CHALLENGE AND CREATION: MERGING RICH HERITAGE WITH ARCHITECTURAL INNOVATION

Jerusalem is not an easy place for architects. Every stone has history, every street is laden with meaning and every new project must engage in dialogue with layers of the past that refuse to let go. The city demands from its architects not only technical expertise but also profound sensitivity to its human and historical fabric — a skilful balance between preservation and innovation, between what was and what will be.

"I've been to Paris and Rome," says Matti Rosenshine, founder of one of Jerusalem's leading architecture firms. His words echo the song Shalom Lecha Eretz Nodedet (Hello You Wonderful Country) by Yehoram Gaon, one of Jerusalem's best-known native sons.
Following a global journey that included study in Chicago, a year in Paris and teaching at a Rome university, Rosenshine chose to return to Jerusalem. "People ask why Jerusalem and not Tel Aviv," he says. "Tel Aviv is a young city, a relatively blank canvas that's far simpler to design for whereas Jerusalem has deep history and deep historical layers, which make its planning far more challenging. But this is what drew me! The opportunity to meld rich heritage with architectural innovation, which demands creativity at every turn."

Harmonious Contrast Between Old and New
Rosenshine was born in the US, moved to Israel at age eight with his family and settled in Jerusalem when he was thirteen. His deep sense of belonging to the city, combined with an insatiable intellectual curiosity, led him on an academic journey that included extensive research into the first-century BCE Roman architect and theorist Vitruvius. For nearly a decade, he worked on a new edition of Vitruvius's treatise, the oldest surviving architectural text.
"I engaged with classical architecture as few do," reflects Rosenshine. "Vitruvius wrote about the Hellenistic period centuries before he lived, and essentially set the canon of architectural principles. His writings on proportion, harmony and the social role of architecture remain foundational to this today. I interpreted his texts, and traveled the ancient world researching and reconstructing his words."

This deep engagement gave Rosenshine a unique insight into Jerusalem's challenges. "In Jerusalem, you encounter architecture from all over — Mamluk, Ottoman, Neo-Classical, International style. Studying the past gave me the tools to understand this architectural language and the confidence to develop it."
Rosenshine's approach was profoundly shaped by Jerusalem's complexity, its layers, contradictions and tensions. "Architecture must evolve alongside culture and society," he asserts. "Just as literature and poetry evolve rather than remain confined to the past, architecture too must develop to reflect new lifestyles and technologies."

At the core of his work is the concept of 'harmonious contrast,' a term he coined to describe the tension between old and new. "Many of our recent projects preserve historic buildings while introducing contemporary elements," he explains. "In Jerusalem, this contrast takes on special meaning — harmonizing Jerusalem stone from the Mandate era with exposed concrete, Ottoman vaults and clean, modern lines."

When Is Such Contrast Harmonious Rather than a Clash?
"It's harmonious when old and new don't negate one another but instead highlight their similarities and their differences," he responds. "It's when contemporary materials like exposed concrete or glass complement a preserved building rather than obscure it, emphasizing what came before. Achieving this requires both sensitivity and courage."

Not everyone has that courage, he says. "I was once asked why I build in contemporary style within historic fabrics. I believe you can draw inspiration from your environment while expanding its boundaries. Jerusalem has countless styles, and it's precisely the gap between them that allows for new creation. Contemporary architecture can thrive even in traditional neighborhoods provided you understand and respect the context."

When Do You Assess Whether a Building Truly Works?
"I try to revisit projects after their completion to observe and understand how people use them," says Rosenshine. "I've learned not to see buildings as isolated objects but as part of the urban ensemble as a whole. It's not the building itself that matters, but how it interacts with its surroundings and the street, and how it contributes to public space."

Meticulous Preservation Meets Vertical Construction
One project that embodies harmonious contrast is a neglected 19th-century agricultural building in Ein Kerem, with small windows, no ceiling and exposed stone walls. "It felt cave-like, almost part of the earth," recalls Rosenshine. "Its former residents had farmed the land, so it was important to preserve this connection."

Its renovation paired the original stone and historic vaults with exposed concrete, straight lines and clean geometric forms. "We wanted to reveal the rawness and primal character of the materials," he explains. "The harmonious contrast was created by the meeting of warm Jerusalem stone, which tells the building's story, with the sharp modernity of exposed concrete. The result is a modern home that deepens the connection to the past without erasing it."

Rosenshine's favorite project is an events center he designed in Jerusalem's Botanical Gardens. In a city where Mandate-era laws require stone construction, this wooden interior was a rare opportunity. "It was a unique chance to respond to the Gardens' organic shapes and natural materials," he notes.
The surrounding woodland was the primary inspiration. "We wanted visitors to feel as if they were walking into a wood as they entered, where light and acoustics shift, and everything feels different. What especially excites me is how light creates dynamic effects throughout the day, thanks to the building's curved form. For me, architecture is, above all, a craft of light, seeing what it does to space."

The project that best illustrates Rosenshine's professional philosophy is a 35,000-square-meter urban complex combining meticulous preservation with vertical construction. Located on a historic site in the heart of Jerusalem and currently under construction, it includes housing, commerce, offices and public space.

"Our idea was to create an urban continuity that respects the local fabric while breathing in new life," he explains. "We preserved buildings from different historic periods and integrated new high-rise structures that neither imitate nor oppose them, but instead respect them, fostering dialogue." The design features a public passageway that connects streets and squares and invites the public in.

"When designing a project like this, the real test isn't the renderings but how people use it," he says. "We must preserve historic buildings to strict standards while integrating modern infrastructure — air conditioning, elevators, safety, accessibility — which often conflict at every planning stage."

What are the greatest Conflicts which you encounter?
"Where do I begin?" laughs Rosenshine. "Different people usually want different things. The preservation committee insists on one aspect, the municipality is somewhere in the middle and the client just wants approval. Without coordination, it can be frustrating. I often find myself mediating between parties to reach the best outcome."

A Fertile Ground for Styles and Cultures
As Jerusalem modernizes, climate-sensitive design has become essential, from green building to natural materials to natural ventilation. "The developer then complains about costs," says Rosenshine. "It's a constant struggle, but seeing the building come to life makes it worthwhile."

He credits his diverse team of some 20 architects aged 20 to 60, for his firm's success. This cosmopolitan mix mirrors Jerusalem's own diversity, creating a dynamic exchange of perspectives, styles and cultural influences, he says. Around the drafting table, sketches are debated, dismantled and reassembled until the optimal solution is found.

Alongside the company's large-scale projects, Rosenshine values local initiatives with broad community impact. A small gallery soon to open in the Botanical Gardens, for example, is more than a cultural space. It's an opportunity to explore how architecture can weave subtle threads between nature, community and public life.
After several decades working in the city, Rosenshine realized that architecture alone cannot address Jerusalem's unique challenges. So in 2016, he completed a master's degree in urban design from the Bezalel Academy, studying enclaves in the city. His thesis, Enclave Urbanism, proposes principles to reconnect disconnected neighborhoods through shared public spaces, encouraging Jerusalem's cohesion without sacrificing its historic character. This is in the face of the city's vertical construction boom.
"The architect's task is not solely preserving the spirit and unique character of the historic city but also connecting its parts — its communities, neighborhoods, landscapes and built-up environments," he notes. "Jerusalem is large and its fabric fragmented, partly because of topography and partly because of Mandate-era planning. It's time to change this."

As in Yehoram Gaon's song, Rosenshine's decision to return from Paris and Rome to "the towers of Jerusalem and the colorful market alleys" is not a concession but a calling. "Good architecture in Jerusalem is defined by its ability to listen to the city and respond without disrupting its delicate balance," he says.

In collaboration with Matti Rosenshine Architects