Modern synagogue architecture

In the modern period, synagogues have continued to be built in every popular architectural style, including Art Nouveau, Art Deco, International style, and all contemporary styles. In the post-World War II period "a period of post-war modernism," came to the fore, "characterized by assertive architectural gestures that had the strength and integrity to stand alone, without applied artwork or Jewish iconography."

The most common general plan for the interior of the synagogue is an Ark at the eastern end opposite the entrance, and with an almemar or pulpit. In older or Orthodox synagogues with separate seating, there may be benches for the men on either side, and a women's gallery reached by staircases from the outer vestibule. Variations of this simple plan abound: the vestibule became larger, and the stair-cases to the women's gallery were separated from the vestibule and given more importance. As the buildings became larger, rows of columns were required to support the roof, but in every case the basilican form was retained. The Ark, formerly allowed a mere niche in the wall, was developed into the main architectural feature of the interior, and was flanked with columns, covered with a canopy and richly decorated. The almemar in many cases was joined to the platform in front of the Ark, and elaborate arrangements of steps were provided.

The Torah Ark (usually called Aron Hakodesh or Hekhбl) is the most important feature of the interior, and is generally dignified by proper decoration and raised upon a suitable platform, reached by at least three steps, but often by more. It is usually crowned by the Ten Commandments. The position of the pulpit varies; it may be placed on either side of the Ark, and is occasionally found in the center of the steps.

The modern synagogue, besides containing the minister's study, trustees' rooms, choir-rooms, and organ-loft, devotes much space to school purposes; generally the entire lower floor is used for class-rooms. The interior treatment of the synagogue allows great latitude in design

For the thirty-three synagogues of India, American architect and professor of architecture Jay A. Waronker has learned that these buildings tend to follow the Sephardic traditions of the tevah (or bimah, the raised platform where the service is led and Torah read) being freestanding and roughly in the middle of the sanctuary and the ark (called the hekhal by Sephardim and the aron ha-kodesh by Ashkenazim) engaged along the wall that is closest to Jerusalem. The hekhals are esstentially cabinets or armoires storing the sefer Torahs. Seating, in the form of long wooden benches, is grouped around and facing the tevah. Men sit together on the main level of the sanctuary while women sit in a dedicated zone on the same level in the smaller synagogues or upstairs in a women's gallery.

Interesting architectural and planning exceptions to this common Sephardic formula are the Cochin synagogues in Kerala of far southwestern India. Here, on the gallery level and adjacent to the space provided for women and overlooking the sanctuary below, is a second tevah. This tevah was used for holidays and unique occasions. It is therefore interesting, on more special events, the woman are closest to the point where the religious service is being led.

In Baghdadi synagogues of India, the hekhals appear to be standard-sized cabinets from the outside (the side facing the sanctuary), but when opened a very large space is revealed. They are essentially walk-in rooms with a perimeter shelf holding up to one hundred sefer Torahs.

There are but few emblems which may be used that are characteristically Jewish; the interlacing triangles, the lion of Judah, and flower and fruit forms alone are generally allowable in Orthodox synagogues. The perpetual lamp hangs in front of the Ark; the tables of the Law surmount it. The seven-branched candlestick, or menorah, may be placed at the sides. Occasionally the shofar, and even the lulav, may be utilized in the design. Hebrew inscriptions are sparingly or seldom used; stained-glass windows, at one time considered the special property of the Church, are now employed, but figured subjects are not used.

The Storch Synagogue in Breslau, built in 1829, is notable for its gallery for women, designed by the German architect Karl Ferdinand Langhams, who specialised in the design of galleries for opera houses.