The Metal sculpture

The Fire sculpture

The Flower sculpture

Horse in the traffic circle 


Environmental Sculpturing
Study Of Indian Sculpturing
About Or-nah

Hebron road

The Hebron Road is a fascinating experience at the border of the desert, where sites abound, close by one another: here a water pond of the Solomon Pools; there the Moses Operation Monument (the operation that brought the Ethiopian Jewish community to Israel); the Six-Day War Pilot Monument; and remains of the Kathisma Church, which were uncovered during the road paving works, the Mar Elias Monastery; the painter Hunt Holman's bench; and, most remarkable of all, the Judean desert landscapes and Herodion.
Cutting a road out through the hilly landscape was accompanied with an indispensable landscaping rework. The design came from the view of this road as a landscape promenade. Along the excavation, low walls were built, out of local stone, to prevent rock falling. Along the twists and curves of these walls, their height and their shape vary, arousing the stroller’s interest and experience. Fascinating carvings in local rocks have been brought in: the “Horse” in the traffic circle at the Ghilo Junction, the “Camel Head” on a stone pedestal.
In the landscape gardening, preference is to the local vegetation, and olive trees, which had been taken away to make the road, have been brought back.
Hillcape Wall & Rocks is a sculptural emphasis of an engineering retaining wall, next to the Ghilo Junction. The wall, built in two layers, projects a definitely hilly silhouette, like an echo to the surroundings. The nature and quality of the stones impart a fascinating presence to the wall. In the afternoon, the hilly contour gets the contrast of a line of sunshine.
The focus of the road design is its widening in front of the Mar Elias Monastery.
The Foundations statue celebrates the Five Foundations of the Oriental Thinking, in relation with the local culture. The Fifth Foundation is that Earth is the Mother of all livings.
Foundations are symbols of the seasons of the year, and they are linked to the Four Cardinal Directions.
Water symbolizes Winter and the North direction
Flower the Spring sprouting and the Oriental renewal
Fire the burning of Summer and the Southern heat
Metal evokes Fall crimson, introspection, judgment, West.

Basalt is the Sculptors’ building stone (the Water sculpture combines basalt with limestone).
Basalt rocks, of all shapes and all shades, have been gathered from work sites in Galilee, ordered on purpose for the sculpture.
The selection of basalt was made with the intension of creating a contrast and a change, though with the desire of keeping in harmony with the development works in the local stones.
Basalt originates from the depth of the earth, from the foundation of the world. Its strength gets its expression particularly in the Fire sculpture.
The Metal sculpture belongs to the Fall season. To the Jews, it is the Yom Kippur period, the Day of Judgment and a time of introspection. Two elements comprise the statue: a cutting stone - the Guillotine - and next to it, an eye shaped structure: the Watching Eye.
The Water sculpture grew and evaluated along its making, as a result of the involvement of the entrepreneur and the Monastery people.
Stones were brought in from ancient water cisterns, from a neglected site. A particular ancient stone has been donated by a Mar Elias monk, who was walking around during the works, as though he was widening the area of his palace. This stone used to serve to wash hands, and it is adorned with reliefs. A canal makes its way across the sculpture and creates a sort of courtyard. It ends with a trough, carved especially for it.
The sculptures spread out as to allow enjoying the beauty of the Monastery; the concern goes to those who stroll in the garden. The sculptures are low, though they vary in height, from the Flower, which is only a relief, through the Water, which is about one-meter high, to twice as much in the Fire sculpture.
The variety enriches the environmental space.

The development of the site includes Hunt Holman's bench, in honor of a 19th century painter who was attracted to the Judean desert landscapes, drawn from that particular place. His “Scapegoat” painting is especially renowned. After his death, his wife had the bench installed here. A pedestal was built for the bench, with a stairway. The surrounding fence is designed in the style of the Monastery entrance fence, built with ancient and new stones. In the stairway, a carved stone, of impressive beauty, donation of the monk during the works, used to belong to a lintel in the church.

Location: Hebron Road, from the Oman Junction at north, to the Rosemary junction at south, Jerusalem.
Mar Elias Monastry, Hebron Rd.
Foundations sculpture - in the Mar Elias Monastery esplanade
Hillscape wall – South to the Ghilo Junction
Ordered by 'Moria co.' in the name of Jerusalem municipality
Project Management: Yoram Gadish
Carried out: Lavi Bar, Shlomo Kohen, Zalman Barashi & his sons
Landscape design & Sculptures: Or-nah Ran

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