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In America between 1946 and 1953, the German-Jewish architect Eric Mendelsohn planned seven synagogues, of which four were built, all in the Midwest. In this book, photographer Michael Palmer has recorded in exquisite detail Mendelsohn's four built synagogues in Saint Paul, Saint Louis, Cleveland, and Grand Rapids. These photographs are accompanied by an insightful contextual essay by Ita Heinze-Greenberg which reflects on Eric Mendelsohn and his Jewish identity. Mendelsohn's post-war commitment to sacred architecture was a major challenge to him, but one on which he embarked with great enthusiasm. He sought and found radically new architectural solutions for these "temples" that met functional, social, and spiritual demands. In the post-war and post-Holocaust climate, the old references had become obsolete, while the founding of the State of Israel in 1948 posed a claim for the redefinition of the Jewish diaspora in general. The duality of Jewish and American identity became more crucial than ever and the congregations were keen to express their integration into a modern America through these buildings. Hardly anyone could have been better suited for this task than Mendelsohn, as he sought to justify his decision to move from Israel and adopt the USA as his new homeland. The places he created to serve Jewish identity in America were a crowning conclusion of his career. They became the benchmark of modern American synagogue architecture, while the design of sacred space added a new dimension in Mendelsohn's work.
In the aftermath of World War II, the United States experienced a rapid expansion of church and synagogue construction as part of a larger “religious boom.” The synagogues built in that era illustrate how their designs pushed the envelope in aesthetics and construction. The design of the synagogues departed from traditional concepts, embraced modernism and innovations in building technology, and evolved beyond the formal/rational style of early 1950s modern architecture to more of an expressionistic design. The latter resulted in abstraction of architectural forms and details, and the inclusion of Jewish art in the new synagogues. The Architecture of Modern American Synagogues, 1950s–1960s introduces an architectural analysis of selected modern American synagogues and reveals how they express American Jewry’s resilience in continuing their physical and spiritual identity, while embracing modernism, American values, and landscape. In addition, the book contributes to the discourse on preserving the recent past (e.g., mid 20th century architecture). While most of the investigations on that topic deal with the “brick & mortar” challenges, this book introduces preservation issues as a function of changes in demographics, in faith rituals, in building codes, and in energy conservation. As an introduction or a reexamination, The Architecture of Modern American Synagogues, 1950s–1960s offers a fresh perspective on an important moment in American Jewish society and culture as reflected in their houses of worship and adds to the literature on modern American sacred architecture. The book may appeal to Jewish congregations, architects, preservationists, scholars, and students in fields of studies such as architectural design, sacred architecture, American modern architecture and building technology, Post WWII religious and Jewish studies, and preservation and conservation.
Eric Mendelsohn's modernist building, The Park Synagogue in Cleveland Heights, Ohio, is one of the most significant post-World War II buildings in the United States. Notable for its magnificent dome and its natural wooded setting, it also had an immense architectural influence on other religious structures in the Midwest. Erected during the late 1940s, the Synagogue was built in response to a large majority of the downtown Cleveland Jewish population moving to the eastern suburbs. In 1934, under the leadership of Rabbi Armond Cohen, the struggling Anshe Emeth Beth Tefilo congregation bought the twelve-acre property of the defunct Park School in Cleveland Heights and later purchased an additional twenty-one acres of land adjacent to the Park property owned by John D. Rockefeller. Plans were developed for a new synagogue to be designed and built by the famous European architect Eric Mendelsohn. Today The Park Synagogue, dedicated in 1950, is home to one of the nation's major Conservative congregations. Eric Mendelsohn's Park Synagogue tells the story of the construction of The Park Synagogue and examines how Mendelsohn consciously sought to express the ideals and traditions of the congregation and Judaism in its architectural forms. From one of the world's largest copper-clad domes weighing 680 tons to the shape of the sanctuary and spectacular bimah, Mendelsohn sought to incorporate the architecture into Jewish ritual and worship. He favored dramatic curves of glass walls, circular stairwells, and porthole windows, and he used the circle as a dominant form throughout his career. The Park Synagogue is one of the few Mendelsohn buildings that remains virtually as it was built. Author Walter C. Leedy Jr. discusses how the construction of The Park Synagogue solidified the congregation, attracted new members, and set the stage for expansion into the next century. Eric Mendelsohn's Park Synagogue brings unique insight into the development of the American Jewish community during the post-World War II period and into the evolution of Mendelsohn's architecture.
American Synagogues is the first book to explore the exceptional architecture of modern American synagogues in the twentieth century, and this intriguing book relates the fascinating history of the Jewish people in America and how it is expressed in twentieth-century synagogue design. The book features all new photography of synagogues in many styles from a dozen states, many never before published in any form. The synagogues were designed by European masters, the best-known modern American architects, and by important contemporary architects including Frank Lloyd Wright, Philip Johnson, and Minoru Yamasaki.
Chronicles the history of the Jewish synagogue in America over the course of three centuries, discussing its changing role in the American Jewish community.
This full colour publication explores the rich and diverse response to the quest to sustain the Hebrew heritage that has resulted in prominent designs.
Mid-20th century sacred architecture in America sought to bridge modernism with religion by abstracting cultural and faith traditions and pushing the envelope in the design of houses of worship. Modern architects embraced the challenges of creating sacred spaces that incorporated liturgical changes, evolving congregations, modern architecture, and innovations in building technology. The book describes the unique context and design aspects of the departure from historicism, and the renewal of heritage and traditions with ground-breaking structural features, deliberate optical effects and modern aesthetics. The contributions, from a pre-eminent group of scholars and practitioners from the US, Australia, and Europe are based on original archival research, historical documents, and field visits to the buildings discussed. Investigating how the authority of the divine was communicated through new forms of architectural design, these examinations map the materiality of liturgical change and communal worship during the mid-20th century.
This text celebrates the B'Nai Amoona Synagogue, a landmark of the city of St Louis, designed by the architect Eric Mendelsohn. The synagogue currently houses the Center of Contemporary Arts (COCA).
In Architecture of the World’s Major Religions: An Essay on Themes, Differences, and Similarities, Thomas Barrie presents religious architecture as an amalgam of aesthetic, social, political, cultural, economic, and doctrinal elements, which are often materialized in different ways in the world’s principal religions.
In 1961, famed architect Louis I. Kahn (1901-1974) received a commission to design a new synagogue. His client was one of the oldest Sephardic Orthodox congregations in the United States: Philadelphia's Mikveh Israel. Due to the loss of financial backing, Kahn's plans were never realized. Nevertheless, the haunting and imaginative schemes for Mikveh Israel remain among Kahn's most revered designs. Susan G. Solomon uses Kahn's designs for Mikveh Israel as a lens through which to examine the transformation of the American synagogue from 1955 to 1970. She shows how Kahn wrestled with issues that challenged postwar Jewish institutions and evaluates his creative attempts to bridge modernism and Judaism. She argues that Kahn provided a fresh paradigm for synagogues, one that offered innovations in planning, decoration, and the incorporation of light and nature into building design.