The Knesset building in Jerusalem
The Knesset (the Israeli Parliament) building in Givat Ram, Jerusalem, was inaugurated on August 30, 1966. The familiar square structure, enveloped by columns, differs significantly from the original plan of its initial designer. It is the product of professional compromises, disputes between architects, and security considerations that ultimately shaped the image of the Israeli legislature.
In 1957, architect Yosef Klarwein won the competition to design the Knesset building. The original model he proposed was a rectangular structure surrounded by columns (20 in the front, 20 in the back, and 15 on each side), with the Plenary Hall in the center, situated between two inner courtyards. This plan sparked an uproar within the architectural community. It was argued, among other things, that it was neither modern nor Israeli, that it was neoclassical and reminiscent of the Schinkel Museum in Berlin, and even that it bore a striking resemblance to a Greek temple. After years of disputes and attempts at compromise, architect Dov Karmi and his son Ram, along with British architect Bill Gillett, joined the project in 1960. Together, they prepared a new plan that was fundamentally different from the original. The building was transformed from rectangular to square, its perimeter was reduced, some of the offices were moved to terraces on the slopes of the hill, and later in the planning phase, the inner courtyards were canceled. The Plenary Hall remained at the heart of the building, though not in its exact center, but rather in its eastern section.
One of the most fascinating changes to the structure stemmed from a security consideration. In Klarwein's original plan, the main entrance was designated on the northern side, as a continuation of the Government Complex. Between late 1958 and early 1960, the Knesset's Implementation Committee decided by majority vote to relocate the entrance to the southern side, facing the direction of Ruppin Road, featuring a supported terrace and a steep, extensive flight of stairs. In February 1960, the head of the Operations Directorate in the IDF General Staff warned that the site was visible from Jordanian firing positions across the border, at a distance of approximately 3.5 to 4 kilometers. He cautioned that direct, flat-trajectory fire could endanger those entering from the south, particularly during ceremonies held in the plaza. While the General Staff did not attempt to impose its position, the Implementation Committee practically had no other choice, and the entrance was consequently reverted to the north.
The interior design was led by Dora Gad, who sought to imbue the rigid structure and its monumental spaces with a human dimension, simplicity, and modesty, without sacrificing its dignity. She opted for minimal decoration, unadorned surfaces, and a restrained color palette, extensively utilizing wood paneling on the walls of the Plenary Hall, the committee rooms, and much of the public areas. On the western side of the Plenary Hall lies the Chagall State Hall, which is used for receptions and official state events. It is named after the renowned Jewish artist Marc Chagall, who designed three tapestries woven in France, twelve floor mosaics, and a wall mosaic specifically for this space. The tapestries were unveiled in an official ceremony in June 1969, about three years after the inauguration of the building.
The structure of the Knesset building reflects the early years of the State of Israel: an aspiration for a monumental edifice alongside budget constraints, architectural disputes, and a complex security reality, all of which led to compromises between varying planning concepts. Whether the result is a dignified and cohesive building or one that lacks a single guiding hand, professionals remain divided to this day. The story of its long and turbulent planning is an integral part of its character.
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