23.10.2011 - 09.04.2012

The Object of Zionism. Architecture of Statehood in Israel

The architecture and history of settlement of the State of Israel represent a unique project in the history of Late Modernism – unparalleled in the scale and speed of its realisation. The systematic planning experiment led to the construction of an artificial landscape as well as the erection of dozens of new cities and hundreds of new rural settlements. Furthermore there is hardly any other place that demonstrates more clearly than Israel how architecture cannot be separated from basic social, economic and political conditions.

The exhibition in the Swiss Architecture Museum is based on the concept of an image and plan archive featuring various aspects of the architecture and spatial planning of Israel between 1948 and 1973. Still widely unknown in Europe the material to be shown provides a multi-faceted and critical portrayal of the first 25 years after the establishment of the State of Israel; various films, which will be shown in the exhibition, as well as presentations of current studies create a link to present conditions and issues.

Basel already exists as a mythical place in the history of Israel: in 1897 it served as the venue of the First Zionist Congress that took place in the Stadtcasino directly vis-à-vis the premises of S AM.

 

Upcoming exhibitions

19.09.2026 - 03.01.2027

Tony Fretton: Practice

Opening: 18/9/2026, 7 PM

The S AM Swiss Architecture Museum is proud to announce PRACTICE, a retrospective exhibition of selected projects of architect Tony Fretton (b. 1945, London). He established Tony Fretton Architects in London in 1984, which ran until 2024. His published texts on architecture are numerous, and he has taught extensively, including as Chair of Interiors Buildings and Cities at the Faculty of Architecture at TU Delft, and as guest professor at GSD Harvard, ETH Zurich and EPFL Lausanne. He lives and works in London.

Fretton’s buildings and projects are presented at S AM through texts, photographs and drawings. Together, they show Fretton’s practice as continuity of reflection on the existing environment, including the social, cultural and political dimensions of the city and what lies outside it.