1967年六日战争之后，住房部面临着居住新获得的领土的需要，这导致当地主要建筑师组织了许多住房项目委员会。赫克以其几何学启发的实验建筑而闻名(比如他以前设计的BAT Yam市政厅)，赫克受教育部委托，在耶路撒冷西北四公里处的一座孤立无援的小山上规划了一个由720套住房单元组成的建筑群。

Following the Six Day War in 1967, the Ministry of Housing was confronted with a need to populate new acquired territory, which led to numerous commissions of housing projects by leading local architects. Known for his geometrically inspired experimental architecture (such as his previously designed Bat Yam City Hall), Hecker was commissioned by the Ministry to plan a complex of 720 housing units atop a lone hill four kilometers northwest of Jerusalem.

 Images from the exhibition: The Object of Zionism, at the SAM (Swiss Architecture Museum, Basel, 2011). Curators: Zvi Efrat and Hubertus Adam

展览的图片：犹太复国主义的对象，在SAM(瑞士建筑博物馆，巴塞尔，2011年)。馆长：Zvi Efrat和Hubertus Adam

赫克提出了一种有机的结构，由重复的模块化十二面体(具有12个相等五角面的三维形状)组成，由预制的五角混凝土板构成，用作承重墙。与周围单调的公寓楼形成鲜明对比的创新形态，以及可持续的预制方法，促使政府批准了这一看似古怪的提议；建设始于1977年。

Hecker proposed an organically-inspired structure, composed of repetitive modular dodecahedrons (three-dimensional shapes with 12 equal pentagonal faces) constructed with prefabricated pentagonal concrete slabs, which were to serve as load-bearing walls. The innovative morphology, which stood in contrast to the monotonous apartment blocks surrounding it, as well as the sustainable prefabrication method, urged the government to approve this seemingly odd proposal; construction began in 1977.

 Model via aedesign.wordpress.com

通过aesign.wordpress.com建立模型

这个社区的布局就像一只五指手，每只“手指”上都有五到六个v字形的联锁公寓楼，形成内部庭院和行人流道。中央“棕榈”区包括购物、教育和社区服务，以及三个外部停车场。公寓里有三到四间直线卧室，四周是五角墙，为洗手间和厨房创造了空间。此外，露台扩大了公寓之间的居住空间，并提供建筑物内的流通和流通手段。

The neighborhood’s layout resembled a five-fingered hand, each “finger” containing five or six v-shaped interlocking apartment buildings, which create inner courtyards and pedestrian circulation paths. The central “Palm” area contained shopping, education and community services, as well as three outer parking areas. Apartments contained three or four rectilinear bedrooms, enclosed by pentagonal walls which created the space for the washroom and kitchen. In addition, uncovered terraces extended the living space between apartments and provide and means of circulation within the buildings.

 Images from the exhibition: The Object of Zionism, at the SAM (Swiss Architecture Museum, Basel, 2011). Curators: Zvi Efrat and Hubertus Adam

展览的图片：犹太复国主义的对象，在SAM(瑞士建筑博物馆，巴塞尔，2011年)。馆长：Zvi Efrat和Hubertus Adam

虽然具有创新性和挑衅性，但十二面体住宅被证明是狭小、黑暗和极不实用的。室内空间包括无法使用的墙壁、狭窄的阳台和倾斜的五角形窗户，几乎无法提供任何日光。历史学家兼建筑师大卫·克鲁安克将这个项目描述为“雕塑，从几何角度看，这是一种形式上的好奇心，它的形状令人惊讶，但缺乏真实的内容。”[1]正是出于这些原因，以及它的外观不那么吸引人。这个项目并没有吸引到它想要的中产阶级人口，而是居住在极端正统的社区，他们喜欢低廉的租金、便利设施和偏远的地方。

Although innovative and provocative, the dodecahedron housing proved to be cramped, dark and monumentally impractical. The interior space contained unusable walls, narrow balconies and slanted pentagonal windows that hardly provided any daylight. Historian and architect David Kroyanker describes the project as “nothing but sculpture, a formal curiosity that was interesting from a geometrical point of view, whose shape was surprising but that lacked real content.”[1] It was for these reasons, as well as its unappealing appearance, that the project did not attract the middle class population it was intended for and was instead inhabited by ultra orthodox communities that favoured the low rent, amenities, and the remote location.

 By Adam Nathaniel Furman via world-bin.blogspot.com

亚当·纳撒尼尔·福尔曼(Adam Nathaniel Furman)

然而，强加给租户的形式主义和僵化的建筑使他们在Koryanker所说的“创造性应对”中扩大了房间，拓宽了窗户，并在立面上增加了空调单元。2008年威尼斯Biannale以色列展览的策展人Nitzan Kalush Chechik和Michal Cedarbaum声称，这些增加的建筑是以色列建筑景观中常见的现象，它们“接管了建筑的景观和建筑的原始特征”。

Nevertheless, the formalistic and rigid architecture imposed on the tenants led them to, in what Koryanker refers to as an act of “creative coping,” enlarge rooms, widen windows and add air conditioning units on the facades. Nitzan Kalush Chechik and Michal Cedarbaum, curators of the Israeli exhibition at the 2008 Venice Biannale, titled "Additions: Architecture Over Time," claim that these additions are a common phenomenon in the Israeli architectural landscape, where building regulations are not commonly imposed, and that they "take over the landscape and the original character of buildings disappears."

 By Adam Nathaniel Furman via world-bin.blogspot.com

亚当·纳撒尼尔·福尔曼(Adam Nathaniel Furman)

虽然Ramot Polin建筑学曾经是一个激进的实验，但如今的Ramot Polin建筑群，与其说是创新的课程，不如说是不可控制的东西，证明了许多建筑师无法理解的东西：与租户、项目的个人用户以及最终客户相比，他们的意图是毫无意义的。由于该项目仍在进行变革，每一次改变都是按照其自身的有机进化，复杂的建筑呈现出一种乡土风格，具有讽刺意味的是，与最初的建筑形式相比，它更像是赫克最初的有机灵感意图。

Although once a radical experiment in architecture, the Ramot Polin complex today is less a lesson in innovation and more of uncontrollability, proving what many architects fail to comprehend: their intentions are meaningless compared to that of the tenants, the individual users of the project and its ultimate clients. As the project is still undergoing change, organically evolving on its own accord with every alteration, the complex has taken on a vernacular appearance which, ironically, more resembles Hecker’s original organically-inspired intention than the initial built form.

 By Adam Nathaniel Furman via world-bin.blogspot.com

亚当·纳撒尼尔·福尔曼(Adam Nathaniel Furman)

[1]David Kroyanker，“耶路撒冷的建筑：墙外的现代建筑，1948-1990年”(Keter Press，1991，希伯来文)-由Haaretz翻译。

[1] David Kroyanker,"Architecture in Jerusalem: modern construction outside the walls, 1948-1990" (Keter Press, 1991, in Hebrew) Quote translated by Haaretz.

建筑师ZviHecker位置哈罗，耶路撒冷分类公寓面积72000.0平方米工程年1977年

Architects Zvi Hecker Location Haroe, Jerusalem Category Apartments Area 72000.0 sqm Project Year 1977