Young Israel, which serves the largest Orthodox Jewish congregation in the Boston area, was destroyed by an electrical fire in January of 1994.
In the years since, worshippers have met at a hotel, a school and a vacant bank building near their landmark synagogue on Brookline's Green Street.
Last night, members gathered to celebrate the reopening of their new two-story synagogue, which was designed by Graham Gund Associates of Cambridge.
Source: Boston Globe
Monday, Nov. 18, 1996
The main event of the Dedication Weekend occurred on Sunday evening, November 17. Attended by an almost capacity crowd, the evening featured a buffet dinner (Catering by Andrew), a slide show by Willie and Betty Kantrowitz chronicling the rebuilding effort, and presentations to a number of honorees in the main sanctuary.
The ceremony in the main sanctuary was opened by Master of Ceremonies David Kahan with a quote from Hallel, "zeh hayom aseh Hashem." Reverend Loketch read Psalm 30, followed by shul president Ron Cohen's welcomming remarks. The building is a "testimony to the vision and hard work" by a number of shul members in particular, he said, noting that all the people to be honored that evening had made sacrifices, whether monetary or temporal. "All of us have known the agony of trying to design a house of G-d, knowing that we are but human." He thanked a number of people, including Rabbi Gewirtz, Stanley Rabinowitz, under whose leadership the rebuilding effort began; the Feuersteins, Isaacsons, and Fay Grajower, for their involvement in the fundraising effort, the Sokoloffs, for ensuring that "one hundred percent of the details" were done, the Menkes family, Merv Alge, and Norm Kram. Cohen also recognized Graham Gund and his staff, as well as the "old timers" present who provided the foundation on which to build the new shul.
Irene Blechner, president of the Sisterhood, followed Cohen's comments with the point that while the fire was officially listed as an accident, it surely was "orchestrated by Hashem" as a set of tests of the community's "ability to work together to replace what went up in flames." She noted that the rebuilding effort had entailled an important role for the Sisterhood, not only in fundraising, but also in providing a feeling of togetherness at Sisterhood events.
Remarks were also made by Rabbi Horowitz, the Bostoner Rebbe, Sh'lita, who said that this was a "very special day on the calendar of not only Brookline Jewry but also world Jewry." Noting that "things don't just happen," he looked back to the history of Young Israel of Brookline, to beyond the structure of the building itself, to the mid-1920s and honored Samuel Feuerstein as a "visionary who withstood the dire prediction of the disappearance of orthodox Jewry, and launched an Orthodox shul in Brookline at a time when only non-Orthodox temples were being founded." In addition, the Rebbe saluted Joseph Gann for having "another bes midrash associated with his name," and Norm Kram, an active member at Beth Pinchas.
Rabbi Twersky, the Talner Rebbe, Sh'lita, was unable to attend, but sent greetings which were read by Dr. Bernard Kosowsky. He spoke on the dual role of the shul as a place of prayer and teaching/learning. Expounding on the line "vayikra l'shem HaShem," he noted that the unification of both these activities are necessary for the life of Abraham Avinu to become truly paradigmatic for us as Jews. Due to its dedication to eternal things, the building of a shul is always a "new" building, and an elegant "bayis gadol" becomes a true "beis gadol" in the committement to mutually-reinforcing prayer and study.
Following these messages from the chachamim of the Brookline area, David Kahan noted that in the thirty-four months since the fire a number of national and local organizations had helped support Young Israel of Brookline. Mandell Ganchrow of the Union of Orthodox Jewish Congregations gave his greetings and spoke of a plan for the "ideal kehillah of the twenty-first century." Rabbi Issac Lerner spoke in place of the National Council of Young Israel president, who was unable to attend. He pointed out that NCYI had been in Brookline "on the day of the fire, on the morning of the groundbreaking, and now." The sketch of the new building was to appear on the cover of the NCYI newsletter "Torah Tidbits" this week. NCYI had also provided "deeds" for all of the member children, to remind them and everyone of the midrash in which Israel offers its children to Hashem as guarantors of the Torah. These deeds had been distributed after the transferrance of the sifrei Torah from the bet midrash to the aron kodesh in the main sanctuary during the Shabbat service the previous day. He also cited the parable in the G'mara, Masechet Taanit, in which a rabbi is unsure what blessing to give a tree whose shade and fruit he has enjoyed. Finally, he blesses the tree "that all your seedlings will be like you." After praising YI's youth programs, he presented a plaque with the text of the parable.
Rabbi Gewirtz gave the d'var Torah, recalling the levayah three years ago, when the sifrei Torah that had perished in the fire had been buried. Both it, and the first service in the new building, were difficult moments for him, though "the feelings are quite different. I felt what I had in my heart yesterday could never be replicated yet I stand here tonight." He spoke on the need to be makir tov to haKadosh baruch hu for having given the kehillah the ability to rebuild, and this gratitude can best be expressed by ensuring that this "binyan shaleym never be empty, that it be a makom tefillah, a makom limud, and a makom chesed. All are welcome within its walls we must even reach out." Gewirtz noted his goal that YI become the "hallmark of what the synagogue will become in the twenty-first century."
Governor Weld spoke of the new building as being "abundant testimony to the faith of the community," and paraphrased the message of the book of Job to derive a human duty to "toil, struggle, and fulfill obligations to each other." In addition, he praised Aaron Feuerstein as the paradigm for the sort of responsibility that business owners must take for the community, alongside the role of civic and religious institutions and government.
Stanley Rabinowitz, past president of YI, recognized and thanked the Town of Brookline and its officials for their cooperation in both the firefighting efforts and the rebuilding. Graham Gund gave his personal reflections on the design of the building, including the realization that the "significance [of the building] to the Young Israel family transcends its function." It has been a characteristic of his firm, he said, that the "spaces within our buildings have a spiritual function," and he recalled how he had been given a mezzuzah with his commission, to be put up when the building was complete. Extensive research about Judaism, aided by staff member Chaya Zubetti, and culminated by a trip to Eretz Israel, went into the design process, leading to a "serene place for meditation and prayer." In addition, he noted a number of the compromises that had to be made with the community, including the difficulty of how to unify the space while maintaining separate women's seating, and how to get the sanctuary space oriented toward Jerusalem despite the Brookline zoning laws limiting the distance the building could be from the lot property lines. He was proud, he said, to have designed a "vessel which will help provide inspiration the contents must come from the congregation."
David Kahan spoke briefly on the role of Erland Construction, noting that a number of details were left undone, awaiting additional funds. Saying that the list of volunteers on the project exceeded one hundred, he thanked the families of those volunteers. "They also served who stayed at home and put the kids to bed." One person, in particular, needed to be named, despite his modest refusal of honor. Norm Kram, who "epitomized the ideals of it shall occupy you day and night," was honored for his extensive work on the building project with a custom print.
Following this presentation, Linda Isaacson, Chair of the Dedication Committee, continued the weekend's theme of honoring the children, guarantors of the Torah and of the future, by presenting a print to the YI Youth Group. The print was accepted by Benjamina Mostofsky, who had been instrumental in organizing a number of youth activities, including the melave malke for member children on Saturday night.
David Solomont, presenting the aron kodesh from himself and his brothers in memory of his father, gave a d'var Torah from the Talner Rebbe on Psalm 119. Delineating the two-tiered religious experience of the Jew, the Talner Rebbe cited the importance of both mitzvot and the subjective religious experience. Jeff Jacoby, of the Boston Globe, presented a print to the Mr. and Mrs. Leonard Florence, saying that the Cyertec web page includes a biography on Leonard Florence that reveals that he attended BU on a scholarship and expresses his gratitude for the opportunity for that education. In addition to making a significant donation to the YI rebuilding effort by having the lobby named for his parents Fanny and Meir Florence, and his wife's parents Sadye and Louis Cohen, he has founded a number of scholarships, a Pediatric Dentristry program at Tufts, and a housing project for elderly Jews in Chelsea. Florence himself spoke of Mimi Feuerstein's phone call requesting funds: he "purchased" the bimah. The next day, she called back, embarrassed; the bimah had already been "sold." "How about the lobby?"
Mr. Abraham Levovitz, honored with his wife for making a very generous donation to the new building fund, spoke on the role of the Jewish day school and the synagogue in maintaining the continuity of the Jewish people. The Levovitzes had arrived in Brookline some thirty years ago, attracted by the Rav Soloveitchik and the Maimonides school, and have had a long career of endowing Jewish educational institutions.
Rabbi Gewirtz made the presentation the Mr. and Mrs. Joseph Gann, donors of the bet midrash. Saying "the righteous live by their faith," he noted that the Ganns were "motivated by their faith" in supporting institutions of Torah, as well as helping a large number of individuals, quietly. Gann spoke about his gratitude for his recovery from a recent illness, then recalled his first experience in building a synagogue, soon after his bar mitzvah in 1915, when the Russian government exiled 200,000 Ukranian Jews all over Russia. The small town to which his family was sent had no synagogue, and the first task done by the new arrivals was to begin to build one. Gann was put to work making bricks. Since his immigrating to America, he has continued to play a role in "building" by donations synagogues to this day.
Barry Shrage of the Combined Jewish Philanthropies presented the community's gratitude to the Feuresteins, for not only their donation of the main sanctuary in the memory of their parents Samuel and Mitzi Feurstein (who had founded the Congregation of the Sons of Israel, which became Young Israel of Brookline), but for their efforts on the fundraising committee and in various aspects of the building design. While Aaron became a nationally-known name for his actions in the aftermath of the Malden Mills fire, his brother Moses has been "the voice of American orthodoxy in secular Jewish institutions."
Aaron Feuerstein made a number of remarks as chair of the rebuilding campaign, saying the shul represents the "vibrancy and continuity of the Jewish vision that G-d is one that the G-d of the marketplace and the G-d of the synagogue are one and represent one ethical standard." He recalled the early days of the Congregation of the Sons of Israel, when he and his brothers were the only orthodox kids on the block, and his father Samuel's committment to the rabbinic dictum, "Where there are no men, be a man," and finished on a note of unity: "Whenever a difficulty arises in our synagogue [a fire or] whatever may be the cause we don't run away we rebuild the edifice in the same community, in the same location, if possible we don't run away."
David Kahan made the closing remarks. The primary goal of the building project, he said, had been to rebuild without alienating members. "The challenge of rebounding from the fire has energized the community."
After the ceremony the attendees convened in the social hall for desert. Copies of the Dedication Ad Journal were distributed at the ceremony as well.
The famous aphorism "God is in the details" is credited to the noted modernist architect Mies van der Roe. With all due respect, to an orthodox Jew this concept is hardly a novel one. What was the condition of the butcher's knife? Of the animal's lung? How many minutes before sundown is it? Has dawn broken enough to distinguish between a white strand and a blue one? Are certain wires along the Mass Pike intact? The list could continue almost endlessly. The level of detail with which we concern ourselves could seem almost laughable. Yet we believe that in the accretion of attending to such countless details lies the path to Godliness. We too believe that God is in the details.
If Jews and architects are thus kindred souls, it is perhaps not surprising that so many Young Israel members took so intensely to the task of designing our new shul. Partially, this was an act of ownership; the shul is a central facet of our lives and as we expect to spend a great deal of time in it, we care deeply that it meet our needs. Partially, this was an act of rising to a challenge; the Young Israel needs rebuilding and I am capable of helping in this process, many said. Notably, many people who had not been regular members of Young Israel participated significantly in this task.
At the start of rebuilding, those leading the effort articulated as a paramount goal a determination to complete the design and construction process without alienating anyone. This meant that almost all meetings were open, that frequent updates were given, and that decision-making was as diffuse and democratic as was consistent with efficiency -- sometimes more so than was efficient. These procedural commitments turned out to be very important. Design trade-offs compelled us to determine our priorities and the design process thus became an act of self-definition. Who we are as a community, what is important to us, and what we wish to convey about ourselves are all fundamentally wrapped up in this building.
The Young Israel of Brookline has always prided itself on being a comfortable home to people from diverse backgrounds and this diversity is a basic strength of our community. Still, as we were forced to articulate our identity and beliefs, our preferences and priorities, in order to resolve design choices, this diversity meant that we encountered a wide range of opinions. Two remarkable things stand out. The first is that so many opinions were solicited and regarded. Most projects of magnitude are directed from the top down. In this instance, our leaders chose instead to follow the example of the Shunamite when she declined special favor, asking instead to be regarded simply as one of her countrymen ("B'toch ami anochi yoshevet"). This attribute was notable in many people, but from none more so than Aaron and Louise Feuerstein. As the overall chairs of the rebuilding effort, lead donors, and as people with highly refined esthetics, Aaron and Louise could have been expected to seek to impart their personal stamp on design decisions. Though they were actively involved, they nonetheless opted to have their opinions simply weigh in a communal decision making process. Their commendable leadership allowed this truly to be the entire community's building.
Second, on a number of issues -- orientation, seating configuration, degree of ornamentation, esthetics, social hall size, etc. -- there were deeply felt differences. Notwithstanding the intensity of the feelings and the importance of the issues, discussions of them were never personal, and they were never acrimonious. Rather, they epitomized the notion of "vikuach lishem shamayim," disagreements fostered by sincere desires properly to advance the cause. Even publicity in the Boston Globe about one of the "hot-button" issues, women's seating, revealed a community united to resolve differences consensually and appropriately. The entire community can feel justly proud its conduct through the design process, and can credit the leaders of the design efforts, including Rabbi Geweritz, Ron Cohen, Norm Kram and Shirley Feuerstein among many others, for setting this exemplary tone.
To be sure, we were also intent on acquiring a new building that was inspiring and beautiful. On this front, we have surpassed expectations. Here, we have especially to thank Graham Gund and his associates on this project, John Prokos, Jaya Kader and Laura Weiss. As van der Roe implied, the mark of a great architect is not only that he has a sweeping vision, but that he is able to realize that vision in a building's details as well as at its grandest level. Working with Graham was an inspiration. In the first place, he threw himself into this commission to an amazing degree, going so far as to travel to Israel for the express purpose of soaking up ambience, and details about synagogue architecture. In addition, Graham was remarkably receptive to suggestions, accommodating our vision of how we would use the building. (How many synagogues have a built-in space for stroller parking, for example?) Beyond even his obvious substantive, and substantial, achievement with this building, Graham's manner contributed to an unseen triumph. Always the epitome of a mensch, Graham's ability gracefully to accept ideas from others and fuse them into his own strong vision, together with his devotion to getting the details just right, taught us lessons that extend far beyond the practice of architecture.
We know that divinely inspired acts of creation can have dualistic elements -- like the tablets of the Ten Commandments which had two front sides and no back. In his willingness to accept our community's input, Graham Gund has brought forth a building that is unequivocally his, and that nonetheless allows the Young Israel community to feel, even before we have taken possession of it, that it is unequivocally ours as well.
For those of us privileged enough to have worked on creating the new Young Israel of Brookline -- which is, of course, most of the community -- it is doubly inspiring. The physical structure itself has a grandeur, a beauty and a spirit that helps one appreciate that he or she is in a special place, where a special quality of thought and conduct is called for. But as we look at the space, if we remember the special process that helped create it, we should again be appropriately inspired. In the years to come, we face the challenge of acting in a way that is in keeping with our wonderful new beit knesset. We aspire that this building be a place where the divine presence may dwell and be made material in our lives. May we continue to act in such a way as to allow this to be so. May Hashem grant that we be worthy of this building and fulfill the potential it implies.
I remember hearing about the fire in January 1994. Only two months later Norm Kram contacted me to apprise us of Young Israel of Brookline's history and plans for the future. My first impression was that instead of immobilizing and disheartening the congregation, the tragedy had brought everyone together, reinforcing their commitment to the future of the Young Israel community in Brookline.
I became very enthusiastic about being the architects for the new synagogue. We have always believed that spaces within our buildings have spiritual qualities, but the Young Israel Synagogue would be our first house of worship.
The rebuilding of the Beth Haknesset began for us with a visit from David Kahan to tell us we had the commission. And, indicative of the small but significant personal touches which would become the foundation for this project, David brought with him a mezuzah which he asked us to hold in safety until which time it could be placed beside a door in the new synagogue. I thought this was a memorable way to start a new project.
As we began to work with members of the congregation on the conceptual design, I realized it was important for me to learn more about Judaism and how it had been interpreted in synagogues. I wanted to know first hand some of the traditions and rituals Jaya Kader Zebede understood so well. And, although Jaya was a good teacher, I felt I needed to go to Israel. I left in early August and stayed for a week. I was looking for historical and recent context in synagogue architecture and was very impressed with the restored synagogues in the old city. While in Jerusalem I saw many synagogues and was also able to research buildings in both the Jerusalem Museum and the Israeli Museum. At the Hebrew University Center for Jewish Art and at the Jewish Museum at Hechal Shlomo I felt able to immerse myself in the Jewish experience and begin, perhaps, to have some understanding of its traditions.
Traveling to Jerusalem marked a turning point in the design of the Young Israel Synagogue for me. I came home with an incredible sense of the history and duration of the Jewish religion. I also gained a sense of general life in Jerusalem and acquired great respect for the remarkable spirit of the people there, something which rarely comes across in articles or television reports.
I wanted to incorporate some of the architectural qualities of Jerusalem buildings in the Brookline synagogue. I especially liked the image of the Second Temple and wanted to use it as a reference for the exterior. The idea that after the destruction of the Beth Hamikdash in Jerusalem, its holiness was passed on to all the shuls in the world seemed important. Shirley Feuerstein brought us a poster with an artist's interpretation of the Temple with its large columns. The columns at Young Israel evoke the Beth Hamikdash. Bending the front of the buildings also seemed like a way to echo the layering of walls which happens often in Jerusalem.
When we moved to the interiors of the building, we thought to reinforce the temporary nature of all synagogues. In contrast with the sense of strength and permanence we were trying to convey on the outside, we tried to invoke the more temporary structures which have also been a Jewish tradition starting with the Tabernacle in the desert. For example, we folded the ceiling in the sanctuary to give it a tent-like form.
I was also quite taken with the quality of light on the buildings in Israel. We tried to recreate that by designing a building with many more than four sides. We felt the interior should elicit a sense of awe and majesty, while conveying intimacy and warmth. Primarily, it should be a good place for prayer. Late in the process I came across information on architectural art glass. I felt strongly that this glass would help instill the spiritual quality in the interior spaces which we all were working toward. I think the resulting refracted light is very successful.
We all wanted a building which conveys a sense of strength and presence. The new synagogue represents optimism for the future of the Young Israel movement and respect for thousands of years of religious traditions.
I have been so impressed with the dedication of everyone we have worked with from the congregation. It has been easy to get swept up in the sense of commitment you all have conveyed. It has been a rich, rewarding and personal experience for me and I thank you.
The new Young Israel of Brookline synagogue building was designed by the internationally acclaimed firm, Graham Gund Architects, of Cambridge, Massachusetts. They were chosen by the synagogue's Design and Construction Committee after a far-ranging and rigorous architect selection process. All aspects of the design were supervised by Graham Gund, FAIA, principal of the firm, who was assisted by his partner, Peter Madsen, FAIA, his senior associate, John Prokos, AIA, project designer Jaya Kader Zebede, project manager Laura Weiss, and Liam Deevy. Design work began in the summer of 1994 and was completed in the summer of 1995.
The Young Israel decided to rebuild on its site at 62 Green Street after an electrical fire completely destroyed its facilities in January, 1994. A compilation of the congregation's program needs set the stage for the design: The building was to be used actively throughout the day, beginning with morning prayer and ending with evening study sessions in the Beit Midrash and classrooms. The new building needed to house a Beit Knesset (Main Sanctuary) of approximately the same size as the old building, seating over 500 people, with a strong desire expressed for a warmer, more intimate setting for prayer, and with an appropriate separation of men and women giving the women maximum visual and auditory access to the services. A Beit Midrash (Chapel) was to be provided for daily services and to serve as a study hall and library. The new Beit Midrash was to be larger than the Beit Midrash in the old building and was to provide a section for women to pray. The Social Hall was also to be larger than in the old facility, sized to seat as many as 250 people with provision for a dance floor. Column-free space and tall ceilings were preferred. Adequate kitchen facilities were to be provided for the congregation's cooking needs and in support of catering services. At least four rooms were to be provided for youth groups and classes, along with adequate office space for the Rabbi and administrative staff. A coat room, a separate stroller parking area, adequate bathroom and storage space, and mechanical and electrical rooms were required. The sum total of the synagogue's space needs were between 25% to possibly 50% or more of the area of the old building, which contained approximately 16,000 square feet of space.
The architects were constrained in the design process by the congregation's tight budget, a desire and need to provide accessibility to all spaces in the building, and a very limited building site of less than three-quarters of an acre. Further, there was a strong desire expressed by the congregation to orient the Beit Knesset and Beit Midrash so that they both faced East, the traditional direction for prayer in this part of the world. The architect also expressed an interest in raising the entire building above grade to introduce as much natural light as possible to all areas of the building, even though the previous facility had a significant portion of the building (including the Social Hall, kitchen, and classrooms) below grade.
The resulting design is a building of approximately 22,000 square feet, with a total project budget including design, construction, furniture, furnishings, and equipment of approximately $4 million. $1.5 million of this budget was provided in net insurance proceeds after the fire and the balance raised through the generosity of members and friends of the congregation.
Gund's design of the synagogue is centered around a theme of timeless imagery, tradition, and holiness. Synagogue design has not historically been bound by any architectural design parameters, so associations are often made to both local and historical building traditions. In the case of the design for this synagogue, the exterior Ark tower, with its massive portal and twin columns evoking the traditional Yachin and Boaz columns of the Beit HaMikdash, makes a reference to the stately presence of the Second Temple in Jerusalem. The tent-like ceilings in the Main Sanctuary and the planned Sukkah structure evoke the Mishkan (Tabernacle) and symbolize the temporary nature of Jewish houses of prayer in the Diaspora. The distinctive shape of the building, with the major elements of the Main Sanctuary and Chapel skewed to the prevailing street grid, results from the orientation of the Ark walls in both spaces slightly south of East towards Jerusalem. The placement of these two significant elements near Green Street and in close proximity to the building entry lends importance to the functions of these spaces, as is appropriate for the holy spaces within the building. The irregular footprint of the building, coupled with the light brick and cast stone facades reminiscent of Jerusalem stone, evoke the streets of the Old City of Jerusalem. Gund has spoken of a 'layering of history' that he tried to capture in the design of the building. The building's traditional yet progressive character makes a statement about Modern Orthodoxy and alludes to the congregation's bright future.
Interestingly, many of the ideas incorporated by Graham Gund in the design of the building were influenced by his intensive one week visit to Israel, and particularly Jerusalem, shortly after getting the commission to design this building. His design was also informed by visits to many synagogues throughout the world in the course of his travels over the years.
While the original synagogue building was raised up on a plinth six feet above street grade, the site was regraded and the new building sits slightly above the sidewalk grade at Green Street. All spaces in the new building are above grade, with no basement space provided. All of the main functional areas of the building, including the Main Sanctuary, Chapel, and Social Hall are on a single level with access off a large lobby area. Access to the second floor, which includes the majority of the women's seating area of the Main Sanctuary, a multi-function room, classrooms, and offices, is by a sky-lit, wood-paneled grand stairway, and by elevator, which is also programmed for continuous and automatic operation on Shabbat and Yom Tov.
The approach to the new building is through a gently-sloping courtyard paved with herring-boned patterned brick from the Green Street sidewalk to the front entry doors. Provisions in the design for an entry pavilion arbor and iron fencing and granite curbing may be realized when additional funding becomes available. Over the main entry, the Rabbi's office is articulated as an arched passageway, evoking a bridge between worlds. The cast stone arch bears the inscription, 'Ze Hasha'ar L'HASHEM Tzadikim Ya'vo'u Vo' ('This is the gate of HASHEM; the righteous shall enter through it'). The large Mezuzah case at the front entry is one of a series of castings by the Israeli artist, Israel Meshi, with the original casting gracing the main entrance of the new Jerusalem City Hall building.
In completing the design, the architects worked closely with the congregation in a collaborative effort to meet the various constraints and requirements set forth in the program. Numerous layouts for the Main Sanctuary were investigated, with a resulting consensus design that provides for the majority of women's seating in a low balcony or gallery section. The balance of the seating is on a raised platform on the ground floor with sculpted ceilings overhead. This seating is separated from the men's section by a unique Mechitzah constructed of millwork elements and sandblasted Hebrew letters carved out of acrylic panels, with text from the first three verses of 'Eishet Chayil'. This Mechitzah design, conceived and executed by Presentations Gallery of New York City, is meant to pay homage to the Mechitzah design in the old building, in which the wooden 'Eishet Chayil' letters were a predominant and fondly-recalled design element of the Main Sanctuary.
Traditional elements are present throughout the 5,600 square foot Main Sanctuary, including a central Bimah and a strong sense of direction towards the Aron Kodesh (Ark) on the eastern wall. A monumental Aron Kodesh, designed by Gund and fabricated and installed by the millwork subcontractor, Herrick & White, of Cumberland, Rhode Island, is the focal point of the Sanctuary, with the traditional verse of 'Shiviti Hashem Lenegdi Tamid' ('I have set HASHEM before me always') at its crown. A tapestry-like Parochet with geometrical patterns and the verse 'Veha'eir Eineinu Betoratecha Vedabek Libeinu Bemitzvotecha' ('Enlighten our eyes in Your Torah, attach our hearts to Your commandments') fashioned by the Israeli artisan, Adina Gatt of Nahariya, covers the doors to the compartment housing the Sifrei Torah (Torah scrolls).
A distinctively-designed Ner Tamid (eternal light) designed and installed by Jeremy Langford of Langford Art Glass of Bnei Brak, Israel, hangs over the Ark. Chandeliers and sconces, fabricated in Israel by our synagogue member, David Hauser, of Technolite, Ltd., Hadera, Israel, are reminiscent of the multiple lamps found in many old synagogues. An operable skylight is provided over the Ark platform to afford the possibilities of an open-air chuppah (wedding canopy) in the Main Sanctuary. A slight depression in the floor in front of the Amud recalls the verse 'Mima'amakim Kra'aticha HASHEM' ('From the depths I called out to you HASHEM'). Yet to be installed is a sculptural work to be mounted from the ceiling hovering over the Bima, an artistic representation of the Anan Hakavod (Cloud of Glory). This artistic piece, meant to replace a similar architectural motif in the old shul, has been generously commissioned by Graham Gund as a special gift to the congregation. All of the above elements are incorporated into a distinctive geometry and are enhanced with new design elements which further communal integration.
The balcony, for example, appears as a continuation of the first floor and not as a completely separate realm. All of the women's seating in the Main Sanctuary, including the furthest seat in the upper corners of the balcony, are closer to the Aron Kodesh than any of the seats in the women's section were in the old shul. Pews specially designed for this project to match the architectural motif of the space have been imported from Kibbutz Lavi in Israel. These pews have been designed to look and function like continuous benches while providing the space and flexibility of individual seats, and where possible, individual shtenders (book rests) and book storage compartments have been provided. Twelve decorative windows (corresponding to the number of the tribes of Israel) provide a large amount of natural light. These custom windows include ceramic frit coatings designed to filter out sun glare and to minimize distractions from passing traffic, and feature glass medallion 'diamonds' that provide limited areas of clear, see-through glass while also creating prisms of diffracted sunlight that appear to 'dance' through the Sanctuary as the sun changes position in the sky.
The Beit Midrash (Chapel) of approximately 800 square feet, with its Aron Kodesh and book-lined walls and cabinets, is meant to provide a place of integration: prayer and learning come together as small groups of congregants gather for prayer at sunrise and sunset daily, with shiurim and study groups taking place here throughout the day and evening. The Parochet design incorporates the traditional verse 'Da Lifnei Mi Atah Omed' ('Know before Whom you are standing'). A memorial wall with Yahrzeit plaques is planned for the rear wall of the Bet Medrash.
The Social Hall of approximately 4,000 square feet is located in the rear of the building and provides for a large catering facility with direct access to a terrace with a planned trellis for use as a Sukkah structure. The terrace is suitable for outdoor receptions or kiddush, or for an outdoor chuppah. The Social Hall space will also be used for auxiliary High Holiday services.
The Main Lobby, with extensive millwork details, including Hebrew inscriptions over the doors to the main rooms and ceremonial washing sink area, is a central focus of the building. During the day, this lobby is bathed with natural light from a large skylight in the roof penetrating the building through a large sculpted opening in the second floor. A panoramic window overlooking the Social Hall from the second floor lobby provides further means for natural light to reach into the interior spaces of the building, while also offering a glimpse of activity in the Social Hall and providing a bird's eye view for video and still photography of social events. The flooring in the lobby, as well as the wall tile at the washing sink areas and the cornerstone at the main entry to the building, are all Jerusalem stone of various sizes and finishes imported from Israel specifically for this project. A building dedicatory wall, recognizing the contributions of benefactors and donors to this building project, is planned as a future element of this lobby.
Given our unfortunate experience with the destruction of our old building, special attention has been paid to life safety systems and security and access systems. The building is fully-sprinklered and state-of-the-art fire alarm and security systems have been installed. A modern kitchen, fully-equipped for both meat and dairy service, has been provided, along with a loading and parking area for caterer's trucks and other service providers in the rear of the building. A Keilim Mikveh for the ritual immersion of vessels has been provided on the ground floor as a service to the community.
The site is fully landscaped with new trees, bushes, vines, ground cover, and grass planted all around the building. Privacy fencing has been erected between our site and the neighboring parcels in the rear and sides of the building.
The final design provides for virtually all of our program needs and hopefully this new building will more-than-adequately service our congregation for years to come. Our architects have been devoted to our project and were engaged in a demanding collaborative effort with our design committee throughout the design and construction of the project. Ultimately, the resulting building is a product of this collaborative effort and a testament to the design genius and discerning eye of Graham Gund, who has personally guided every element of this project, in this, the design of his first House of Worship. It has been our pleasure and special privilege to work with him and his colleagues to bring this project to fruition.
Tradition has it that all of the synagogues in the Diaspora will be transplanted to Jerusalem with the coming of the Messiah. Perhaps with this in mind, the design of our synagogue should indeed reflect a sympathetic harmony to both its present and future sites. It is our belief and hope that the Mashiach will come speedily in our day, and it is our prayer that when he comes, our congregation and synagogue will 'fit in' and feel like we were always meant to be in Yerushalayim.
Young Israel of Brookline
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