Y.M.C.A. building in Jerusalem – an Architectural analysis

The Y.M.C.A. building in Jerusalem is perhaps one of the finest examples of eclectic architecture. Eclectic meaning a mix of different styles contained within a single building.

Completed in 1933 & designed by the architect Arthur Loomis Herman (1878-1958), the self same architect who designed the Empire State building in New York. A principle objective of the design was to incorporate elements from the 3 monotheistic faiths, namely, Judaism, Christianity & Islam. This sentiment was expressed verbally by general Allenby at the opening ceremony in 1933 "Here is a place who's atmosphere is peace where political & religious jealousies can be forgotten & international unity be fostered & developed ". A sentiment that has unfortunately not materialized.

Much has already been written about the buildings symbolism & though this article focusses on the architectural elements which make up the structure, I think it imperative to at least mention some of the symbolic references the building alludes to.

Starting with the 12 cypress trees which act as a prelude to the building itself. The trees represent the 12 tribes of Israel, the 12 disciples of Jesus & the 12 followers of Mohammed. The building itself has 3 divisions which symbolize the body, mind & spirit. On facing the entrance, the left wing is an auditorium which accomodates a gymnasium representing the body. The central segment houses the hotel rooms, the entrance lobby, dining area & lounge where people congregate and interact, thus alluding to the mind. The auditorium on the right is an area reserved for concerts which nourish the spirit. Forty columns define the courtyard and allude to the the 40 year wanderings in the desert following the Jewish exodus from Egypt, & according to the christian narrative, symbolize the temptation of Jesus by the devil for forty days & nights whilst in the Judean desert.

Architecturally, the structure is influenced by the following movements. Classical (Greek & Roman) , Byzantine (Christian), Moorish (Islamic), Romanesque (Christian), Gothic (Christian), Mamluk (Islamic) & Art Deco (an early 20th century movement).

By drawing attention to some elements of the building, the question I hope to address is as follows:

" How do the previously mentioned movements manifest themselves in the building " ?

Prior to commencing an architectural assesment of the building, I urge the reader to refer to the accompaning sketches and photo's as words and architecture are not the best of bed fellows.

CLASSICAL INFLUENCE : The plan & elevation are classical in that they are symmetrical about a central axis. In other words, the left hand side of the building is a mirror image of the right hand side or vice versa.

BYZANTINE INFLUENCE : During the design process the architect visited Istambul (Turkey) for inspiration. Unlike the Doric & Ionic column capitols created by the Greeks, & the later Corinthian capitol acredited to the Romans, the structure employs Byzantine capitols which are more ornate & varied. Their ornamentation being inspired by the natural world. In terms of geometric shapes, the Byzantines believed that the square symbolized the earth & the circle heaven. The 50 meter high square tower of the building representing earth, is transformed into an octagon by employing a device called a squinch, which in turn supports a dome that represents heaven. (Refer to the sketch entitled squinch). Similarly, the two domed wings, namely the gymnasium & the concert hall comprise of four arched roofs which converge to form a square. Employing a device called a pendentive, the square is transformed into an octagon which in turn supports a dome. (Refer to the sketch entitled pendentive). The dome's of both the gymnasium & concert hall are punctuated with windows around their circumference as is the dome of Hagia Sophia, a Byzantine architectural masterpiece located in Istanbul, Turkey. This transformation from square (earth) to circle (heaven) clearly addresses Byzantine religious beliefs.

Openings such as doors & windows are very often signatures of respective architectural styles.

MOORISH INFLUENCE : Moorish architecture employs what is called the horshoe arch & resembles its namesake. Examples of this arch can be seen throughout the building. As with Byzantine architecture the transformation from square to octogon to circle is also celebrated.

ROMANESQUE INFLUENCE : Romanesque architecture embraces features from both Roman & Byzantine architecture & exploits elements such as large towers & decorative arcading.

MAMLUK INFLUENCE : Above some arches are alternating shades of Jerusalem stone which circumvent an arched opening. Possibly inspired by an architectural technique referred to as ablaq, which are alternating or fluctuating rows of light and dark stone, a characteristic of Mamluk architecture.

GOTHIC INFLUENCE : Rib vaulted passageways, lancet (pointed) arches & stainglass windows are all elements of Gothic architecture as are the internal vaulted ceilings.

ART DECO INFLUENCE : A movement in the decorative arts that originated in the 1920's & became a major style in both the U.S.A. & Europe during the 1930's. One of its characteristics was to incorporate stylized figures onto the façade of the building such as the relief sculpture on the tower façe. Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The sculpture depicts the angel Gabriel refered to in Isiah 6 : 2. "Above Him stood seraphim, each having six wings: With two wings they covered their faces, with two they covered their feet,and with two they were flying".

A lesser known and hidden feature of the building resides in the basement just below the entrance. The basement is the location of an alter built in stone, as was Jacob's alter in Bet El (Genises 35 :7). All the stones used to construct the alter having come from Bet El.

Ron Traub (Tour Guide & Architect). Website : rontraub-tours.com Photo's : Rimonah Traub. Sketches : Ron Traub.