pg 25- Moshe often says that clients get what they deserve from their architects. Buildings are only as good as their clients are purposeful, conscientious, persistent, and clear about what they hope to achieve. To the Skirball Cultural Center’s aspirations, Moshe Safdie has given voice and character. Such a gift transcends to the realm of architecture: It speaks to , and lifts high, the human spirit – Uri D.Herscher- Founding president and CEO, Skirbull Cultural Centre
pg 28 – In haifa the young safdie encountered a model of multi ethnic globalism. The modernist terraced housing in which safdie grew up would also exert a profound effect on his architectural sensibility
pg 28 – IN 1953 , after Israel nationalised its textile industry (his father profession), the safdie emigrated to Montreal, where Safdie enrolled in McGill University. He graduted in 1961 with and undergraduate these project for “A Three-dimensional modular building system ”
pg 101 – (talking about Haifa) During the years Safdie spent there, Haifa was what Safdie describes as a coastal, pedestrain “Bauhaus town”… spreading up the hills from downtown where Bauhaus-style buidlings: the city of Safdies youth was built up from legible geomteries, recitlinear volumes, curved balconies, rooftop terraces and patios.
pg 101 – THe land in which Safdie was raised was the, and continues to be, one of the most highly politicised societeis in the world. Most Jewish settlers to Palestine were, like the young Safdie him-self “ardent Zionists” who believed they were creating for Jews a haven from political persecution and social ostracism. Spirited debate and outright conflict about the legitimacy, and the ideal form, of their society were common, both among Jews and between Jews and non-Jews. Safdie still remembers his anger (partly for political reasons) when his parents decided to leave Israel for Montreal, believing that their departure betray Zionism
pg 100 – The centrality of Team 10 to Safdie’s intellectual formation has not been sufficiently appreciated or explored. His refusal to differentiate between architecture and urbanism, his determination to create constructed hierarchies of public and private space, his deliberate attempts to empathise the particularity of place, and his understanding of centrality of cultural identity in architectural design – principles which Safdie learned from growing up in Haifa – were all canoncial tenets of team 10.
pg 100 – Influenced by the emerging discipline of cultural anthropology, these architects believed that buildings must accomodate and make manifest their cultural sepcificty. No style should aspire to be – indeed, no style could be- “international”. The architect’s tasl was to serve a specific client in a specific community by examining lcoal particularistic patterns of social interaction, along with the immediate built enviroment and the topography and climate of the site.
pg 101 – at Mcgill, Van Ginkel imbued his students with team 10s canoncial tenets: that architecture and urbanism were one, that architecture could not be designed without a larger social vision, that buildings and urban spaces must foster many different forms of social interaction in many different kinds of public spaces, that modernism was inconsistent neither with cultural nor with site specificity. Such ideas resonated profoundly with the politicised, highly idealist young Safdie, who recently had been unwillingly displaced from Haifa, a tightly knit, densely populated city. He knew that architecture and urbanism are one. And as the global citizen he become he understood the incapability of cultural difference