As a rule I avoid posting travel diary-type articles on the hoof. For one thing, I don’t think I’m particularly good at it. In journalistic terms I’ve always been more of an opinion piece writer than a roving reporter. However, the piece I was preparing for this particular post has gone the way of the defunct memory stick I’ve just thrown into the trash and so I was forced, just this once, into doing something spontaneous.
Fortunately I just happen to be based for these last few days in a place perfectly suited to spontaneous outbursts of all types; pictorial, literary and just about any other format one cares to imagine. For, if constant change, municipal renewal and incessant architectural upheaval are the mothers of urban reinvention, then Tel Aviv must surely rank as a grand civic matriarch.
As a regular periodic visitor to Israel’s cultural and commercial first city for the past fifty years my mind’s eye (not to mention my various cameras) has become a kind of time-lapse observer of Tel Aviv’s astonishing physical evolution. And while this is not the place to attempt a full description of that development (it requires a long book) I have over the three years or so of this blog attempted to give at least an occasional impression – in words and pictures – of what I’ve witnessed and continue to see.
Because this addition to that “series” is so unplanned (I didn’t even bring a camera on the trip and had to rely on my iPhone for the images), I’m hoping that in its own small, colourful way it will more faithfully transmit some of the atmosphere of this amazing coastal city.
These pictures are all taken from rooftop breakfast decks of our otherwise unremarkable little downtown hotel. I think they offer a distinct, technicolor and interestingly optimistic Tel Aviv tableaux…
Stick a building – any building, on the edge of the land, where it meets the sea; on a sunny day, beneath a vast dome of blue sky, and something magical happens. Colours seem more intense; shadows seem darker; and tones seem more dynamic; making – often humble – utilitarian structures appear like architectural masterpieces.
During my many years of travel I’ve often been struck by the allure of these sun-kissed lumps of timber, steel and concrete. And without further ado, presented below are a small selection of those I was fortunate enough to be able to record in photograph.
We’re often asked by people we meet, and who are familiar with our life story, if we watch the TV show, Grand Designs (on the UK’s Channel 4). For the uninitiated, in 1993 Dido and I together with a small team of local builders and on a limited budget built a house on a rugged hilltop in the south of Spain. Grand Designs is a program which follows people – often young to middle aged couples (as we then were in 93) – as they undertake unusual and ambitious house-building projects similar to our own, with much of the drama emanating from all the trials and tribulations of the process. Invariably dreams turn into nightmares and then finally – though not always – the original dreams are more or less attained. And perhaps because there was so much pain, mental and physical, during our building experience my answer to the question is that I rarely watch the program. The few times I have it usually culminates in me experiencing a mild form of post-traumatic stress disorder, especially when the subject suckers – I mean subject couples – go through their own darker moments and mini-disasters.
Nevertheless, at the risk of sounding clichéd, for us, as with most of the Grand Design people, it all worked out in the end and we now have an extraordinary house and home. The question of whether or not it was worth it, and if, given the choice we would do it all again is something of a moot point. Certainly, we wouldn’t do it the same way again. We wouldn’t restore an existing ruin and tie it into a new additional structure – a process that doubled both the time and cost of the project, and necessitated Dido and I becoming labourers on our own build to speed things up and to save costs. No, if we did it again, we’d do what the locals here do – bulldoze the site into a flat platform and build a completely new structure.
This is something of a second installment to an earlier post called Walking over Almonds (https://adamhalevi777.com/2014/10/26/walking-over-almonds-2/) and some of the background, including what the original semi-ruined cottage looked like can be found there. Suffice to say here that with one or two expedient modifications from the original plans the build took around six months, beginning in the summer of 1993, and used up every penny we had (although at least we didn’t go into debt). Our architect was the gifted – Bartlett trained – Seattle-based Mark Travers (who we paid with one of my huge oil canvases of the Atacama). Between the three of us (with some help from a structural engineer friend of Mark’s) we came up with a well-built house exactly suited to our needs and passions, and, for a contemporary Andalusian dwelling, unusually sympathetic to its immediate environment.
This is an unavoidably larger post than usual and the photos of the build, being from (crudely ) digitally converted old film, are not up to my usual standards. Regardless, I hope there is much of interest here, for those who know us as well as for those who do not, and perhaps even one or two useful pointers for those thinking of embarking upon a similar project…
Padua is most famous in the anglophone world at least for being the setting for Shakespeare’s The Taming of the Shrew, but it’s true importance lies in it’s role as one of the oldest and most important university cities in the world.
Arguably, the home of modern western medicine – indisputably the cradle of modern pathology – with strong associations to the likes of Galileo and Copernicus it’s legacy as a historic center of scientific learning is only surpassed by Cambridge. (This is particularly interesting when one realises that Padua University emerged from Bologna University in a way very similar to the way Cambridge emerged from Oxford – at about the same time.)
However, as a warning to the prospective visitor to Padua, it should be noted that for all it’s academic glories (and a couple of fabulous artworks by Giotto and Donatello) it falls far short of most of it’s city neighbours so far as things like charm and gastronomy are concerned. Nevertheless, like all Italian towns, it finds a way to smile back when one points a camera at it.
Presented here are a series of enhanced photographic images through which I make an attempt to transmit the feeling of a stroll through Padua’s cobbled streets and along her narrow waterways…
When I first set my eyes upon the cover to Led Zeppelin’s Physical Graffiti in 1975 it captivated me almost as much as the incredible music on the two pieces of vinyl it contained. This next “gallery” offering is by way of an homage to that and the art of record cover design in general – an art form in the process of being resurrected due to the return of vinyl discs.
Fr. Justin Belitz OFM is the founder of the Franciscan Hermitage and author of "Success: Full Living," "Success: Full Thinking," & "Success: Full Relating." His teachings incorporate spirituality, science, and art for personal growth and development.