Коротун, ІринаKorotun, Iryna2023-09-262023-09-262020-03-012020-03-01Коротун І. Інспіративні складові архітектурно-просторових рішень “Храму книги” Фрідріха Кізлера та Арманда Бартоша поблизу пагорба Ґіват-Рам у Західному Єрусалимі / Ірина Коротун // Вісник Національного університету “Львівська політехніка”. Серія: Архітектура. — Львів : Видавництво Львівської політехніки, 2020. — Том 2. — № 4. — С. 105–114.https://ena.lpnu.ua/handle/ntb/60214Стаття присвячена аналізу архітектурно-просторових рішень архітектурного об’єкту, збудованому за ідеєю Фридріха Кізлєра у співавторстві з Армандом Бартошем – архітектурному комплексу Храму книги, поблизу пагорба Гіват-Рам в Західному Єрусалимі. Досліджуються передумови формування світогляду архітектора, що пов’язані з походженням і містом народження – Чернівцями з потужною на той час іудейською общиною, у якій його батько був вагомою людиною. Пропонується аналіз ідеологічних та семіологічних складових художніх рішень. Святе письмо іудаїзму, зокрема Сефер Йецира, як транскрибування колористики екстер’єрів архітектурного комплексу. У свою чергу, елементи формоутворення синтезовані за допомогою стилізації та творчого перевтілення форм головуючих атрибутів іудаїзму.The article is devoted to the analysis of architectural and spatial solutions of an architectural object built according to the idea of Friedrich Kiesler in collaboration with Armand Bartosz – the architectural complex of the temple of books, near Givat Ram Hill in West Jerusalem. The article examines the prerequisites for the formation of the architect's world-view related to the origin and city of birth – Chernivtsi, with a powerful Jewish community at that time, where his father was a significant person. The analysis of the ideological and semiological components of artistic solutions is proposed. The holy scripture of Judaism, in particular Sefer Yetzirah, is a transcription of the colouristic of the exteriors of an architectural complex. In turn, the elements of shaping are synthesized through stylization and creative reincarnation of the forms of the presiding attributes of Judaism. The order that Friedrich Kiesler carried out for the last 10 years of his life turned out to be the material embodiment of his personality and creative theories. The architectural image of the temple demonstrates the semiological thinking of the architect and his use of historical and philosophical images as the initial sources of plastic language. The construction of components is based on mystical images from the Scroll Sefer Yetzirah (book of creation): the war of the Sons of Light with the Sons of Darkness. The symbolic eternal confrontation between good and evil – one of the leading motifs of Sefer Yetzirah (book of creation) – is reflected in the white stupa of the dome – the symbol of the Sons of Light and the compositionally contrasting black basalt wall – the Sons of Darkness. The opening at the top of the vault is the path to heaven, hence to God, opened with the help of the sacred knowledge gained. As for the interiors of the exhibition halls, according to F. Kiesler, they reflect his theory of the unfinished house, which he worked on for several decades. The semiotic images of the composition are transparent in their figurative language and read like a book. Sketches by architect F. Kiesler reflect the process of the birth of an image, in which the main element is the Sefer Torah (Torah scroll) in a ritual case (Tik – Sephardic). Also, Keter Tora is surrounded and washed by water, a sacred element that is very symbolic for Eastern cultures. Besides, this snow-white roof above the surface of the water with the underwater part that already forms the inner volume of the “Temple” is an analogy with the insignificant visible surface and powerful underwater deep part of the iceberg, hidden under the water surface, like the sacred wisdom of the Jews, is hidden from the uninitiated by its visible and reflex ritual veil. Keter Tora is the outer shell, the dome of the central hall of the museum. The “Scroll” is placed below it along the vertical axis of the interior. For F. Kiesler work on the architectural complex of the “Temple of the Book” was tedious. For him, whose thoughts were always eager for the future, it was difficult to turn more than 2 millennia into the depth of history, but he fulfilled his last earthly mission with brilliance. Theory without practice is dead, and practice without theory is blind. The temple of books near Givat Ram Hill in West Jerusalem is the embodiment of the outstanding creative potential of not only the theorist but also the practitioner – architect Friedrich Kiesler. Religious and social education, emotional impressions of the architect's childhood and youth years spent in the strong Jewish community of Chernivtsi, creative search for new ways of architecture and architect became inspiring components of the architectural and spatial solutions of the “Temple of the Book” by Friedrich Kiesler and Armand Bartosz near Givat Ram Hill in West Jerusalem.105-114ukФрідріх КізлєрХрам книгиСефер ЙецираКетер ТораінспіраціяеманаціянаративіудаїзмFriedrich KieslerTemple of the BookSefer YetziraKeter Torahinspirationarchitectural imagecreative ideasnarrativeJudaismArticle© Національний університет “Львівська політехніка”, 2020© Коротун І., 202010doi.org/ 10.23939/sa2020.02.10572.03(477) (045)Korotun I. Inspirational components of the architectural and spatial solutions of the “Temple of the book” by Friedrich Kiezler and Armand Bartosz near the hill of Givat-Ram in west Jerusalem / Iryna Korotun // Visnyk Natsionalnoho universytetu "Lvivska politekhnika". Serie: Arkhitektura. — Lviv : Lviv Politechnic Publishing House, 2020. — Vol 2. — No 4. — P. 105–114.