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Thirty one years after Ron Arad walked out of the architect's studio in Hampstead where he had just set about learning the finer points of professional practice to go for lunch, and decided never to go back, he has finally completed an authentic piece of architecture.
He has done the occasional interior; in Belgium he worked on a shopping centre with a roof like a lava flow; there is his own studio in London; and an unbuilt house, that was blocked by hostile neighbours.
Unsurprisingly there was a certain nervousness at the opening on Monday. Successful designers who try their hands at making buildings have a way of coming badly unstuck.
The scale is different, the relationship with space is different, and the materials are different. Would Arad, who has managed a remarkably creative twin-track career continually moving back and forth between mass production and one-offs, finally fall off the tightrope he has walked for so long in front of a home crowd in his native Israel?
The museum manages, intriguingly, to be both rational and a bravura piece of architecture. The first thing that it has to do is hold its own in an unforgiving context of the concrete slabs that typify much contemporary building in Israel. But equally important, if it is to fulfil the ambition of Holon's mayor to make his city a centre for design, it has to work as a place for an exhibition programme. Arad has convincingly managed to do both, by creating what amounts to two distinct buildings.