Originally, this Reform temple was conceived as a monumental Beaux-Arts structure, but the Crash of 1929 reduced the plan to the west wing of the design, the Meeting House. A Doric portico, no longer used, served as the entrance to the synagogue and school. An addition by TAC now harbors the principal congregational space for worship and study. In the post–World War II modern idiom, this building has abandoned any trace of classicism or religious symbolism. An imposing sculpture by Louise Nevelson dominates the exterior landscape.
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