Abstract
This paper aims to present on contemporary architectural reflections in Jerusalem, where architecture is a result of the accelerating conflict following the reunification of the city in 1967. Both the traditional and contemporary Arabic architecture and Israel’s baffled search for a national architecture demonstrate expressions of power around the environs of the old city and suspects a truthful unification. Four different architectural forms, which are seen as reflections of power are explored within this paper, which can be a tool to critique that accounts to the general architectural attempt in the city to relate to the conflict. With the assistance of Theodor W. Adorno, the cases are discussed, analyzed and interpreted under the concept of authenticity and identity thinking. The paper demonstrates that contemporary architecture in Jerusalem, per se, lacks authenticity and, in fact portrays rather political attitudes, which are based on national/state aims that negate the aesthetical/ethical considerations of the city. It also, demonstrates a tendency towards a bias, which tend to reflect power in respect of contemporary Arabic architecture.
