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Vernacular Synagogue Architecture by Shari Goldberg In contrast to New York State’s renown synagogue landmarks–such as Temple Emanu-El or the Eldridge Street Synagogue–its vernacular synagogues maintain a quiet, unsung presence in their neighborhoods. For much of Jewish history in Europe and the Middle East, most synagogues built could be called vernacular,” Dr. Samuel Gruber, author of Synagogues and Director of the Jewish Heritage Research Center in Syracuse, NY, said in a recent interview. “We do not know who the architects were, and the style and material of the synagogues emerge largely from the local building tradition,” Dr. Gruber explained. Thousands of synagogues fit this basic definition of the vernacular: built without significant architectural innovation, often by congregants, using local forms. The term “vernacular” does not refer to one recognizable style, as “Moorish” or “Classical” does. Vernacular synagogues were constructed by builders or architects who looked to local buildings for design and local materials for Ken M. Lustbader Congregation B’nai Joseph Anshe Brzezan on Stanton Street of Manhattan’s Lower East Side (Architect unknown, 1913) exhibits a distinctive Classical facade, with a triangular pediment, pilasters, and strong cornice lines. form. “Rather than develop new solutions to designing space,” said Dr. Gruber, they built within the established,commonly available vocabulary of construction.” Vernacular architects did not seek to invent new forms, but to adapt, reuse, and rearrange existing models. As a result, vernacular synagogues closely resemble the dominant architecture that surrounds them. Vernacular synagogues on Manhattan’s Lower East Side bear similarities in size and materials to tenements, while those located in rural New York State utilize the building techniques of neighboring residential, commercial, and ecclesiastic structures. Inside, vernacular synagogues are more homogenous, containing the liturgical requirements of a Jewish house of worship: an ark, the cabinet that holds the holy Torah scrolls, and a bimah, the platform and table for reading the Torah and leading services. Historically, the bimah was located in the center of the synagogue, facing the ark at the rear wall, and the congregants’ seats were angled to surround the reader’s platform and look to the ark. Tradition also holds that Jews should face Jerusalem while praying. Thus, noted Dr. Gruber, “For most European and American synagogues, the axis looking toward the ark is to the east.” In Orthodox synagogues, where Jewish law is strictly followed, separate seating is required for men and women; women are usually seated in side galleries or on a balcony. Common Bond 2 Volume 16, No. 2/Winter 2001 ⏐ www.nylandmarks.org Congregation Darech Amuno, on Charles Street in Manhattan’s Greenwich Village Historic District (Architect unknown), was originally a rowhouse dating from 1868; between 1912 and 1917, the building was gutted and renovated as a two story synagogue. The Lower East Side Vernacular structures can be built without large budgets or months of planning. They were thus a natural option for the thousands of European Jewish immigrants who arrived on Manhattan’s Lower East Side between 1880 and 1915. Newly American congregations often purchased narrow lots on residential blocks, or even actual rowhouses, for their synagogue buildings. The typical 18'-25' lot size constrained the possibilities for synagogue design, as did the uniform height of surrounding mid-block buildings. Vernacular architects were challenged to create a sacred space among the tenements that could be read and recognized as a synagogue without disturbing the evenly built streetscape. They developed a Ken M. Lustbader
The Star of David above the parapet of Congregation Ahavath Israel of Greenpoint, Brooklyn (Architect unknown, 1895) marks of the building’s distinction as a synagogue on a residential block. To the left is another synagogue, built in 1887 (facade has been altered). unique New York City vernacular synagogue style which used brick and stone to gently adapt slivers of land to popular synagogue forms. The Lower East Side’s vernacular synagogues incorporated New York’s general synagogue style, established in the mid 1800s by the primarily German Jewish population. The style featured a tripartite facade, a central entrance, and corner towers. Each of these forms explained the interior layout: the central entrance led into the sanctuary, with the side sections and towers revealing the stairs and separate women’s seating. Employing a decorative facade gave vernacular architects the opportunity to distinguish the synagogue from the buildings around it. “In some cases, a fully Classical or Beaux Arts facade was used, as an attempt to elevate the synagogues, to indicate that they meant something more than the other buildings on the street,” said Dr. Gruber. Without introducing incongruous architecture, the builders wanted to make the synagogues seem more monumental than the location and interior of the structure would ordinarily suggest. Kehila Kedosha Janina (cover image; Sidney Daub, 1925-1927), at 280 Broome Street on the Lower East Side, is representative of that area’s vernacular synagogues. Surrounded by rowhouses, it displays the characteristics of early Ken M. Lustbader 20 th century American synagogue architecture. The building features a tripartite facade with a central entrance; a peaked parapet crowned by Stars of David suggests the corner tower design. Other vernacular synagogues in Manhattan, such as Congregation B’nai Joseph Anshe Brzezan on Stanton Street on the Lower East Side (Architect unknown, 1913) and Congregation Derech Amuno in Greenwich Village (Architect unknown, converted to a synagogue in 1917), also exhibit adaptations of the tripartate facade and corner towers. Congregation Ahavas Israel in Greenpoint, Brooklyn (Architect uknown,1895) has lost its towers, but remains crowned with a large Jewish star on its roof, above the central entrance. Kehila Kedosha Janina’s longest walls are oriented to the north; as per custom, the ark is opposite the entrance–but it thus fails to face east (Jerusalem). In order to avoid that problem, larger New York City congregations like that of the Eldridge Street Synagogue purchased land on the east side of streets running north and south; smaller congregations could not afford such prominent property. Interestingly, Dr. Gruber indicated that Congregation Shearith Israel, on Manhattan’s Upper West Side, lacked the appropriate real estate but still managed to point the ark and congregation east. “The congregation found itself on the wrong side of the street [facing west]–but managed to adjust for this by having the ark set against the inside of the [front] facade wall,” he said. “This gives a good public face on the street and meets requirements, though it might require an abrupt about-face once inside. Ancient and medieval synagogue builders faced the same dilemma and used similar solutions.” The Catskill Region, Sullivan and Ulster Counties Between 1900 and 1949, vernacular synagogues were also established among the farms and small towns of New York’s mountainous Catskill region. Some of the first Southern and Eastern European Jewish immigrants to arrive in the area at the turn of the century were merchants and tradesmen. Others purchased land to farm, but agricultural ventures were only marginally successful and became an adjunct to the development of Jewish summer resorts. The earliest synagogues (c. 1900-1920) were built by merchants and tradesmen in small villages, and by bungalow and boarding-house proprietors in outlying areas. Later, the synagogues served the transient resort patrons as well. The Jewish population in the Catskills diminished through the last half of the 20 th century, with the decline of the resort industry, and the vernacular synagogues have suffered. Their original members aged and relocated. The synagogues can barely survive on the negligible dues from individual families and dispersed members, which are paid mostly to maintain cemetery rights. Dr. Maurie Sacks, an anthropologist The synagogue of the Hebrew Congregation of Loch Sheldrake in Loch Sheldrake, NY (Builder: John Bullock, 1923-1924) incorporates a tall central arch, reflecting a new American interest in Middle Eastern-style synagogue architecture. www.nylandmarks.org ⏐ Volume 16, No. 2/Winter 2001 3 Common Bond © LaVerne Black 1998
Page 1: New York Landmarks Conservancy Comm
Page 5 and 6: Notes...News & Notes...News & Notes
Page 7 and 8: Lightning Protection by Susan De Vr
Page 9 and 10: Understanding Contracts by Shari Go
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Page 17 and 18: local preservationists. Marilyn Kap
Page 19 and 20: Financial and Technical Assistance

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