架构师提供的文本描述。圣书(希伯来文：היכלהספר‎黑赫尔海瑟弗)是耶路撒冷吉瓦特拉姆附近以色列穆塞姆的一个分支，建于1965年。这座建筑是1947年至1956年间发现的死海涡旋，它位于古尔曼干旱区及其周围。

Text description provided by the architects. The Shrine of the Book (Hebrew: היכל הספר‎ Heikhal HaSefer) is a wing of the Israel Musem near Givat Ram in Jerusalem, constructed in 1965. The building houses the Dead Sea Scrolls, discovered between 1947 and 1956 in and around the Wadi Qurman.

这座建筑是由匈牙利慈善家大卫塞缪尔戈特斯曼(David Samuel Gottesman)家族资助的一个精心策划七年的过程的结果，他购买了这些卷轴作为送给新成立的以色列国的礼物。

The building was the result of an elaborate seven-year planning process funded by the family of David Samuel Gottesman, a Hungarian philanthropist who purchased the scrolls as a gift to the newly founded state of Israel.

一位建筑师，美国慈善家兼设计师阿尔芒·菲利普·巴托斯(ArmandPhillipBartos)被选中，因为他嫁给了戈特斯曼的女儿。另一位被任命为建筑师的弗雷德里克·约翰·基斯勒此前曾从戈特斯曼那里获得资金，在现代艺术博物馆安装“无止境的房子”。

One architect, American philanthropist-cum-designer Armand Phillip Bartos, was chosed because he was married to Gottesman's daughter. The other appointed architect, Frederick John Kiesler, had previously recieved funding from Gottesman to install the "Endless house" at the Museum of Modern Art.

建筑团队还包括与伊比·哈默(Ibbi Hammer)关系密切的盖泽·海勒(Gezer Heller)，他是以色列国未来的首席银行家，也是布达佩斯首席拉比(Rabbi)的女儿。以色列人反对选择非以色列建筑师，特别是基斯勒。

The architectural team also included the well-connected Gezer Heller, brother-in-law to Ibbi Hammer, future chief banker for the State of Israel and daughter of the Chief Rabbi of Budapest. Israelis objected to the choice of non-Israeli architects, especially Kiesler.

神殿本身就像一个白色的圆顶，周围环绕着一个反射池。它所包含的结构被放置在地下三分之二的地方，并通过一条长而暗的通道进入，模拟发现卷轴的环境。

The shrine itself is built as a white dome, surrounded by a reflecting pool. The structure it contains is placed two-thirds below ground, and is entered through a long dark passageway imitating the environment in which the scrolls were found. 

内部的卷轴显示在一列光下。在白色的穹顶对面是一堵黑色的玄武岩墙。建筑的颜色和形状是基于“光明之子对黑暗之子的战争卷”中的图像。白色的穹顶是指光明之子，黑色的是黑暗之子。

The scrolls, within, are displayed under a column of light. Across from the white dome is a black basalt wall. The colors and shapes of the building are based on imagery from the Scroll of War of the Sons of Light Against the Sons of Darkness. The white dome refers to the Sons of Light, and the black the Sons of Darkness.

从它向公众开放的那一刻起，它就积累了大量的应用意义-解剖、生物和技术。这座建筑的确很新颖：除了考古遗迹和宗教遗址外，以色列没有象征性的建筑。鉴于国家博物馆的政治手段，这样的阅读是诱人的。

From the moment it opened to the public, the Shrine accumulated numerous applied meanings--anatomical, biological, and technological. The architecture was certainly novel: aside from archaeological remnants and religious sites, Israel had no symbolic architecture to speak of. Given the political instrumentality of the National Museum, such a reading is tempting.

和其他后殖民时期的国家艺术机构一样，比如新德里的国家博物馆，以色列博物馆是这个新成立的犹太国家的政治工具；神殿是它的内容和出现的隐喻。这座博物馆诞生于20世纪50年代，目的是存放犹太人身份的真实历史证据，并展示一个新兴国家的创造力。和新的以色列国一样，神殿从构造深度突然冒出来，固化成完整的形态；自治、有限、永恒和永恒。

Like other post-colonial national art institutions, for example the National Museum in New Delhi, the Israel Museum was a political instrument of the newly formed Jewish state; the Shrine is a metaphor for both its contents and that emergence. Conceived in the 1950s, the Museum was to house authentic historical evidence of Jewish identity and to showcase the creative prowess of an emerging nation. Like the new Israeli State, the Shrine emerges suddenly from tectonic depth to solidify into monolithic form; autonomous, finite, timeless, and eternal. 

像以色列人民一样，神殿是一个神秘的东西，现实地降落在博物馆的沙漠花园中，在退却的过去和未知的、无边无际的未来之间牵线搭桥。

Like the Israeli people, the Shrine is an enigmatic thing, surrealistically landed in the desert garden of the Museum to mediate between the retreating past and unknown, unbounded future.

基斯勒则否认神殿具有隐秘的象征意义。在回应“耶路撒冷邮报”的一篇报纸文章时，他坚持建筑的结构和功能。虽然他不断地滑入象征意义中，却再次肯定了这座建筑的神话地位：

For his part, Kiesler denied that the Shrine had covert symbolic meaning. Replying to a newspaper article in the Jerusalem Post, he insisted on the structural and functional qualities of the building... although his continual slippage into the symbolic only re-affirmed the building's mythical status:

“当然，每个人都可以自由地发展自己的形象，但从新闻的角度来看，在写故事之前采访其中一位建筑师会更专业，而不是依靠八卦。”圣所既不是乳房的形象，也不是洋葱的形象，而只是一个容器，它从地下深处以传统的双抛物线形式升起，从宽的底部上升到张开的脖子。这是一种新型壳结构的持续流动，我自1924年以来一直在开发这种结构，它在结构上具有很高的抵抗力，在这种情况下，它是一种很有价值的设计，可以保持均匀的温度，并消除圆形建筑内的混响。在工地的建设中，有如此多的工业技术和设备，无法在这里加以说明。

“Of course, everybody is free to develop his parallels of imagery, but it would have been more professional from a journalistic point of view to interview one of the architects before writing the account, rather than relying on gossip. The sanctuary is neither an image of a breast, nor of an onion, but simply a vessel, a container that rises from deep down the underground in a traditional double parabolic form, from a wide base to an open neck. It is a continuous flow of a new type of shell construction which I have been developing since 1924 and which has proven structurally highly resistant and, in this case, a valuable design for maintaining an even temperature and breaking the reverberations within a circular building. There are so many industrial techniques and equipment incorporated in the construction of the site that they cannot be accounted for here. 

它们不仅是功能性设计，而且是“开发”的功能，被纳入了一座仪式建筑中。没有任何象征意义的企图。神殿是一种纯粹的结构设计，它表达了从过去和现在到未来的连续性概念。“

They are not just functional designs - but they are “developed” functions incorporated into a ritual building. There is no symbolism attempted. The Shrine is a purely structural design in which the idea of continuity from the past and present into the future is expressed."