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The glazing throughout appears very strategic and
considered, particularly for the sanctuary where sunlight
slices in through the clerestory.
I wanted to use the highlight glazing to separate the roof
from the walls and give the sense of a floating parasol. I
think that idea comes through. But there are times when
privacy is important. We are very close to neighbouring
properties and the issue of privacy from both sides of the
fence are very real.
How mindful were you of the historic significance of
your legacy?
Any serious architect strives to find meaning in the
work. It’s what over time guarantees the value of the
investment. There is a lot about this Synagogue that’s
unique and there’s a guiding vision for how the elements
come together.
What about flexibility?
There are three days of the year, the so called High
holydays, when 700 people will attend religious services
here. For those days the operable wall will be opened and
this upper floor will become one large sanctuary. The rest
of the year it will operate as two spaces split by an
operable wall – on one side, at the rear, a small intimate
prayer space for 270 people and in front, a flexible space
which will be used for functions, lectures, concerts, films
and other things. The nice thing is that this space will
extend to the external “Kiddush” courtyard to the north
which engages with the old Synagogue building.
Has it won acceptance?
There was some controversy early on but I worked closely
with the community here who were very trusting. It’s nice
to meet a challenge and succeed with it. It’s also nice to
walk into the finished space and discover things that you
didn’t quite anticipate, which give it the sense of magic.
“I wanted to use the highlight
glazing to separate the roof
from the walls and give the
sense of a floating parasol.”
ED LIPPMANN, ARCHITECT