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This is what an $8 million synagogue renovation looks like
(New York Jewish Week) — Ansche Chesed, a historic Conservative synagogue located in a large, Romanesque- and Byzantine-inspired building on the Upper West Side, has completed an $8 million, two-year renovation project.
The updates to the landmarked 53,000-square-foot building, which began construction in 1927, included adding an elevator, which will improve the building’s accessibility; tripling the size of the lobby, and adding bathrooms, a coat room and a lounge. Upgraded security measures include a security booth near the entrance, an updated camera system and an electronic seal on interior doors.
Located at 251 W. 100th Street, the 600-family congregation will have a rededication ceremony and celebration during services on Saturday.
“We’re feeling fabulous,” said Jeremy Kalmanofsky, the congregation’s senior rabbi who has been at Ansche Chesed since 2001.
“We have evolved the various ways in which we use it,” Kalmanofsky said of the 96-year-old building, and why the congregation, which was founded in 1829, decided to renovate. “It was dark and it was not terribly welcoming and now we’ve opened it up in so many ways — greater light, more welcoming and easier to get around, especially for folks who use wheelchairs and walkers.”
The ground floor main entry lobby tripled in size and was renovated with updated lighting and HVAC system. It also includes a coat room and updated bathrooms. (Courtesy of Studio ST Architects)
The synagogue partnered with New York-based Studio ST Architects on the project. “In our work, we tried to really capture and maintain the nature of that congregation. The word they used is heimish — a Yiddish word for homey and welcoming,” said the principal architect Esther Sperber. “They wanted it to be nice, clean and comfortable, but down to earth. They didn’t want it to be fancy and they weren’t looking for lots of marble or gold.”
“We shared a real sense about what it means to be building up Jewish ritual communal spaces,” Kalmanofsky said.
Both Sperber and Kalmanofsky noted that the largest improvement to the space — and the biggest undertaking of the renovation — was adding a small elevator from the lobby to the sanctuary, which seats 1,200 people. Before, congregants who needed it had to use a “clunky chairlift” that could only be used one at a time and required a second person to operate.
“It really was not a dignified way for people to enter the space and it made them feel as if they were potentially not welcome,” Sperber noted.
Another angle of the updated basement lobby. An elevator was added to get from the lobby to the sanctuary, which substantially improved the synagogue’s accessibility.(Courtesy of Studio ST Architects)
Nearly every part of the ground floor and basement levels was renovated — except for the sanctuary, Sperber said. “The sanctuary is a beautiful, historic space,” Sperber said, adding that it had recently been repainted. “We updated the fire alarm system, added the elevator which now reaches the sanctuary … but the design of the space was kept.”
The social hall was expanded with new flooring and lighting and will now be able to accommodate extra seating for High Holiday services and major celebrations. (Courtesy of Studio ST Architects)
Renovation on the building began in the winter of 2021, and it stayed open while undergoing construction, though Kalmanofsky noted that during 2021 the building was used far less due to the pandemic.
Sleek bronze signage was added to the exterior of the building with the name and address of the congregation. The architects also upgraded the building’s HVAC systems and relocated the office spaces from the first floor to the fifth.
The newly renovated offices (left) are on the fifth floor of the building, rather than in a windowless space off the lobby (right). (Courtesy of Studio ST Architects)
“Our offices, which were literally in windowless dungeons, are now much more filled with light,” Kalmanofsky said. “It’s easier for people to feel happy to be in them when our members come into the office to see us.”
The renovation also updated the lighting and floors of the social hall, which was last renovated in the 1980s, Kalmanofsky said. “We have a social hall space now that is worthy of larger and more elegant celebrations, both of our own members and maybe, if we’re so fortunate, other people will want to celebrate in our building as well,” he said.
Bathrooms were updated on the ground level. (Courtesy of Studio ST Architects)
“When you enter the building, it doesn’t feel like you’re entering an old building — it feels like you’re entering something contemporary,” Kalmanofsky said. “It’s nice and inviting and modern.”
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The post This is what an $8 million synagogue renovation looks like appeared first on Jewish Telegraphic Agency.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”