Some of the silliest examples: Talitakumi in front of Jerusalem’s HaMashbir LeZarchan, a strangely out of place wall-and-clock structure intended to replicate the front of a girl’s school that was razed to make room for the department store. The gate leading to Gymnasia Herzliya in Tel Aviv was thrown up by sentimental, well-meaning people in recognition of the original structure, demolished to make way for the Kolbo Shalom. And does anybody know that the Gan HaIr mall and residential complex was named for the municipal zoological garden that once stood there?

The most unsung of all are the movie houses, most of them shuttered for decades, fall deeper and deeper into disrepair until they are destroyed to make room for malls, tall buildings and parking lots. No one remembers Tel Aviv’s majestic Mugrabi Cinema or Jerusalem’s historic Edison.

Nonetheless, a small victory was achieved a little over a week ago when high-rise developers were forced to change a plan to tear down Bay Yam’s historic Savion Cinema. The victory belongs to a local activist group of Bat Yam residents, artists and the Society for Preservation of Israel Heritage Sites who objected to the demolition and proposed a synthesis of old and new structures.

In its heyday, Bat Yam boasted six movie houses. The Savion Cinema was built in 1957 and — in line with the global trend – closed in the 1980s. “However it remained an architectural icon because of its facade which was characterized by a weave of concrete block units,” states The Marker.

Icon or not, the building was in bad shape. Its most recent tenant: a dollar store in what was once the movie-house’s lobby.

According to The Marker, the design for a 25-story tower by architect Ilan Pivko, will be modified in accordance with preservation plan for the building. The building — a luxury residence and prestigious office space — is a flagship project for the Bat Yam municipality which wants to develop the run-down neighborhoods adjacent to Jaffa. The preservation plan calls for the street-facing facade to remain intact.

One look at Pivko’s work and its clear that adapting his design to the new guidelines goes against his post-modernist grain. He does not favor keeping the facade as is and suggests a modular solution instead. “One can reconstruct, dismantle or in some other way create an interior element within the structure.” How Pivko handles this challenge remains to be seen… he has done this sort of thing before… but if he wanted to do it with the Savion, he would have worked it into the original design…

Hmmm… one gets the feeling that this issue isn’t over just yet.

Whether or not the Savion Cinema facade remains on the street level or whether, in the end, Pivko’s lobby will simply feature a bold construction of recycled concrete filigree, the real significance of the decision is a precedent set in curbing real estate developers’ ability to destroy old structures without recognizing their historic value. Hopefully, that means recognition not just in the form of an incidental plaque, statue or clock, but as part of the planning, putting real thought into paying homage to what came before.

The Savion Cinema photos were taken by architect Sharon Raz who is a one-man documentary powerhouse with a particular interest in Israel’s old cinemas. See his Disappearing Architecture and Disappearing Cinemas sites as well as his Natush blog for more photos and information.

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An international panel of distinguished judges, comprising experts in both design and in Holocaust Education, selected the 16 best posters from more than 300 submitted by design students from France, Israel and the Czech Republic. They were asked to present works on the theme of Holocaust commemoration, with an emphasis on the nature of memory and the plight of children.

The three finalists designed posters that stood out for their originality, beauty, and meaning.

The work by Veronica Novakova, a designer from the Czech Republic, portrays a well-known childhood punishment. “Traditionally, to correct a child’s errant behavior, an adult will force the ‘naughty’ child to write his misdeed over and over again, until he ‘learns his lesson.’ In this case, the misdeed is written by a child who is forced to denounce his friendship with a Jewish friend.

Designer Martina Cejpova also explores the effect the Nazi anti-Jewish policy had on children. “In her poster, she depicts a universally-recognized image from childhood: a hopscotch board, chalked onto the pavement. This particular game, however, is marred by a hateful symbol of discrimination drawn onto its cross-arms – the yellow star. Its inclusion here indicates that the insidious and pervasive hatred perpetrated by the adult world has also filtered down to the world of children, destroying their innocence.”

French designer Boris Grzeszcak deals with another theme in his work – the nature of memory. “His black-and-white poster presents a striking image of a scarred tree cut to expose the rings. A deep gash cuts to the very core of the trunk, where the word “emet” (truth) is written in tiny letters… [The artist says,] ‘The truth resides in the act of remembering and above all, never forgetting these dramatic events.’”

Peter Chmela of the Czech Republic says, “This poster wants to show the impotence of Jewish children against the Nazi soldiers. I tried to illustrate this theme with a big contrast between soldier and child.”

Yael Boverman, Israel: “The object that a survivor carries throughout a lifetime enables him or her to keep their memory alive. The closet symbolizes a collective closet, reflecting the repressed memories of the Jewish people as a whole. For every survivor, the memory is forever present under the thin veil of everyday functioning, represented by the new shirts, but at the bottom of the stack, there always lies the shirt kept from a different time – the persisting memory of a past that refuses to be abandoned.”

The project is funded by the Task Force for International Cooperation on Holocaust Education, Remembrance and Research (ITF), together with Yad Vashem, Israel; Mémorial de la Shoah, France; and the European Shoah Legacy Institute, Czech Republic; in cooperation with the Holocaust and the United Nations Outreach Programme.

In addition to the posters, there is also a lesson plan that provides tools to aid students and teachers in discussing the more universal aspects of memory — as well as the challenges facing those who use the visual arts to commemorate the Holocaust today.

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After years of not enough shoes in Israel, unattractive imported shoes or too-familiar, Teva Naot, Nimrod and other sandal-focused shoes — Israeli shoe designers have been multiplying at a welcome rate, joined by their brethren in spirit and style, accessories designers.

In fact, there are so many shoemakers, so to speak, that shoe and accessories man Jonathan Proim — whose wife Michal Miller is one of the designers — is hosting the second Zugot (Pairs) shoe fair this coming weekend.

Held at Beitan 10 of the Tel Aviv fairgrounds — Ganei Hataarucha — there will be 40 brands, 30 of them shoes, selling their wares at end-of-year prices. Most of the designers are local, but there are some imported brands, such as Fly London, which carries a certain Israeli sensibility, says Proim.

Last fair, some 8,000 people attended over the course of two days, and he says the designers have learned to up their inventory before setting up for the fair, and will have enough shoes to meet demand.

The fair will also include accessories, bags, socks and tights, and shoes for men, women and children. But no Crocs.

Friday, January 27-Saturday, January 28
10-7 Friday
10-10 Saturday
NIS 10 entrance fee

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In a radio interview today, Eshet said that he, together with his wife, the artist Dalia Eshet, always tried to find unusual locations and tell a story that expressed thought and originality. Venues like the Dead Sea, the zoo, the streets of Tel Aviv and even the Lebanon War were his backdrops. The couple served as stylists, makeup artists, directors, producers, designers — even model scouts, as there were no modeling agencies when they first started.

Eshet: “In the pre-modeling agency days, the relationship between fashion houses and myself was direct. Entire collections were sent to my studio and from that moment on until I got the photo I wanted I dealt with finding the models, designing and producing the image (including location and accessories) — and ‘decorating’ the model (the term ‘styling’ didn’t exist [in Israel])”.

Dalia Eshet: “He loved select the ones that came with a background in dance and movement. The model’s personality was an important component expressed in his photography”.

The exhibition presents photographs of those personalities, including Israel’s leading fashion models of the period, such as Penina Rosenblum circa 1972, before she became Israel’s most famous cosmetics queen / reality show / hoochie mama / ex-Knesset member…

Heli Goldberg went on to an acting career – including one of her best-known roles as a shopping cart bashing pudding thief in “The Battle For Milky” commercial…

The amazing Michaela Berko, Israel’s first 80s supermodel export (who recently paid homage to her famous Vogue cover on the cover of Israel’s La-Isha magazine)…

Exotic Tami Ben-Ami, who lived a supermodel’s life before they gave it a name. She dated wildly popular basketball player Aulcie Perry and was Gottex’s first house model. Sadly, she died of cancer in 1995 at just 40 years old.

The exhibition photos were selected from tens of thousands of images saved by the Eshets over the years, published in Israeli fashion magazines, catalogs, posters, ads and more. Definitely worth checking out, as is this report about Mula Eshet in his heyday.

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The Gad cheese grandfather

Carpet tiles (Photo credit: Tchochkes)

But the point of the video, says one commentator, is to recognize the metaphor of the movie. The peak in life, is not necessarily the refrigerator shelf, where it appears that everyone should be situated. But rather, the garbage pail, which may represent the margins of society or a greater mix of products, may offer more self-expression, and, more happiness.

It’s good to get the inner meaning, but you can just appreciate the clever aspects of this student project that has already been viewed more than 30,000 times.

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The name takes the hackneyed shopping channel phrase mutzar ha-yom, “product of the day”, and replaces it with the word ayom, meaning “horrible”. And indeed, many of the products are in fact, delightfully dreadful examples of visual wordplay.

Some of the ideas are universal in nature — others are unmistakably Israeli, for example, this toy soldier armed with mother’s cooking…

Water concentrate, as opposed to the ubiquitous sugary red mitz petel, so ingrained in the Israeli child’s psyche — and the Israeli child’s teeth!

A reversed three-fer electric adaptor…

A floor squeegee that actually gets into corners…

And my personal favorite, the real and original dubon coat.

Menkes also runs a Mutzar Ayom Facebook page in which followers are invited to comment on recent postings and share their own imaginary product ideas. Who knows, some might even make it into production — after all, if the Crembox can be an actual product fulfilling an actual need, then anything’s possible.

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Check out his shoe calendar, via the UK Calendar Club, with a 2012 wall calendar that features 12 Kobi Levi shoe designs.

He also recently collaborated with Image Comics’ Vescell storyline, integrating his shoe designs for one of the characters, Machi, a fairy protector.

Keep on spreading the word. Or the shoes.

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Chefs at work at Machneyuda

Anyway. I was pleased to find that they quoted Asaf Granit, one of the chefs from the very popular Machneyuda, which is in Jerusalem’s Machane Yehuda market and is considered one of Israel’s top restaurants right now. Unusual, really, as Jerusalem is seldom considered the have the best of anything trendy in this country. We may not care, but, sigh, I guess I do. So his contribution to this piece about coming up with unusual dishes was the following:

“Last week, there was a married couple and four young women here for a bachelorette party. We quickly got into a very interesting discussion and I decided to prepare a dish of beef tartare for them – right in their hands,” says Granit. “We put on their hands a layer of beef, onion, parsley and capers, all minced. We squeezed on some fresh lemon, drizzled a little olive oil, and all they had to do was lick their fingers.”

A traditional mahlabia

Lovely. And, finally, a quote from Itai Rogozinsky, who owns the Vaniglia ice cream parlor chain and is most proud of his frozen yogurt made with rosewater, roasted pistachios and apricot jam, kind of a takeoff of mahalabia, a pudding dessert that is popular in many Arab countries. How does this boy who says the yogurt is “a nostalgic reminder of his childhood in Kochav Yair” — a suburban town east of Kfar Saba that has been around about 25 or so years, created by Prime Minister Ariel Sharon to solidify the Green Line — know about mahalabia? Probably from the excursions his family used to take to nearby Nablus, Kalkiya and Tulkarm, three Arab towns in the vicinity.

It’s all good, drawing from memories and good flavors to create new tastes. And, interestingly, way down in the article an unnamed source commented that Israeli chefs just travel abroad to the chicest restaurants and come back to copy what they ate there. Would have liked a little more on that idea. Just a little context would help, oh Ha’aretz editors.

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Israel To Go is the name of a new cookbook slated for release in the coming months. The book, says Vardi, will present kosher Israeli cuisine with recipes and artwork solicited via crowdsourcing, which is an open call conducted mainly via online social networks, such as Facebook.

Photo: Untitled - Sasha Abramowitz

Contributing artists include Tali and Jonathan Korman, graphic designers with a sideline in fashion. Their T-shirt company, Bubulu Design, features images inspired by life in Tel Aviv — like this one, Hallo Artik, which pays homage to the humble beachfront popsicle vendor.

Photo: Hallo Artik – Bubulu Design

“We are looking for photos, artwork, drawings and graphic works documenting the Israeli culinary experience wherever it is. For example, a family dinner, people cooking, children playing with food, unique dishes, a special angle or places and situations that make your mouth water. Every artist has their own take on things, and their own taste.”

Photo: Israeli Breakfast – Orit Kovatz

“Israel To Go will be published in A6 (postcard) format – small, sweet and sassy. This size allows tourist to carry the book easily in their bag or pocket and take it home as a souvenir — a delicious gift for friends and family.”

Photo: Jerusalem – Benny Sharoni

Lunchbox is still soliciting artwork submissions and while the project does not pay it does offer exposure and, of course, copies of the book. In addition, Vardi says, “We also hope to organize an exhibition with the launch of Israel To Go in bookstores.”

Photo: Dining Room – Adi Kfir

Interested artists and photographers are invited to submit according to the following specifications: 1. Files in jpeg or eps in full color (CMYK) and print quality (dpi300); 2. Vertical work size: width: 11 cm, height: 16 cm, lateral work size: width: 22 cm, height: 16 cm. 3. Contact details: First Name (English only), Last Name (English only), email address and website (if any). Works should be sent to israeltogo1@gmail.com. Deadline is January 15th.

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When I write for a publication that’s new to me, or new in general, it helps turn up the volume on my subject matter. I have to be the ultimate arbiter on the subject at hand, making sure my new readers and editors will understand the piece, and be able to read between the lines, particularly if it’s about something Israeli that may not be known to this particular audience. I’m thinking about this because I just read through the premiere issue of JLiving, a new Jewish living magazine out of Los Angeles, which just launched.

I wrote about the top six Israeli resorts for the issue, as well as a piece about a creative entrepreneurial partnership, StudioVE, out of Tel Aviv. Neither piece broke any new news; I’m sure most of you reading either one of them will think, “Yeah, I’ve read about this before.” And perhaps you have, particularly from the resorts piece.

But because I was writing about it for a new magazine, one with readers who don’t necessarily regularly read about Israel, it made me look at people and places a little differently, with an eye as to how these places and people look and sound to those who don’t know them well, or have never come across them before.

So have a look, although it is a little annoying to read through the magazine widget. But it’s flashy and fun, and very California. And hey, it’s good to have some Sabra stuff in there.

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