The unfolding narrative is situated in the distinctive setting of Bezalel Art Academy during my mid-90s studies, providing a window into a crucial phase of my academic journey. The unexpected entrance of a custodial staff member, characterized by her unconventional introduction, injects an element of disruption and curiosity into the academic milieu. This encounter sets the stage for a foundational design exercise, emblematic of the institution’s unique instructional approach.
Within this academic framework, the questions posed in the narrative transcend conventional boundaries, pushing the limits of imagination and creativity. This narrative ethos nurtures an environment where curiosity is not just a trait but an attitude—a fundamental aspect of critical thinking. The narrative positions curiosity in design as a tangible manifestation of active engagement with the world, serving as a vehicle for articulating one’s position within it. This seamless integration of curiosity and critical thinking becomes a recurring theme, symbolizing the essence of a transformative learning experience within the broader landscape of design education.
Sand Clocks serve as timeless objects that engage with memory through everyday gestures, embodying a primordial connection to actions and meanings. These artifacts encapsulate memory within their design, solidifying it as they evolve. The intricacies of constructing and dismantling time within these details create an intimate connection to memory, organizing it as a curated collection of artifacts—a living archive that preserves and structures both personal and collective identity.
Traditionally, archives are viewed as repositories of documents preserving historical records for future generations. However, Pierre Nora’s exploration in “Between Memory and History: Les Lieux de Memoire” (1989) introduces the idea that memory and history are distinct concepts. He argues that living people carry memory, subject to the dialectic of remembering and forgetting, vulnerable to manipulation, and continually evolving. For diasporic Jewish communities, Nora suggests they are “peoples of memory” rather than history. Through memory, history is constructed, creating a narrative that bridges the past and the present.
Nora’s perspective underscores the notion that the archive of Judaism is embedded in daily devotion to rituals and traditions, evolving and progressing over time. Unlike history, which is an intellectual and secular production demanding analysis and criticism, memory is a dynamic and spontaneous force. It maintains a continuous connection between the past and the present, emphasizing that the past is not a static entity but a narrative shaping who we are today. The transition from memory to history involves a redefinition of identity for every group as it navigates the critical discourse and analysis inherent in historical
