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Jerusalem, one of the most ancient and controversial cities on the globe, has been ever attracting pilgrims and tourists by its historical sites dated hundreds and even thousands of years back to the history of humankind. But sometimes rich history turns burdensome, and thus since the second half of the twentieth century Jerusalem was defending its value not only as the main historical site in the Middle East, but also as vivid and important modern city: the much more appropriate status to the state’s capital. It seems that with the completion of the ambitious Strings Bridge project one additional step was made in this direction.
Located at the main entrance to Jerusalem the Bridge of Strings, which festive opening followed by fireworks and music show was attended by thousands of residents, is actually only a small part of the new traffic system in the city, including the tram railways connecting distant neighbourhoods, turning the centre of the city into one big walking promenade and supplying underground parking near the main sites of interest. But for Jerusalemites the bridge, with its pure modern style design by the famous Spanish architect Santiago Calatrava, is first of all a new city symbol (its 119-metre high mast supported by 66 steel cables turns the bridge into the tallest structure in Jerusalem), reminding them and the guests of the capital that Jerusalem is indeed on its way to the new modern era.
Still, there is no unanimity in the attitude towards the bridge and the whole traffic project. Jerusalem, surprisingly enough, is one of the poorest cities in Israel, due to the big numbers of Arabs and ultraorthodox Jews – two segments traditionally experiencing special hardships to join the contemporary labour market. The constantly growing cost of those projects (245 million shekels spent on the Bridge construction alone and several billions of shekels intended for the tramway) can turn unbearable for Jerusalem’s limited budget.
Photos by AP
