The Station’s Radio was used in the first years of the mall as a venue for advertisment and music for the visitors. In its new role, it has been transformed into an aquaponic farm growing lettuce and fish. Aquaponics is an innovative method based on symbiotic relations between fish and soilless plants. Substances secreted from plant roots, growing in water, supply nurishment to the fish. In turn, the fish provide nitrogen-rich fertilizer to the plants. Aquaponic systems in closed spaces diminish the need for fertilizers and pesticides, and reduce water consumption by over 80%.
Built by Onya Collective’s Shmulik Twig with LivinGreen.
During the opening event, the radio was brought to life with an immersive dance performance by 3 dancers moving within the public passages, drawing passengers and exhibition visitors into the pink light.
Thanks to Moti Cohen, Nitzan Solan, Paul Lichtenstein and Moran Weissfisch
more than 600 empty stores are hidden in the streets of CBS. some of these storefronts transformed in to temporary galleries and spaces for exhibitions of artworks.
Zaudito Yossef presentes coal monument, works created from an extensive exploring of the coal as a work material. The coal’s past and present fused with inner world that deals with distant childhood memories and the reconstruction of them. The roots of the coal are easy to imagine, but no one will ever find out the exact origin of a specific lump of coal.
Gianphillipo Pietra presents Still Life expressing the process where the border between reality and the the imaginary world becomes more and more vague on Wood pallets found on the streets, reality is not what the eye sees, reality transforms into what the mind imagines. Based on the intertwining of dreams, the works enable the viewer to participate in a game where reality transforms through art into a more vivid way of being.
Uri Shapira in Introducing The Quiver Weed and The Yellow Algae Timelapse creates imagery of growth by means of chemical reactions, generated in a room – a “laboratory” – under controlled conditions. these landscapes are exceedingly colorful, however the “growth” brings no relief or tranquility; it is poisonous, threatening and gloomy. Eros and Tantos, growth and procreation in an encounter with death and disintegration. If our world were to be annihilated in one blow, these would be the plants to develop after the disaster.
Hilli Noy‘s Two illustrations representing two life paths that are both separate and complementing. The illustration on the right represents life in village, a solid ground that enables growth, a place the artist defines as a sanctuary of peace and innocence. The illustration on the left refers to a city, afloat, free and independent, and yet at the same time disconnected and cornered. in the city, one can feel away from his base, but still anticipates going back to everything that the village represents, all that is an element.
Niv Friedman Gilboa‘s Bomb Shelter explores the attempts to offer the shelters a different function, which is disconnected and sometimes even contradicting to their original meaning by having the option to have a look on its insides. The shelter is a claustrophobic space to which the project tries to give a sense of spaciousness. The contrast deepens when considering its context within the CBS, which holds an atomic bomb shelter within its underground basement.
Vered Lily yehezkel’s Neverland took a deserted storefront on the 5th floor of CBS, a small waxed settlement appeared. In the dense man made brutalist atmosphere of the CBS new kind of natural habitat is offered, enabling imaginative settlements to blossom. One of the ways of coming closer to our nature can be more easily explained with the meaning of the word ‘Gezellingheid’ a Dutch abstract noun (adjective form gezellig) which, depending on context, can be translated as convivial, cozy, fun, quaint and nice atmosphere, but can also connote belonging, time spent with loved ones, the fact of seeing a friend after a long absence, or general togetherness. The “Gezellingheid” can be a form of art, allowing us to get closer to nature.
5000 buses pass through the Central Bus Station daily, through raised bridges crossing residential areas, emitting hazardous fumes into the air. a single official pollution detection system, fails to specify different areas of pollution around the station and its data isn’t reachable. residents claim cancer and disease is higher than normal, while claims for 73% deviation from legal pollution levels has been recorded. The city and state numbers avoid any response to such claims. Artist David Reichmann Gibbs, working in a studio within the station, addresses this issue is a 3 part installation:
During the 19th century miners would have entered the dangerous mines with a cannery in a small cage. If dangerous gases such as methane or carbon monoxide leaked into the mine the gases would kill the canary before killing the miners, thus providing a warning to exit the tunnels immediately. In language the idiom “cannery in a coal mine” is often used to express something whose sensitivity to adverse conditions make it a useful early indicator of such conditions.
A self made measuring device designed to visualize the amount of particles of dust in the air around and inside the station. This simple device consists of two sheets of paper laid together, the top sheet with a cut out circular hole exposing the paper underneath. After a certain length of time the top sheet of paper is removed leaving a circular mark (imprint) of the fallen amount of dust during the period of time that has passed.
Brownian motion. Equation.
Defining the random motion of particles suspended in a fluid or gas state. Observed when sunbeams are admitted into a shadowy space – the glittering, tumbling motion of small particles of dust is caused chiefly by true Brownian dynamics. Due to heavy air pollution, the first two entire floors of the station are closed to the public. in 2002 a seventh floor is inaugurated to solve this problem. A solution taking care of a problem yet inadvertently blocking the entrance of direct sun light into the building.
Hundreds of square meters of empty advertising surfaces, including these 120cmX180cm florescent lights boxes, are installed on central walls in the station, These remains of the hyper-privatized era of the early 1990’s in Israel, fail to draw advertisers and now pile layers of dust, some broken, some switched off.
Within the lightboxes two series of works now exhibit.
The first, the series of illustrations “Nua”, which means move, or movement, by the illustrator Zohar Winner now exhibit. The artist uses markers to reflect on daydreams.
Another series work, by landscape architect and photographer Efrat Hildessheim is MossScape. Hildessheim presents a series of four photographs, apparently documenting a simple nature outing, a weekend in the country, or in different part of the series, a fantastic scene created in nature. At the second glance, the green is too evenly green, the figures are remarkably similar and frozen, and the proportions between them are impossible in real world. The pastoral scene is undermined and somewhat disturbing; a closer look reveals that the landscape is moss, and the figures are dolls.
The Third work is the Infinite, by Onya Collective’s Nisan Almog and David Gibbs. Along a route leading from the taxi terminal into the station’s depths one comes across an old sign reading “Burger King” The known franchise has long been closed and relocated, but its name is still hanging forgotten and in disrepair.
Within this sign is installed an endless mirror – an optical illusion now occupying the space between yesterdays future and its bygone past.
Special thanks to Michal Leser who made the first step in bringing the growing moss into the bus station.
On the massive column of the CBS bus entrance bridge, above the busy Lewinsky street, a parasitic installation draws eyes in a place where people usually look down and walk fast.
A system of repetitive triangular shapes made of fabric leftovers, wood and a plastic bottle contains tropical plants that require little light and clean the air. Its watering system, resembling a root system, brings water from above, as a gentle gesture showing the massive flow of forces flowing down this massive concrete column, holding the bus viaduct above.
Studio*s- Ari Liberson, Shahar Nissim, Asaf Etzion, Kerem Kaminski, Inbal Czeizler, Tal Mor, Tom Bendakovski, Alex Khykin, Eli Saar. Irrigarion system by Netafim
Special thanks to Ariana Kusivetsky and David Reichmann Gibbs.
Geodesic domes have become a symbol for temporary and affordable place-making in festivals and community gardens around the world. A Geodome made of bamboo and reused irrigation pipes was constructed above the fenced and closed entrance ramp. Complemented by fast growing climbing peas and greens, the Geodome signals that something good is now growing.
In the ramp, a smartly irrigated citrus orchard shows the potential of fruit trees in the city. Tel Aviv, planned originally as a ‘Garden City’, is full of trees scattered between buildings and streets. Integrating the local wisdom of the Bustan, fruit gardens popular in Palestinian culture, into the modern city, could provide food and vitamins to urban dwellers. Agrocity’s installation sits on the border between the public street and the private property of CBS, responding to a city rule that permits picking fruit from trees growing in private gardens, only as far as the hand can reach. Thanks to Guy Yogev.
The BioBench is a practical sculpture that combines plants and production waste from a pipe plant. It serves as a relaxing spot, a pause from the busy street above. Built in a collaborative effort of youngsters and residents, this project strengthens the sense of belonging of locals to their public space, and enhances the connection between man and nature. Thanks to Michael Negev and Uri Sinai
Neve Shaanan pedestrian street – the Central Bus Station area’s main commercial street, comes to a peak in a deserted and shut down entrance ramp, surrounded with a 2 meter double fence. This meeting point, between the street and the CBS, could have been a significant street corner, and if it were Roman times, there may have been an obelisk to mark it. This was chosen as one of the main intervention spots for the Next Station.
Since the gate closed in the 90’s, the ramp was neglected, occupied by trash, criminal activities and occasional fires. In order to deal with the “situation”, a years-long discussion between the municipality and the CBS management, arguing if it’s a public or private area, concluded with the decision to fence this area and close it to the public.
This grey area, In the street but declared part of the privately owned station, posed a great opportunity to use the magic of creative placemaking in order to grow a space that is more inclusive for the community, a place to meet, interact and have meaningful positive experiences. The ramp, more than anything, symbolizes the dark and complex connections between the CBS, and the neighborhood around it.
(2 Pictures from 2012)
During the exhibition, we hosted 4 events of live music shows produced by the sweetest of local boys, Daniel Szus and Eyal Feder from TCM Festival. Music is a peculiar form of expression. On the one hand it is an elite art form, which can express both an artist’s feelings and passions, as well as voice complex ideological or political issues. On the other, the basic nature of the music and rhythm has a luring power, which brings people and communities together on a more basic level. The bus station area is an interesting annex of musical activity. It is home to the bustling independent music scene of Tel Aviv – indie, electronic, and experimental musicians live and create music here. It is also, as home to the city’s vast array of migrant communities, an intercultural center of many different sounds and rhythms, usually oblivious to the Israeli public.
Out of those reasons we choose to make the ramp home to “Grassroots”, a line of live music shows targeted at exposing and respecting local, independent and grassroots musicians from the different corners of the society in Israel. Together with TCM Festival, a group working to promote the independent music activity in the area, every other Friday the ramp comes alive with live shows by musicians from the neighborhood and other peripheries in a celebration of sound, rhythm and interaction. This creates a double effect – one the one hand it creates a vibrant place of togetherness for the neighborhood, where people can meet, enjoy the music, and be together. On the other, it attracts to the area people who don’t usually visit it from all over the, and starts to break their negative association with it. They enjoy the music, cruise through the shops of Neve Shaanan, eat and drink at local restaurants and mingle with the local population.
Surely this place has changed in the minds of some, neighbours or outsiders. who now have a memory of a live rap show or dancing to electronic music in the street.
A documentary project creating an archive of short scenes filmed in stores across the Central bus station by Inbal Shirin Anlen in the past 18 months.
The artist has created an online platform, making use of the numbering codes and stickers for spaces within the station (floor-street-shop – i.e 2-2-54), in addition, the videos are also presented with QR codes located near the stores. These are everyday moments from the station’s people lives, sometimes seems isolated and stable, in contrast to the hectic movement of people around them. The archive offer the viewers to take a moment and stay with the people of the station, to look at them and experience the spaces and stories creating this place.
In the 1940’s, Tel-Aviv’s old bus station was established in Neve Sha’anan neighbourhood, not far from the city center, but far enough to disregard. Like in many other cities, the terminal area became a center for all that society wishes to repress – prostitution, drugs and urban filth. It was also a place for great cheap shopping and a huge mixture of colours, smells and options. in 1993, after 26 years of on-off construction, the new central bus station was opened. Like a concrete baby with geriatric problems, the huge station’s opening brought waves public scrutiny, with any predicting its failure. And it failed. But still, today it hosts people from dozens of countries living in the area, crowded public venues, food stalls, karaoke, shops and events, and a fantastic lively atmosphere as the main commercial center for the entire area.
But it’s 45% abandoned, neglected, dirty and unsafe.
Possible futures is a series of speculative works created by young architects from Tel-Aviv, who explore and re-imagine the Central Bus Station as an arena for public agriculture and vivid civic activities. The works present optimistic ideas for re-use of the vast spaces in and around the massive structure, in the light of city plans to phase-out public transportation from the station. The proposals were elected in a public open call and are presented, among other art works, in Gallery 5470 – a vacant store transformed to a temporary exhibition space inside the CBS.
Part of the works can be also viewed by a set of telescopes placed around strategic locations in the building, each offering a new perspective on reality through a translucent printed layer of 3D-generated vegetation, presenting alternative environments of possible futures.
1. Some possible futures by Dana Mor, Onya Collective
This proposalimagine a time after bus traffic is removed from CBS as planned, and urban renewal programs take effect, the soon-to-be-vacant platforms of CBS could be replaced with positive programs. Gardens and recreation spaces could be invited back into the cleared space. What is now a notorious, polluted, crime-hit mega building, is a potential for vertical park with active public institutes.
2. Next Life by arch. Avi Laiser and arch. Lior Ben Shitrit, AL/Arch
Next Life project exemplifies a partcipatory architecture of disintegration that dwells in the physical and the virtual worlds simultaneously and reflexively. Since the bus terminal cannot be demolished, it is re-built in the virtual world of Minecraft inviting the public to engage with it in any way they wish. Every virtual intervention on the building will have a physical/vegetal presence on site in the form of vegetal insert. The insert will be attached to the exterior walls of the terminal to slowly penetrate the walls and overtake its massive concrete structure. www.al-arch.com
3. Plant Plant by Robert Ungar, Onya Collective
This vision imagines a future of a productive city, where fields and orchards could create a polycultural ecosystem, which will invite people to take part of the food cycle as an integral part of the public space. Through densification of agriculture within cities, rural land could be freed. Once uncultivated, the newly reclaimed land could be re-distributed for political tranquility. In another scenario, transformation of agricultural lands to natural reserves will allow a return of the once prosperous rich flora and fauna of the Israeli landscape, strengthening biodiversity and wellness of us all.
4. Pla(n)tform , by arch. Adi Reich-Roman and arch. Ori Ronen
This projectsuggest an architectural fantasy transforming the CBS into a private-public farm, where agriculture is both scenic and profitable. Providing public space, from which agriculture may be viewed, enhances its role as a scenic resource. Public spaces are concentrated at the street level, and are accompanied by existing and new public services, shops, cultural venues and a market selling local produce.