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Loop Synagogue Case Study

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In 1957, the Loop Synagogue, designed by architectural firms, Loebl and Schlossman & Bennett, became a religious landmark amidst a typically urban setting. Additionally, the building became one of the first to be completed within Richard J. Daley’s 21-year office as Mayor of Chicago. One of the most noticeable properties of the building’s exterior and interior is its lack of symmetry and unity. While the layout doesn’t draw attention towards the center or towards a specific type of material used, its lack of a symmetry and consistency instead draws attention towards the finer, more ornamental details. As a symmetrical layout might draw focus to one aspect of the building, the architects’ layout of the Synagogue emphasizes the smaller details that might be otherwise overlooked if replicated in other settings. …show more content…

1). While the statute is not placed at the center of the building’s facade, it is still the focus of the exterior of the building. This is due to statue’s relatively large size, which covers around nine of the windows that lie behind it. Additionally, since it is displayed on the face of the upper level windows, and distends out of the building, and towards the street, it is in the line of vision of most passerbys. The focus is not the entrance of the building, as the ceiling of the entrance is pushed under the floor of the upper

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Along the way, I asked a group of frequent visitors why so little people know about this place. They responded by saying,” Well, I know people don’t (go) here because it’s difficult (to) access by car and it’s a bit off the ball (unsure) and its considered far I think for someone who is on a bike.” I also asked what they think Theodore Roosevelt would have thought about the monument. The two visitors responded by saying, “I think everybody would want a beautiful (statue), he was wild, sort of outdoor sort of “far from the matting crowd”.

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When venturing through the tenement museum, the signs of Jewish Immigrant life in Industrial America seem apparent, with objects and decorations clearly denoting the Ashkenazic background. Whether it be the copy of The Forward written in a Yiddish type, a voucher for English courses written in Yiddish, or traditional foods, which the museum displayed as being bagels and challah, the signs of Jewish living are clear. But this is not the only location where we find remnants of Jewish life, as the Eldridge Street Synagogue has several features which personalize the space, and turn it into the intimate space that served this community. Among the clearest of these personal features of the shul would be name plaques denoting reserved benches for certain donor families, or name crotched into the side of a tapestry on a Torah scroll covering. Interestingly though, the most notable yet unseemly sign of once prevalent Jewish life that the visitor can see in both sites, are the creases in the floorboard.

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This is because in the back and derails of it being chiseled but not all the way through the medium. There is also shallow space used. The sculptor engaged in a lot of the space provided because they only left the back and a little bit of flat granite on the sides. This statute indicates it being static because of the pose that it is using. The pose that the statue is in is not showing any movement or signs of movement.

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