Kiki and Deborah’s design is beautiful. It is about rupture and regeneration, themes that are particularly meaningful in this restored sacred site, one with a history of decline and renewal. Most importantly the design is absolutely responsive to the story and aesthetics of our magnificent 1887 space. Kiki picked up on the painted-star motif that you see in the domes – she is a great fan of stars! – and literally illuminates them in the new window. Deborah and Kiki’s captivating design marks a new chapter in the building’s history, its glorious restoration.

The Museum was faced with a classic preservation dilemma: In a historic site, how do you treat an important architectural feature that has changed?

The site for the new Kiki Smith-Deborah Gans design was originally a stained-glass rose window. That window was damaged over time and in 1944 the congregation opted to replace the window with tablet-shaped glass blocks. The glass blocks were an inexpensive option at the time, and the congregation, much diminished in size, did not have the resources to go with expensive stained glass. The Museum considered three options: (1) recreate a stained-glass rose window in the spirit of the original; (2) leave the glass blocks as poignant testimony to a time of decline; or (3) commission a new window, signifying a new life in the building’s story. Our decision to commission a new window pays homage to the grand intent of the synagogue’s original immigrant founders. At the same time, it extends the story of the building. Eldridge Street now bridges three centuries – built in the 19th, prosperity and decline in the 20th, and renewal in the 21st.

The glass blocks have been saved and are now part of a Memory Wall on the lower level of the Museum.

We don’t know for sure. We know it was stained glass. We know it was circular. According to oral histories conducted with early congregation members it looked very much like the rose window you see at the façade. But we have no existing photographs or documentation.

The commission of a new window was an exciting and rigorous process, overseen by a sub-committee of the Museum’s Board of Directors . The Museum approached leading figures from the preservation, art and architectural communities to provide guidance on (1) how to address a later insertion in a historic structure; (2) the process for commissioning a new permanent installation for an historic structure; and (3) artists who might be appropriate for the commission.

The Museum then reached out to 12 artists for design concepts. The artists were of diverse backgrounds and experiences, including those of international stature, emerging artists, stained-glass practitioners, and artists who worked in themes appropriate to our historic site. All were asked to submit a design concept that was responsive to the existing aesthetic, architectural and historic vocabulary of our National Historic Landmark. The Museum’s board sub-committee selected three finalists and then presented their submissions to the full Board of Directors. Board members selected the design by Kiki Smith-Deborah Gans for its beauty and appropriateness for our site.

The creation of the window weds ancient stained-glass techniques with modern laminated technologies. So there is very old stained-glass technology being used for this window – what you see in medieval churches throughout Europe – and also very new. Again, that wonderful union of old and new in this historic structure!

According to stained-glass artisan Tom Garcia of The Gil Studio, the window consists of two layers of Lamberts antique flash glass adhered together using silicone lamination. The use of silicone to laminate the pieces of glass, rather than lead, is a modern innovation. Silicone allows you to use much larger panels of glass. Think of all the stained glass you see in structures throughout Europe and how it is broken up by lead lines. Here there is not a single piece of lead. Deborah puts it beautifully: “What traditionally would be black lines of lead will now be cracks of light.”

The Lambert’s flash glass is itself a two-layered composite, a clear glass layer with a thin layer of blue glass applied over it that is then acid-etched. The stars are created with a silver stain. The layering of color allows Kiki and Deborah to control the intensity and shading of colors and create a more painterly effect. Because of the flash glass, there is a depth and complexity to the design of this window.

According to architect Tim Allanbrook, the frame is the most complex part. He says: “The spiral arms and center star create a configuration that is unique but which comprises an inherent structural eccentricity in that each radial arm is subjected to a tortional, or twisting, force when the wind blows against the window. This must be compensated for through brute strength and therefore, the frame elements are fabricated from solid steel bars as opposed to hollow metal tubes or, traditionally, wood. Since solid steel is not a good insulator, an exterior, thermally isolated protective glazing system has been designed to minimize condensation, improve energy efficiency, and protect the art glass from damage.”

We were fortunate to work with an amazing team of professionals, all of whom were involved in the synagogue restoration. Tom Garcia of The Gil Studio is the stained glass artisan. Patrick Baldoni and Art Femenella of Femenella Designs are working on the frame. Tim Allanbrook at Wiss, Janney, Elstner is serving as architect. Terry Higgins is our indefatigable Construction Manager.

We felt it was very important to share with the public the motivations behind our decision and place it within the context of design choices made throughout the synagogue’s 120-plus year plus history. The addition of a contemporary element in our Victorian-era structure is a major decision, groundbreaking we think! And so, in conjunction with a team of graduate students from the preservation programs of University of Pennsylvania, Pratt Institute, and Columbia University we have created a new architectural tour exploring the building from bottom to top. The tour is offered daily at 11:30, 1:30 & 3:30 pm so come and learn more about the window and our spectacular National Historic Landmark!