing the sea with succulent and arid groundcovers to protect the fragile sandstone as the garden’s backbone as well as a landscape and visual asset. Today, it is the only visible stretch of Kurkar cliff along the Tel-Aviv seashore. The cliff rises between 12 and 20 metres above sea level and the beach (see Site Analysis sections – HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/survey.htm" Appendix B page 1). During the last decades there have been several remediation operations to support the brittle cliff with Kurkar-colour in-situ concrete. With minor topographical changes to the rear of the cliff, Karavan managed to create “pockets” shielded from the saline sea wind to enable gradual establishment of hardy vegetation (see HYPERLINK \l "_Appendix_A_–" Appendix A – Plants Species); coastal and succulent groundcovers (such as Ice Plant and Evening Primrose) and medium- size shrubs as front belt (such as Saltbush), larger shrubs (such as Oleander and Yucca) and small trees (mainly Athel Trees) as second belt and to the rear, larger trees that shield and provide shade to the lawns (such as Coral Trees and Rusty-leaf Figs). This planting layout has survived to this day with virtually no maintenance and limited irrigation that is a testimony of clever and pioneering design. With a limited palette of native and introduced plants and minimal use of Kurkar-gravel paths and Kurkar-sandstone rockeries, Karavan skillfully laid the structure to the garden with a variety of interesting spaces, noticeable entrances, remarkable circulation layout and unique character – a coastal park. The main entrance in front of Nordau Boulevard (see HYPERLINK \l "Figure4" Figure 4) is an interesting interface with Nordau-Plaza hotel – a transition between the hotel’s modern style and that of the park. The clear architectural lines included a Palms trees avenue extending the boulevard axis, a rectangular fountain and impressive wide stairs, paved with Kurkar-crete slabs and leading to a spectacular viewing terrace. Circulation and Audiences The bordering beaches are unquestionably the most attractive aspect of the Independence Garden and many visitors cross the garden on their way to the beaches. Along the garden cliff there are two beaches, one open and the other, walled and gated that offers separation between men and women. These walls block the Tel-Aviv Promenade view of the sea and are a visual nuisance. The main access to these beaches is from Havacook St., to the North of the garden and from the marina entrance to the South, but many visitors meander through the garden itself. The Atarim Square car park provides ample parking space, but the fact that the marina entrance allows vehicles into the supposedly pedestrian-only Tel-Aviv Promenade, creates a hazard and a visual nuisance when these vehicles park along the promenade and beaches. The other main circulation route is the Cliff Promenade, branching off the Tel-Aviv Promenade. The Cliff Promenade is a 3-5 metre wide Kurkar-gravel path, starting at the entrance terrace, running down the West and South sides of the garden and ending at the Carlton pedestrian bridge (see HYPERLINK \l "Figure5" Figure 5) and linked to Tel-Aviv Promenade with three ramps. The Cliff Promenade offers an uninterrupted extraordinary view of the beaches and the city and is the garden’s focal area. The Carlton pedestrian bridge is an important link that is sadly futile (see HYPERLINK \l "Figure5" Figure 5). Built as part of the Atarim Square complex, it links the garden’s Cliff Promenade to the square’s main level and frames the marina entrance. It allows uninterrupted access for pedestrians and cyclists from Ben-Gurion Boulevard to the garden – which is welcome and full of potential. The level crossing over substantial level differences also accounts for a minor flow of tourists that cross the square along the hotels’ strip and Hayarkon St. However, the link has never been attractive, as its South (Atarim Square) end reaches a narrow, dark and uninviting passage underneath the Marina hotel. The garden’s audience is broadly diverse and it seems that compared to the garden’s size and location, its volume is surprisingly low. Weekdays normally attract local residents, mothers and toddlers (Spiegel Garden only), dogs and their owners. During the summer, bathers and tourists flock to the beaches as well as many religious men and women on their way to the Separate Beach. Gays visit the garden every night and it is openly known as the Tel-Aviv gay community “public library”. The annual gay parade takes place in the garden and there is a strong connection and sense of ownership among the gay community in relation to the garden. They are probably the only ones who make use of the whole garden – the open as well as overgrown and dense areas that may otherwise tend to put off other visitors. The sporty visitors meet on Fridays to play football while Saturdays are the only time where it is possible to spot families along the Cliff Promenade. Most of the circulation in the garden is, therefore, of people who cross between Hayarkon St. and the beaches. During the day, visitors remain around the Cliff Promenade, the open areas and Spiegel Garden. On the other hand, those that frequent the garden at night on a regular basis, take advantage of the whole garden. The Gay Parade is the only large-scale public gathering in the garden, comprising of several thousand people. Figure 6 – Streets’ plan of North Tel-Aviv As an urban design exercise, a renovation of the Independence Garden, will bring forth the beauty of Tel-Aviv’s modern urban design (see HYPERLINK \l "Figure6" Figure 6) – originally a garden suburb with a grid of streets, which is parallel to the seashore, that invites the sea breeze, and features boulevards and public commercial squares – a design that was later on eroded by the “wall” of hotels that physically blocked the breeze and public access to the beaches (see HYPERLINK \l "Figure7" Figure 7). The garden’s original design by the city gardener, Abraham Karavan, was based on these principles and included a wide entrance and view from Hayarkon St., which is essentially an extension of Nordau Boulevard. The Independence Garden sits on a focal urban junction of a metropolitan significance, as an end point to Nordau and Ben-Gurion boulevards and to Jabotinsky and Arlozorov streets; as part of the commercial and entertainment sequences between the Tel-Aviv Port, Tel-Aviv Promenade and Hayarkon St.; as a meeting point for the city, recreation park and sea. This area attracts a socio-economic wealthy population thanks to its central location and the nearby beaches. It is also known for its large number of embassies and consulates. The Independence Garden, which is the only sound public open space within a substantial urban district, suffered a major blow when in 1965 the local council granted planning permission to build the Hilton hotel in the heart of the garden. The huge hotel, which in itself is an exquisite building and a remarkable example of modernist exposed concrete build, divides and dominates the public garden with both its east-west orientation and its elevated location over the cliff. Its access and service roads, the open and the underground car parks and other “improvement” developments, bite off sections of the public ever since the hotel was built. The hotel’s dominance and expansion give the impression that the garden is a private ground open to the public. The Tel-Aviv council’s possible disregard or maybe, unawareness throughout the years had prompted a group of residents, some neighbours as well as some members of the gay community, to object to its various development plans in the garden area, but mainly against the proposed Hyatt hotel where the Nordau-Plaza hotel used to lie. Bordering the Independence Garden to the South is the stifling Atarim Square (see HYPERLINK \l "Figure8" Figure 8). The 1970’s huge complex included a marina, two hotels (Marina and Carlton), a swimming pool and a square built on top of cinemas and car park. The square is defined by the hotels to the North, restaurants at the periphery, a sculptural discotheque (Coliseum) at the south-east corner and another hotel to the South. The square was intended to form an endpoint to Ben-Gurion Boulevard and allow an uninterrupted flow of pedestrians and cyclists from the boulevard, over Hayarkon St. to the marina and beaches – a link that would have otherwise been cut off. The complex that was popular with tourists in its first years proved to be a huge disaster when it failed to attract regular visitors for various reasons, such as: if building the marina has enhanced the city’s seashore landscape, then the narrow passage between the raised Atarim Square and Gordon Swimming Pool interrupts the spatial sequence of the Tel-Aviv Promenade if the raised square was intended to attract the masses to an outlook over the marina, then its design failed because its raised level actually blocks the sea views. What Atarim complex eventually ended-up as was another “brick” in the “hotels wall” that blocks the city from the beach (see HYPERLINK \l "Figure9" Figure 9). Even the marina entrance, which has been beautifully framed with the aforementioned footbridge, diminishes by the Carlton hotel and the busy Hayarkon St. road (see HYPERLINK \l "Figure5" Figure 5). As a landscape architecture exercise, the Independence Garden was a classic choice with its many landscape qualities, diverse audience and inspiring location. My experience with the dusty and derelict garden led me to try and increase its popularity, change its image and fulfill its huge potential. Furthermore, I wanted to address the requirements of the various audiences “populating” the garden – visitors, neighbours, tourists, religious people, gays, bathers, children, drivers etc. Finally, I wanted to unify the public garden with a new and effective programme that will stop the segregation and expansion trend of the adjacent hotels and secure it for the benefit of the residents of Tel-Aviv. The garden’s landscape qualities include the Kurkar cliff and the Promenade on top of it; the wonderful views to the city, marina and sea, the unique vegetation and obviously the proximity to the beaches (see HYPERLINK \l "Figure10" Figure 10). The Kurkar cliff is the first in a series of four parallel ridges that stretch along Israel’s seashore. The Kurkar sediments belong to the Pleistocene age and are formed of calcareous sandstone with high porosity and permeability. It is formed of well-sorted and well-rounded quartz and feldspar grains, which are cemented by calcite. Its unique layered texture is of thin consolidated plates in-between unconsolidated sandy cavities (see HYPERLINK \l "Figure11" Figure 11). This local sandstone has been used throughout history, as a building material for port cities such as Jaffa, Caesarea and Acre and it is still possible to see many of the quarries along the seashore. The Cliff Promenade is an important landscape asset as it associates leisure activity with the Kurkar cliff, with its wealth of geology, topography, landscape and vegetation attributes. Apart from the educational value of this link, the Cliff Promenade forms the garden’s backbone in terms of circulation, visibility and orientation. The extensive views the garden affords, give the impression that it is larger than it actually is – the garden “borrows” the far views of the open sea and adds the altitude aspect that the Tel-Aviv Promenade lacks. The Cliff Promenade borrows the romantic views of the marina, the near views of Hayarkon Street and far views of north Tel-Aviv and of the Jaffa port and the Old City. The garden’s East side presents long views along Arlozorov and Jabotinsky Streets and Nordau Boulevard. Given that the garden’s vegetation is now established and mature, I would like to use the opportunity to introduce new species, which were neither available nor sufficiently hardy at the time of the original design. The mature trees and the four-stories façade of Hayarkon Street avert the wind and saline winds and provide at the garden’s rear a calmer microclimate, more suitable for less hardy and more ornamental plants. Although it is possible to get hardy localised plants suitable for the cliff, I chose not to use them as I saw the cliff and the existing vegetation landscape assets to be protected. This is why I prefer to introduce new plant species at the rear of the garden and the entrances from Hayarkon Street. As mentioned earlier, the proximity to the beaches is very attractive to many people. Other than bathing, many come alone or with partners to gaze at, listen and smell the sea. The sea’s soothing, purifying qualities are evident in every culture and religion. In Judaism, there is the custom of “Tashlich”, whereby traditionally Jews go to a beach on New-Year’s Day, a riverbank or a reservoir and pray while literally emptying their pockets as a sign of repentance: “and You will cast all their sins into the depths of the sea” (Micah, 7, 19), (see HYPERLINK \l "Figure12" Figure 12). As part of the project, I wanted to address the requirements of the various audiences “populating” the garden – visitors, neighbours, tourists, religious people, gays, bathers, children, drivers – to integrate them all while examining ways of increasing the number of visitors. Contrary to what eventually happened at the Independence Gardens in Jerusalem and Haifa for example, where gays had been “designed out” following renovations of both gardens, one of my challenges was to keep this loyal audience and incorporate it using both area and activity-hours sharing basis. That is to say, a study of the gays’ requirements and activity patterns assured me that any perceived conflict can be resolved in the design and that the garden, as a resource, could be shared. Understanding that the Hilton hotel was a continuous threat to the garden from within, and that the proposed Hyatt hotel was an opportunity to resolve a future threat from the outside, led me to search for the right “Garden-Hotel Interface”. One of the alternatives I examined were restaurants and cafés, as an interface that could link tourism, parkland, music concerts and leisure with the sea setting. In the context of Hayarkon Street, Tel-Aviv Promenade and Tel-Aviv Port as centres and sequences of tourism, leisure and gastronomy, the Independence Garden could fit in perfectly and even stand out with its unique qualities. Additionally I’ve investigated alternative access proposals from Hayarkon Street to Hilton hotel – access that on the one hand would have been appropriate for a Hilton but on the other hand reduced the need for the existing roads and freed their vast areas back to the public domain. An approach that respected the Hotel’s architecture but at same time undermined its seize of the garden. The beaches are the main generators of traffic across the garden and the Tel-Aviv Promenade is the main source for visitors along the beach and cliff. Within the project framework, I defined the beach and Tel-Aviv Promenade as a single landscape unit, a very interesting “human theatre” to look at from the Cliff Promenade. The site analysis has shown however, that several visual nuisances break the Tel-Aviv Promenade, that Atarim Square was perceived as the promenade’s northern end and that the access to the Tel-Aviv port was not perceived as part of the Promenade. The renovation of Atarim Square is a project in itself, but as for other visual nuisances, such as the Separate Beach that its walls had a detrimental visual effect, I proposed an alternative location away from the promenade. As the site analysis also identified car parking as a safety hazard as well as a visual nuisance, I also proposed to restrict vehicle access to the marina entrance alone. A necessity and precondition for attracting people to an area with limited public transportation, is parking. Given the opportunity, I would have designed an alternative public car park to the huge multi-storey underground car park that already exists for the Hilton Hotel’s customers. I would have proposed an underground multi-storey car park that would be open to the public with clear entrances for vehicles and pedestrians from Hayarkon Street. I found great encouragement for the validity of my site analysis and for the need to renovate the Independence Garden from interviews I held with visitors who frequented the garden regularly and swore that they would never return, and with people who have never visited the garden at all. During those interviews, issues of neglect, litter, overgrown and dull vegetation, an intimidating image, a lack of clear entrances and an incorrect perception of the garden boundaries were the main point of discussion – most interviewees had the impression that the Independence Garden only included the area between Nordau Boulevard and the Hilton hotel. Furthermore, they could not even recall what lay between the Hilton and Atarim Square… Site Analysis Summary Missed urban potential The garden blocks the streets from the beaches Breaks off commercial and entertainment sequences Small number of visitors – definitely not a metropolitan park The only park in a large urban district has a unique coastal park character The Beaches – accessibility and parking issues – boundary issues Enclosed garden – No visibility – Unwelcoming Visual disconnection of the garden and Hayarkon Street No clear and inviting entrances to the garden, other than from Nordau Boulevard Insufficient accessibility between the garden and the beaches Low visibility of the sea from the garden – restricted to the Cliff area Segmentation and Division Hilton hotel built at the centre of a public open space Hilton’s access routes and parking facilities tear off and dominate the garden The Independence Garden and Spiegel Garden – effectively separate gardens Too many “dead” areas – circulation narrows to cliff area Masterplan Aims and Objectives In order to establish a masterplan that would outline the proposal and illustrate the design concepts, I presented as part of the project the aims and objectives it relied upon. The primary aim, which is renovating the Independence Garden, comprised of several aspirations and assumptions: Renovation – to some extent based on the existing garden and to a certain extent offers a radical alternative The proposals will refer to the garden’s existing boundaries and elements, but as an academic project will suggest changes that is not likely to be made possible in an actual commission The masterplan addresses issues identified in the site analysis Any proposals will be based on the site analysis conclusions and will demonstrate possible solutions to specific issues and ideal solutions to other issues, such as an alternative car park to the Hilton Hotel Managing existing resources and assets and adding new ones – a programme The programme will provide guidelines for managing existing elements in the garden. It will also outline new features and their appropriate sizes A design that unifies the garden into a single landscape unit and gives it a clear and recognisable identity The masterplan will provide guidelines for the development of various sections and elements that conform to a defined conceptual framework and an array of design motifs A design that revitalises the original design principles The proposed masterplan will be based on principles that led to the original design – a coastal park, the Cliff Promenade, views to the sea. It will keep the unique cliff vegetation and rely on local Kurkar sandstone. However, the masterplan will implement the urban aspect of site analysis conclusions and will seek to connect the streets, perpendicular to the beach, with the beach and strengthen the commercial and entertainment sequences of the Tel-Aviv Promenade and the Port An impact that will change the garden’s image and be attractive to larger audiences while keeping the existing ones The masterplan will seek to attract to the garden a “critical mass” of visitors and impress them in a way that will change its uninviting image. It will also protect landscape assets for the benefit of the regular visitors A place for large performances – A place for contemplation The masterplan will outline the development of a variety of spaces suited for various activities of a single person, a couple, a family, group sport, performances and larger gatherings The next figure ( HYPERLINK \l "Figure13" Figure 13) summarises the masterplan’s aims and objectives and the methods to achieve them: Aims Objectives Methods Masterplan In the masterplan, (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/master-plan.htm" Appendix B page 2) I laid the foundations for the garden design - a design I later further developed to detailed design. I’ll explain the main components and features by relating to the project’s aims and objectives. From an urban perspective, connecting the city and the sea was realised by extending the main streets to the beaches, including Hayarkon Street in the garden’s spatial sequence and redesigning the links between the Cliff Promenade and Tel-Aviv Promenade. In securing the public open space as a garden, the programme was translated to interfaces and entrances, boundaries and functions – some already existing while the rest are proposed. Abstract concepts were realised in enhancing cultural values and local qualities, as high priority was given to favourable views or selected elements and the garden was linked up with a primary trail. Connecting the city and the sea (See HYPERLINK \l "Figure14" Figure 14) The masterplan’s most extraordinary and significant feature is the extension of the Nordau Boulevard, Jabotinsky and Arlozorov streets to the beach by excavating through the Kurkar cliff. The excavation opens three visual and passage axis across the garden, sloping from Hayarkon Street down to the Tel-Aviv Promenade and the beach. The level differences between the existing ground levels to the extensions’ levels “stretch” the cliff’s face inwards, along the extensions and create an interesting three-dimensional circulation configuration. The Nordau and Jabotinsky axis as interfaces with the Hyatt and Hilton hotels respectively – connect as well as act as boundaries – similar to the existing marina entrance axis and the Carlton hotel. Hayarkon Street takes a new form, which essentially includes shaping the street space using masses of trees on either side. The intention was to give this section of the street, adjacent to the garden, a visual quality of flow, or of waves. The inclusion of the street section and the garden’s façade in one space creates a different experience to drivers and accentuates the views and entrances to the garden. Compared with the existing one, the garden’s façade is fairly open and enables natural surveillance from Hayarkon Street and buildings and thus increases the visitor’s security. The open façade also complements the streets’ extensions by allowing views from Hayarkon Street to the sea. Implementing the site analysis conclusions, the links between the Cliff and Tel-Aviv promenades have undergone a redesign to improve access between the two. The hierarchy between them is made clear as the Cliff Promenade is presented as an alternative stroll route along the Independence Garden section of the Tel-Aviv Promenade – an alternative that offers experiences of parkland and outlooks. The latter is given a makeover as part of the project in terms of its layout, finish materials, street furniture and lighting, from the marina entrance to the Tel-Aviv Port. The Separate Beach is relocated to the northern breakwater, where it does not block the views and improves bathers’ privacy. Securing the public open space as a garden (See HYPERLINK \l "Figure15" Figure 15) The programme added several new functions to the garden – a main entrance, an amphitheatre, a “carved” garden, restaurants and cafés, an underground car park, a multi-use ball court and a play area. The garden’s new main entrance is intended to be a landmark, a meeting point and a starting point for the garden trail. The choice of its location emerged out of several thoughts, as follows: Central location Hayarkon Street is perceived as the appropriate side to enter the garden Immediate access (or close proximity) to the underground car park – lifts will get visitors to the street level, right in front of the entrance The amphitheatre was designed for performances for audiences of up to a thousand people as well as to take advantage of both the view of the sea and the favourable north orientation. It will be built of local Kurkar sandstone and north to a one acre of amenity green, which could be used as either a gathering area for the amphitheatre or as an independent events area. The Carved Garden uses the same language of carving and excavating into the Kurkar cliff, to create an intriguing, more intimate space within the Independence Garden. The intention is to form a space that emulates the stroll pattern of gays in the garden, in a smaller area than they currently use, yet with a larger “surface area”. Creative carving of the Kurkar and a complementing planting design would create a rich three-dimensional flow through a maze of several smaller spaces and keep the gays in the Independence Garden. The site analysis has shown that there was a clear division to day and night usage of the garden and the Carved Garden would add an option of division by area. Along the Nordau Extension and to the north of the amphitheatre, I have allocated three terraces for restaurants and cafés that would act as an appropriate interface with the Hyatt hotel. Some of them could even be used by the hotel itself. Additional provisions were made for another two or three in the Hilton’s west façade. Being a long lifeless wall that seals an empty floor beneath the hotel’s swimming pool, that façade has been identified as a visual nuisance by the site analysis. While I visited that floor, I was convinced that with the appropriate planning permission, it could be opened up to the sea. A façade of restaurants at the Cliff Promenade level, with an unrivaled panorama to the sea could certainly revitalize the garden and again, act as an appropriate interface with the hotel. I saw the underground car park as an opportunity to improve the interface with the Hilton for the benefit of both the garden and the hotel. Provided that the design included a new entrance to the hotel, there would be no need for the existing access roads. The garden will gain those areas back and the Hilton will gain a clear and direct access from Hayarkon St. – an entrance that enhances its architectural axis and extends its function. Enhancing cultural values and local qualities (See HYPERLINK \l "Figure16" Figure 16) Fulfilling this aim binds all the “dispersed” elements of the Independence Garden and also seeks to accomplish a personal aspiration to create a contemplative garden that facilitates self-awareness and introspection - similar to traditional Japanese Zen gardens. I have adopted in the masterplan one of the Zen gardens’ motifs, which is the stroll garden, whereby visitors walk through a series of landscape views or scenes that evoke certain ideas or associations. For the Independence Garden, I chose to base those scenes on archetypes of landscape spaces – sea, cave, harbour, promontory, island, mountain and sky – as identified by July Moir-Messervy in her book “Contemplative Gardens”: "I believe that the contemplative place is born with the conception of the child who, for a period of time, experiences the warmth, comfort and protection of the womb. With birth an infant, and later as a child, develops new physical experiences of place, whether it be the security of a parent's arms or the discovery of a cosy corner behind the living room easy chair. These developmental stages can be likened to landscape images: the sea, the cave, the harbour, the promontory, the island, the mountain and the sky. Their archetypal themes express the form and characteristics of our elemental feelings towards place, which are embedded in our storehouse of memories. I conjecture that when adults experience a place that reminds them of their early contemplative memories, they see it as an image of paradise." The sequence of those archetypal places along the trail has been set to correspond to existing elements or features. For example, the Promontory Archetype is to be represented by the cliff, whereas the Island Archetype is to be represented by the breakwaters, the Mountain Archetype by the memorial’s elevated platform and the Sky Archetype by the Muslim cemetery. Additionally, new elements are to represent the rest of the archetypes, either as functional features or as follies. For example, the green is to represent the Sea Archetype, whereas the amphitheatre and its entrance feature are to represent the Harbour and Cave Archetypes respectively. The stroll trail design had several aims, the main one being a statement of the garden unification. Secondly, it structures the circulation and the experience of the garden – leads pedestrians and cyclists to all areas, from the main entrance via the amphitheatre to the Cliff Promenade, around the cemetery and back through Hilton’s new entrance. Finally, it leads the visitors through the Archetypes in a certain sequence that enhances their overall suggestion of acceptance and tolerance and thus fulfils the concept of contemplation and of “Tashlich”, which symbolizes the human recognition of the sea as a purifying medium. Concepts and Design The concluding stage of the final project was progression and further development of the masterplan to general arrangement and indicative details. It included a general arrangement drawing in 1:500 (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/plan500withSections.htm" Appendix B, page 3), sections in 1:250 and indicative detailing of Arlozorov Extension and the seven Archetypes. The following is a description of the concepts and motifs underlying the design. The sea – background and appeal – contemplation Being the Independence Garden’s biggest asset, the sea attracts many visitors and is the setting for many of the activities around and within the garden. As stated in the masterplan and in keeping with the original design ideas, the Independence garden is a coastal park and the design emphasizes it by opening and framing views to the sea and bases the circulation configuration along the beach and cliff. As illustrated by the Arlozorov Extension design (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Arlozorov-detailing.htm" Appendix B, page 5 - Arlozorov Street Extension), Hayarkon Street was granted three views of the sea and beaches, framed by the carved cliff and footbridges. These “openings” join the existing marina entrance that is renovated by replacing the car park with amenity planting and constructing a sail-like pergola, perpendicular to Carlton footbridge (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section J-J.htm" Appendix B, page 4 – Section J-J). Access between the Cliff and Tel-Aviv Promenades was redesigned with new ramps, a stainless steel and glass lift, restaurants open to the sea, “Kurkar-crete” paving and matching street furniture and lighting. Kurkar - a diverse building material As a landscape asset, identified by the site analysis, Kurkar remains the key building material of the Independence Garden. If the original design included a bare Kurkar cliff, Kurkar rockeries and concrete pavers with Kurkar aggregates, then I added a few more uses and application techniques, as follows: Carving the streets’ extensions increases the cliff’s surface area and defines the tone and appearance of the whole renovation – natural Kurkar sandstone with its distinctive crisp layers. The motif is best realized in the Carved Garden where it is the basis for the maze scenery and the setting for the unique circulation configuration Large free-standing Kurkar rocks – incorporated as focal points (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype7.htm" Appendix B, page 8 – The Sky) or in clusters along the streets’ extensions, in the Carved Garden, in the underground car park and in the amphitheatre (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype3.htm" Appendix B, page 6 – The Harbour). Also lying around the memorial (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype6.htm" Appendix B, page 8 – The Mountain) Monolithic sawn Kurkar rocks – in formal layouts at the junction of Hayarkon and Arlozorov streets (1x1m wide and 3m high) and as bench seats (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype6.htm" Appendix B, page 8 – The Mountain) Kurkar-crete is the common name for concrete mixed with Kurkar aggregates. The shade, texture and strength vary according to quantities and size of aggregates. I used in-situ Kurkar-crete for the garden paths, promenades, ramps, bespoke light posts (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype1.htm" Appendix B, page 5 – The Sea) and walls (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype2.htm" Appendix B, page 6 – The Cave) Natural Kurkar flags have been used for paving, seating and steps in the amphitheatre (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype3.htm" Appendix B, page 6 – The Harbour) and for paving around the memorial (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype6.htm" Appendix B, page 8 – The Mountain) Small natural Kurkar plates have been used for light features – as a reflector in bespoke light posts (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype1.htm" Appendix B, page 5 – The Sea) and for bespoke “light blocks” (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype4.htm" Appendix B, page 7 – The Promontory) Circulation Circulation of visitors is one of the most important indexes of the quality and success of a design. Walking visitors throughout the Independence Garden would be a statement of unification of the segregated garden as a public open space. From an urban design point of view, I claimed that the streets’ extensions reaching the sea are valuable and therefore cross-circulation to and from the beach is to be encouraged. The proposed circulation configuration addresses both requirements by combining a stroll garden and “cross” garden: The stroll garden occupies the garden’s upper level with a hierarchy of footpaths, the main one being the garden trail that binds the whole garden and includes the Cliff Promenade. The stroll garden, inspired by Japanese Zen and English Picturesque gardens, leads the visitor through scenes and views along a carefully designed trail (see HYPERLINK \l "_Archetypes" Archetypes) The cross garden occupies the garden’s lower level and include the streets’ extensions, a section of Tel-Aviv Promenade, the underground car park and the marina entrance. The cross garden provides the setting and interest on the way to or from the beach, to the city, hotels, performances and parking and relies on irregular visitors The joints between the two levels are along Hayarkon Street, the main entrance, the Carved Garden and the ramps that link the Cliff and Tel-Aviv promenades. The circulation layout – paths, excavations, ramps, footbridges, lifts and crossroads - defines a clear hierarchy and an interesting visual relationship between the two levels. The Carved garden extends the circulation motif with a slight variation – multiple junctions with intentional dis-hierarchy. As mentioned before, its inspiration came from observing and studying gays’ stroll pattern in the garden – a pattern of prowling, looking at and awareness of being looked at, which is characterized by a repetitive slow solitary stroll around a certain area. The Carved Garden will provide the gays with a more intricate and more saturated territory that will cater for at least the same volume of visitors that currently occupies a much larger area. Continuance Continuance as a design motif is expressed in three ways: Unison by segmentation – The Independence Garden is also unified by carving the three streets’ extensions through the cliff as well as a series of footbridges. The repetitive carving through the garden is balanced by the upper circulation layout and the result seems more like a three-dimensional garden – unlike the existing segmented garden Connection in different levels – urban and local – the garden opens up and links to its surroundings and fuses into a single landscape unit Borrowed views – extend the continuation motif. There is an extensive use of directing and framing views that enlarge the garden, link the garden to the sea or associate the visitor with various elements. The streets’ extensions link the city and the sea by framing views of the beach. The sea, marina and beaches are imperative to the Cliff Promenade. The Island and Sky archetypes place the visitor in different scenes that utilize borrowed views The continuation motif is apparent in the flowing design of the carved extensions with the streets’ axis, in the ramps that link the Cliff and Tel-Aviv promenades, in the paths and footbridges layout, in the planting masses that form Hayarkon Street’s space, in interfaces with hotels, etc. Profiling – cross sections Design by cross sections proved a valuable technique, as the Independence Garden characterizes in a distinct linear topographical formation – sea, beach in diverse widths, Kurkar cliff in diverse heights and gradients, lower backside, Hayarkon Street and buildings. The technique also perfectly fit the proposed design with the streets’ extensions, interfaces with hotels and understanding circulation between the upper and lower garden levels. The cross sections show the variations that define the garden’s spatial sequence and different designs for the streets’ extensions (see HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/sections.htm" Appendix B, page 4 – Sections): Circulation – ramps, footbridges, access as seen in sections HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section D-D.htm" D-D, HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section F-F.htm" F-F and HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section H-H.htm" H-H Elevations and façades – restaurants and cafés as seen in sections HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section A-A.htm" A-A, HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section E-E.htm" E-E and HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section F-F.htm" F-F Topography – screening of ball court, accentuating the mountain – sections HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section B-B.htm" B-B and HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section C-C.htm" C-C Defining space – concave as in section HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section B-B.htm" B-B, convex as in section HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section D-D.htm" D-D Directing views – connection to Hayarkon Street or the sea as in sections HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section G-G.htm" G-G, HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section I-I.htm" I-I and HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Section J-J.htm" J-J Screening and revealing The juxtaposition of open landscapes and enclosed spaces is another design motif. Screening, directing views and topographic undulations were used to enhance and broaden the visitor’s experience of the garden. Masses of trees and shrubs contrasted by vast lawns blur the boundary, between the garden and Hayarkon Street Walls with different render shades enclose spaces along Nordau Extension yet direct views to the sea The garden trail leads visitors from the main entrance through an enclosed cavernous structure (the Cave Archetype) and then out to a viewing point of the amphitheatre and open sea The footbridges crossing above the streets’ extensions provide a different experience than the rest of the trail – cross views to the sea and Hayarkon Street, the breeze and sea scent The Carved Garden is based on the principle of enclosure and screening, brief views and close encounters Archetypes Follies and land art installations that were based on the archetypes of landscape space and represent unity, comfort, long for independence, freedom and acceptance. The Sea (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype1.htm" Appendix B, page 5) The sea symbolizes the ultimate unity with our surroundings and being an inseparable part of the whole, and as July Moir-Messervy describes in her book “Contemplative Gardens”: "There seems to be an inchoate longing in each of us for the sea, which derives perhaps from the total immersion and security of the mother's womb. As adults we recreate these sensations by immersing ourselves in a warm bath, standing under a waterfall or swimming in the ocean. Some natural spaces that are not made of water also elicit the filling of 'within-ness', such as standing in a dense forest or lying within a field of wheat." In the Independence Garden the Sea Archetype is represented by the main green that seeks to achieve the experience of immersion and ‘within-ness’ with its concave topography (se Section 2) and the elliptical layout of light posts and vegetation around it. The garden trail places the visitors in the centre of experience by leading them through the centre of the green. The light posts are made of in-situ Kurkar-crete, a light source and a natural Kurkar plate reflector, held in position with aluminum supports. The Cave (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype2.htm" Appendix B, page 6) The cave symbolizes fascination with enclosed spaces, where we have control over any communication with the outside world, and as July Moir-Messervy describes in her book: "The need for cave-like spaces may come from the experience of being tightly swaddled just after birth. Once wrapped in a close-fitting shelter with only a small window on the outside world, we may grow up to view any place that is closed, but that has a small opening to look through, like a cave, as comforting. One's own house feels like a cave in relation to the neighbourhood around it. The bedroom, study, nook or attic within the house or the pergola, playhouse or porch outside of it, can be perceived as caves of different sorts." The “cave” in the Independence Garden marks the entrance to the amphitheatre, built in Kurkar-crete walls and partly roofed. The cave is the gate where the visitor is first presented with a view of the sea. Its design, with inclined walls and topped with vegetation is an exercise in creating an enclosed public space that due to high visibility is anything but intimidating. The Harbour (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype3.htm" Appendix B, page 6) The harbour provides shelter, enables interaction and is a safe base for adventures: "A love of harbours may stem from our early explorations of space, made from the security of a parent's enclosing arms. Protected on three sides but wide open to the fourth, the adult laps we may have sat in as children were very much like harbours to us. Physically a harbour is found wherever an area protects one part of the world from the rest. In landscape and architectural terms, the valley, copse, fence-in yard or garden, all offer a 'circle of safety' from which to view the outside world." The amphitheatre conveys the Harbour Archetype in form and in function – embraced with Kurkar cliffs, views of the sea and provides interaction with performances and audience. The amphitheatre is excavated into the cliff and consists of steps and seats paved with natural Kurkar flags. The staircases are retained by Kurkar rocks and dotted with small planting pockets of groundcovers and ornamental grasses. The three complementing finishes of Kurkar are contrasted with the rendered walls and the stage roof. The Promontory (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype4.htm" Appendix B, page 7) ‘Living on the edge’ stands for taking risks and inviting challenges, and according to July Moir-Messervy: "After learning to crawl and then to walk, we became a kind of promontory in the landscape of our childhood by pushing our small bodies to the edge of our known world. Promontories that convey this experience of being at the extreme edge of the world abound in natural and artificial environments. Cliffs, bluffs, canyons, spits, caves or headlands are types of promontories, as are balconies, belvederes and catwalks. Standing at the very edge of one is both exhilarating and dangerous. That is why the parapet – the turned-up edge, low wall or railing that protects the edge of a building - is often vital to one's sense of security." Naturally, I chose to represent the Promontory Archetype with the Kurkar cliff. The trail leads visitors along the cliff’s edge and the footbridges – the elevated Cliff Promenade, the level differences, sea waves and winds – all contribute to create the sense of place. The design shows several treatments to the various profiles of the cliff formation, promenades and beaches – low walls and retaining walls in natural Kurkar stone. The Island (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype5.htm" Appendix B, page 7) The island symbolizes the longing or independence, private space and privacy: "As we grow up, we start to long for isolated retreats. We seek more independence from our caregivers, and we long to travel beyond the limits of our known world. Islands symbolize this total 'away-ness' from the world. To inhabit an island is to feel oneself as the centre of a circle, with a horizon line that is uninterrupted. The islander feels in control of this 360-degree horizon - known immediately, viscerally, when someone or something appears to violate its purity." Loners and couples that climbed down the cliff to sit have inspired me in this design of the Island Archetype. The nearby breakwaters were the immediate choice and on the northern one, I proposed to erect a large-scale chair-like sculpture and link it visually to a similar seat in an excavated belvedere up the cliff. The seat and sculpture will seem identical in form, colour and orientation with the only difference being scale. A short footpath will lead visitors down from the Cliff Promenade to the belvedere and seat and whoever sits on the chair will experience command and exclusiveness as a result of relating to the big sculpture. The Mountain (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype6.htm" Appendix B, page 8) A mountains’ strong image relates to the effort of climbing and with changing views: “As adolescence approaches, we realize that the mountain, like the island, can be a source of contemplative solitude. High remote places become significant hideouts from the world filled with heightened emotions and turbulent feelings. Turrets, cupolas, widow’s walks, treetops, towers, all possess mountain-like qualities. To adults, ascending a mountain symbolizes the quest for inner truth and the attainment of a state of enlightenment and inner peace.” I chose the highest point in the garden to represent the Mountain Archetype – the seagull memorial. I have proposed minor changes around the memorial and existing viewing area to enhance that sense of climbing and meeting point at the “mountain-top”. The proposed viewing platform is to be paved in a similar pattern to the existing one, and to have bench seats made of cut Kurkar slabs and uplighters. Around the platform I proposed to lay large Kurkar rocks to enhance a mountain-like landscape. The Sky (See HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype7.htm" Appendix B, page 8) The sky is our physical and spiritual limit – beyond them are dreams, the unknown and the unattainable. The sky also symbolizes the hope for an afterlife and acknowledgment of death. July Moir-Messervy concluded in her book: "From early childhood on, many people dream of flying, of becoming lighter than air, defying gravity, floating above the earth. The sky suggests the transformation from physical self into pure spirit, something that many people believe happens when we die. A great blue vault over the earth, the landscape of the sky has come to symbolize a celestial paradise, an ideal of a transcendent world that has inspired different cultures to create its images in the form of gardens." In the Independence Garden, I chose to represent the Sky Archetype in the Muslim cemetery. I chose a part of the Cliff Promenade that includes an area to the north of the cemetery, Arlozorov extension and the footbridge above it to present the visitors with a glimpse of the graves and the subject of death. To achieve that, I proposed the following measures and methods: Lowering the cemetery’s northern boundary wall and painting it in light blue, low grassy planting in the front and directing the view to the cemetery by screening the sea view with large Kurkar rocks. The Independence Garden – Renovation – Summary The final project spanned a full academic year and yet I felt that with a little more time, I could have improved the final result with more design consistency and minor revisions. However, I believe in the validity of the proposals, which are based on the site analysis and my profound understanding of the garden. The renovation proposals refresh the ideals behind the original design and years of negligence and expansion of the Hilton hotel. The proposed design will certainly gin the Independence Garden’s identity and uniqueness. The index to the design success, judging by the project’s aim and objectives, would have to be whether it succeeded to unify and attract a large and diverse audience. Is the design perceived as a single landscape unit or have the streets’ extensions further segmented the site? Does the whole appear to be more than the sum of its parts? And if the unification succeeded, will the garden change its image and appeal to the wide public? Appendix A – Plant species Garden Vegetation: RUSTYLEAF FIG Ficus rubiginosa INCLUDEPICTURE "http://www.fukubonsai.com/images/FicusRubiginosa1Hilo.jpg" \* MERGEFORMATINET INCLUDEPICTURE "http://www.cuyamaca.net/OH170/Plant_TNails/Ficus_rubiginosa_Fruit_4-11-00.JPG" \* MERGEFORMATINET NAKED CORAL TREE Erythrina coralloides INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/Projects/Plants_Sem/almogan.jpg" \* MERGEFORMATINET INCLUDEPICTURE "http://www.kepu.com.cn/gb/lives/plant/images/fllb038a.JPG" \* MERGEFORMATINET ATHEL TREE Tamarix aphylla INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/eshel.jpg" \* MERGEFORMATINET INCLUDEPICTURE "http://www.botany.hawaii.edu/faculty/carr/images/tam_aph_cu.jpg" \* MERGEFORMATINET CALIFORNIA FAN PALM Washingtonia filifera INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/washingtonia1.jpg" \* MERGEFORMATINET ALOE Aloevera INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/aloe2.jpg" \* MERGEFORMATINET CENTURY PLANT Agave americana INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/agava1_small.jpg" \* MERGEFORMATINET INCLUDEPICTURE "http://www.dimitra2000.gr/sp/ekali/images/agave_amer.jpg" \* MERGEFORMATINET YUCCA Yucca glauca INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/yucca_1.jpg" \* MERGEFORMATINET OLEANDER Nerium oleander INCLUDEPICTURE "http://www.highspeedplus.com/~harborcrest/nerium%20pink.jpg" \* MERGEFORMATINET INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/hardufadom.jpg" \* MERGEFORMATINET AFRICAN DAISY Arctotis hybrida INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/thumb/ozenhadov_small.jpg" \* MERGEFORMATINET Lycium europaeum INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/atad_small.jpg" \* MERGEFORMATINET MASTIC Pistacia lentiscus INCLUDEPICTURE "http://www.unict.it/dipartimenti/biologia_animale/webnatur/pavone/088b.jpg" \* MERGEFORMATINET CACTI Opuntia ficus indica INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/tsabar_fr1.jpg" \* MERGEFORMATINET Cliff Vegetation: Pancratium maritimum INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/heftsi1.jpg" \* MERGEFORMATINET ICE PLANT Mesembryanthemum crystallinum INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/ahalG-002f.jpg" \* MERGEFORMATINET ICE PLANT Carpobrotus chilensis INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/ahal1.jpg" \* MERGEFORMATINET SALT BUSH Atriplex halimus INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/maluach1.jpg" \* MERGEFORMATINET EVENING PRIMROSE Oenothera drummondii INCLUDEPICTURE "http://www.anbg.gov.au/images/photo_cd/732131822184/075_2.jpg" \* MERGEFORMATINET Inula crithmoides INCLUDEPICTURE "http://www.smkb.ac.il/aha/content/projects/biology_syurim/img/tayun.jpg" \* MERGEFORMATINET SEA LAVENDER Limonium arborescens Appendix B Page HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/first-page.htm" Introduction HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/survey.htm" Survey & Site Analysis HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/aims.htm" Aims & Objectives HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/master-plan.htm" Masterplan HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/plan500withSections.htm" General Arrangement HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/sections.htm" Sections HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/Arlozorov-detailing.htm" Arlozorov Extension HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architypes.htm" Archetypes Introduction HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype1.htm" Archetype 1 – the Sea HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype2.htm" Archetype 2 – the Cave HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype3.htm" Archetype 3 – the Harbour HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype4.htm" Archetype 4 – the Promontory HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype5.htm" Archetype 5 – the Island HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype6.htm" Archetype 6 – the Mountain HYPERLINK "http://www.shimi.pwp.blueyonder.co.uk/Haatzmaut-website/architype7.htm" Archetype – 7 – the Sky The Independence Garden in Tel-Aviv, Renovation – Graduation project in landscape architecture - PAGE 6 - Figure 7 – Tel-Aviv’s seashore before Atarim Square and the Hotel strip – in the foreground, the south end of the Independence Garden Figure 9 – The hotels “wall” as seen from the beach Figure 14 Figure 2 – Spiegel Garden Figure 3 – Jaffa and Tel-Aviv ports (1956) Figure 4 A view of the garden on its opening day – main entrance Figure 5 – Carlton Bridge Figure 8 – From left to right: Carlton Hotel, Marina Hotel and Atarim Square Figure 10 - Masts Figure 11 Natural Kurkar (Close-up) Figure 12 – Tashlich Figure 15 Figure 16 56cdŽ“”•–˜™ÉÊËóöåæŽ›œž ¡¢£¥®¯°Äùñùåùåùåùå×È×¾ùñ³£×ù×˜å˜È˜†ÈyÈå×˜ù˜å˜nùi jU5>*OJQJ\^J0JOJQJ^JmH sH #j LOJQJU^JmH sH OJQJ^JmH sH CJ$OJQJZ^JaJ$mH sH CJ$OJQJ^JaJ$OJQJZ^Jo(jOJQJU^JmH sH OJQJZ^JmH o(sH OJQJZ^JmH sH OJQJZ^JOJQJ^J)6d‘’“•–—˜™ÊËóôõö÷>‰æúúúúúúúúúúúúúúúúúúúúúøøøøïø¤¤[$\$$a$EýýýæçžŸ ¡¢£¤¥®¯"‘ß(‚Ù% z Æ ' “ WÈ.ýýýýýôýýýôýýòòòìììòìììììòìì Æ†$ ¤¤[$\$ÄÅÆÇâãäå !"#$?@ABpqr‹ŒŽ‘’“®¯°±¾¿ÀÙÚÛÜÝÞßàáúóððâóðàÙàÑÙàÙóÉóðð»óðàÙà³ÙàÙóÉóðð¥óðàÙàÙàÙóÉ‡0JOJQJ^Jj0JOJQJU^JjPUj‡O>*B*UphÿjOUj‘N>*B*Uphÿ5\mH sH jNUjUj›M>*B*Uphÿ0J j0JU jU3áüýþÿ "#$%&'()*EFGHabc|}~€‚ƒ„Ÿ ¡¢·¸¹ÒùðÜÏðÇºÇ¬ºÇºÏùÏðùð˜ÏðÇºÇŠºÇºÏùÏðùðvÏðÇºÇ'jiR>*B*OJQJU^JphÿjîQOJQJU^J'jsQ>*B*OJQJU^JphÿjøPOJQJU^JjOJQJU^JOJQJ^Jj0JOJQJU^J'j}P>*B*OJQJU^Jphÿ0JOJQJ^JOJQJ^J(ÒÓÔÖ×ØÙÚÛö÷øù " # $ % & ' B C D E X Y Z s t u w x y z { | — ˜ ñäÜäÏÈÁ¾¾°Á¾®§®Ÿ§®§Á—ÏŽÈŽzÏŽÜäÜläÜäÏÈÏŽÈŽjÐTOJQJU^J'jUT>*B*OJQJU^Jphÿ0JOJQJ^J5\mH sH jÚSUjUj_S>*B*Uphÿ0J j0JUOJQJ^Jj0JOJQJU^JOJQJ^JjOJQJU^JjäROJQJU^J*˜ ™ š ¤ ¥ ¦ ¿ À Á Ã Ä Å Æ Ç È ã ä å æ ! 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