In this essay I wish to share with you the process of designing and building the aron Kodesh for Moshav Nov in the Golan Height. Working on this piece, I was deeply inspired by the opportunity to draw upon artistic themes visible in nearby archaeological excavations of ancient synagogues, and weave these into my design for the new aron kodesh.

Aron kodesh in Moshav Nov – shown in context of the sanctuary

In the Byzantine era, during the fourth to seventh centuries c.e. the Jews built numerous synagogues in the Galilee and Golan regions of northern Israel. The remains of these synagogues can be visited today in archaeological sites throughout the area. One site of particular interest, known as Umm el Kanatir, (translated as “Mother of the Arches”), just a few kilometers from the modern Moshav Nov, is well known to the moshav members, who regard it as part of their heritage.

As background information for designing the Golan Renaissance aron kodesh, I received a guided tour of the ancient synagogue, now undergoing reconstruction in a state of the art, computer chip documented process. The unearthed remains reveal several unusual and intriguing examples of stone carving, among which both the menorah and the grape vine can be seen around the raised dais of the ancient aron kodesh. It is noteworthy that all the stone in the region is the black basalt, a volcanic rock that would have made the carving of those details extremely difficult with the tools available in the Byzantine period.

My goal in designing synagogue furniture is to touch the congregants deeply and enrich their synagogue experience. Noting the sense of connection that the modern residents of Nov feel towards the ancient synagogue, I decided to incorporate modern interpretations of some of its symbols in the design for the new aron kodesh. For instance, at the top of the aron kodesh I placed a wooden representation of the stone menorah with its tripartite support.

Carved stone menorah, ancient synagogue of Umm el Kanatir

Carved menorah in top section of aron kodesh, Moshav Nov

I also wanted to celebrate the ancient Golan tradition of wine culture, as represented in the carved stone grape vines of the ancient Umm el Kanatir synagogue, and continuing with today’s internationally acclaimed Golan vineyards. Aside from its refined taste, wine plays a central role in many Jewish rituals and holidays. I chose to hand-carve my own version of grape vines on the fixed panels on either side of the aron kodesh.

Carved stone grape vines in the ancient Umm el Kanatir synagogue

Hand-carved grape vines on fixed side panels of aron kodesh, Moshav Nov

I included another element in the Nov aron kodesh to resonate with the ancient synagogues of the Golan. A hallmark of these ancient structures was the massive stone beam spanning the entrance to the sanctuary.

Stone beam and arch spanning entrance to the ancient Umm el Kanatir synagogue

Front view of Golan Renaissance aron kodesh, showing the wood beam and arch on top, and the parochet revealed by sliding both doors to the sides.

As seen in the above photo, the cross beam is bisected by an organic form upon which the menorah rests. This form represents a cornucopia, signifying the fertility of the land. The cross beam is deeply grooved, representing the many deeply cut ravines in the Golan’s plateau. Finally, the cross beam fanning out from the center alludes to the cherubs’ wings spread over the ark of the covenant, as described in the Torah.

I hope I’ve been able to show in this essay how custom furniture can serve functional art and touch people on the emotional level. In the case of Nov aron kodesh, it was also an opportunity to revive ancient Jewish themes.

Below are several additional photos showing the work on the Nov aron kodesh in progress.

With moshav member Ilit Eitam, at the foot of the reconstructed aron kodesh, ancient synagogue Umm el Kanatir

View from ancient synagogue of Umm el Kanatir, showing Golan plateau and typical ravines

Working on the final drawing for the aron kodesh

The lumber arrives at my workshop, solid 2″ thick cherry planks

Jointing and planning the cherry boards for the aron kodesh

Fitting the mortise and tenon joints that hold the frames together

Initial stage in sculpting the panels for the aron kodesh

Gluing up the sculpted panels inside the frames

Hand-carving the grape vines on the side panels of the aron kodesh

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I don’t intend to embark now in a learned discourse on the definition of “Art”. What interests me here is the simple fact that I see myself as an artist, who combines the artistry, or craft, with the intangible qualities, or spirit, inherent in the creation of art. Over time I’ve come to the realization that what I really want to do is to create wood art that people will engage with on an emotional level. This isn’t to say that I don’t also enjoy simply designing and making an attractive piece of handcrafted furniture. However, my higher aspiration is to create wood art that inspires, that causes people to pause, come closer and interact with the piece. One of my clients tells me that the first thing he does when he returns home after a long day at work is to run his hand along the surface of the sculpted cabinet I made for the entrance to his home.  The image of my client revitalizing himself by simply caressing a piece of handcrafted furniture that I created for him epitomizes the kind of immediacy that I strive to invoke with my work. Other types of work invoke different responses. For example, the bold carving of the Golan Rennaissance aron kodesh (torah ark) leaves  little room for apathy. Newcomers to the synagogue which it adorns will often literally stop still as they enter the sanctuary. They seem to realize immediately that this wood art speaks a different language, both majestic and personal at the same time.

So, in summary, have I succeeded in defining what it is I do? I’m not sure that I did. But I hope to have given the reader a greater insight into what makes me tick. Functional art? Handcrafted furniture? Custom designed furniture? These are all facets of my wood art. My goal is to blur the distinction between art and craft by creating beautiful, functional pieces that do much more that just hold a pair of socks.

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Functional Art, or Unique Handcrafted Furniture appeared first on Kimchi Designs.

  

Here are a few of the most common themes which traditionally appear in the context of art work for the aron kodesh:

1. The Ten Commandments
2. The Tree of Life
3. Mount Sinai
4. The Twelve Tribes.

Here are a few slightly less common themes:

1. The Holy Breast Plate of the High Priest
2. Jerusalem
3. The parting of the Red Sea
4. The Eternal Flame
5. The Cherubs of the Holy Temple

I view myself as a link in the ongoing chain of artists and artisans who have sought throughout the centuries to create glorious torah arks for our places of worship. I strive to achieve this by creating original wood art that stems from tradition yet speaks to today’s audience. In my eyes some of the more traditional artistic themes for synagogue furniture art have been over-used and become ubiquitous and uninspiring. Therefore, I am constantly looking for new imagery which will instill in the congregants an uplifting sense of awe and beauty. However, I would say that most often I tend to reinterpret some of the tried and true symbols, rendering them in my own unique style with my own a personal, artistic touch. The following are a few examples of such synagogue furniture which can be seen on my web site:

1. The Silver Leafed Aron Kodesh (Ark) – An interpretation of the tree of life theme
2. The Mount Sinai Aron Kodesh (Ark) – A semi-abstract interpretation of the Mount Sinai theme
3. The Parting the Waves Bimah – A wild and free-flowing interpretation of the parting of the Red Sea

By incorporating these symbols into synagogue art the congregant is subtly reminded of some of the core values inherent in the Jewish tradition. He or she is thus encouraged to feel a personal connection with our people’s heritage. The wood art for the aron kodesh is often supplemented by use of a biblical verse which exemplifies the particular value the congregation wishes to stress and uphold. When I design an aron  kodesh for a synagogue I  meet with the rabbi and members of the building committee.  I always try to glean an inner understanding of the congregation’s gestalt. This allows me to direct the symbolism I will use to express and augment the spirit each particular sanctuary.

In summary, we have seen the importance of the torah ark, or aron kodesh as a venue for transmitting traditional Jewish messages and values through use of symbols. We have also noted how today’s artists sometimes use modern forms to carry on the flame of tradition.

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In times of yore the entire family would often inhabit a single-roomed cottage.  The hearth was the source of warmth, light and the place where cooking was done. When the meal was prepared all would gather around and partake of it there. Over time living conditions improved in modern civilization, and houses grew larger. A distinction was created between the cooking and dining areas. In addition, the dining and living areas were separated, thus creating the kitchen, dining room and living room, not to mention the family room or den, which is often a less formal space for intimate family lounging and entertainment. Today the coffee table is almost always placed in the living room, directly in front of and parallel to the sofa.

It is my contention that in our modern lifestyle the coffee table fulfills many of the primordial functions of the ancient hearth, but in a subliminal fashion. The coffee table provides a surface upon which refreshments and even entire meals are served. When we lounge on the couch the coffee table is our companion, as it were, providing us with a place for food and drinks, reading material and the remote controls for the television and audio system. In many ways the coffee table actually overshadows the dining table in importance. We tend to spend considerably more time, engaged in a variety of activities, enjoying the benefits of the coffee table in the living room, than we do in the dining room.

This, then, presents us with a bit of a dilemma: When designing custom furniture should we design the coffee table to comfortably fit in with the casual atmosphere which often reins in the living space? Or should we grant the coffee table a privileged status, and see it as the most important representation of our design aesthetic when hosting and entertaining? Whatever one’s view is in this matter, I believe that it’s important to devote considerable attention to the design of the coffee table, in order to achieve the perfectly matched piece for one’s lifestyle.

In my opinion the coffee table provides us with an opportunity to create a conversation piece of fine custom made furniture. It allows us to be a bit less anticipated and to show off our more creative side. Various examples of such coffee tables can be seen in my web site (click custom coffee tables).

In summary, we have seen the crucial roles the coffee table plays in setting the ambiance for our living area. Given the critical functions it fulfills we must realize that the coffee table is worthy of our attention and respect.

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As can be seen in my web site, I’ve created several sub-categories under the “Tables” heading. Here, however, for simplicity’s sake, I’ll break up the category into three major sub-divisions:

1. Dining tables
2. Desks and work tables
3. Occasional tables

The first two categories are self explanatory. The subject of this essay is the latter. Basically, the occasional table is any table which doesn’t fall into either of the first two categories. There is a common assumption, partially legitimate, that these tend to be smaller pieces that can be easily moved around to accommodate needs as they arise on occasion. Perhaps this is the source of the term. However, it may also be derived from the fact that occasional tables, due to their (often) smaller proportions, and hence lower cost, can more readily be acquired as a spontaneous purchase.

Of course, one of the advantages of commissioning a custom made table is that the piece can be tailored exactly to the space and the client’s taste. There are exceptions for every rule, such as the 300 cm long coffee table I once made for a very special client. Having said that though, here are the most common types of occasional tables with their usual sizes and place of employment:

1. Coffee tables – 40-45 cm high, at least 60 cm wide, at least 120 cm long. The coffee table is placed in the living area, generally in front of and parallel to the sofa.
2. Side tables – 55-60 cm high, 45-70 cm x 45-70 cm. The side table, also referred to as the end table is normally placed in the living room at one or both ends of the sofa. It can also be situated next to an arm chair.
3. Hall tables – 75-100 cm high, 25-35 cm wide, 80-130 cm long. The hall table is placed in the entranceway, along a wide passage way or at its end. It is sometimes placed on landings directly opposite the elevator doors.
4. Serving tables – 80-100 cm high, 35-50 cm wide, 120-180 cm long. The serving table is placed in close proximity to the dining table.
5. Game tables – 75 cm high, 90-105 cm x 90-105 cm. The game table is often place in an informal lounge area such as a family room, but is sometimes employed in the living room off to the side.
6. Sofa table – 75-90 cm high (just below the height of the sofa’s back), 27-35 cm wide, 120-150 cm long. The sofa table, or console, is placed left behind a sofa when it’s not positioned against a wall.
7. Night tables – 40-60 cm high (more or less mattress height), 40-60 cm x 40-60 cm. The night table is placed directly next to the bed. In a double bed there is one on each side.

I hope this gives the reader a better grasp of the kinds of options available as far as tables are concerned. When ordering a custom made table it’s good to keep this overview in mind in order to acquire the left piece for the left space.

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A large portion of what I make is custom designed fine furniture. I enjoy the challenge of solving the client’s needs in an original and aesthetically pleasing way. It gives me satisfaction to know that the clients (and their children and grandchildren) will be savoring the sensuous feel of a hand carved drawer handle or table top for years to come. However, I often heed the pull to create wood art for the sake of art itself. Whether I’m working on a wall sculpture or a three dimensional wood art piece I enjoy the freedom from the technical requirements inherent in my functional creations.

I will sometimes begin sculpting a particularly promising log with little more than an abstract theme in mind. “Letting the wood show the way” is not a concept I invented, although I have certainly added my own interpretation to this approach. Observing the “Entwined Flames” wood sculpture, one can easily imagine how I just let myself go, until eventually the sculpture basically told me it was finished. Occasionally what could be considered a defect in the log can become the impetus for an entirely new and exciting direction in the wood sculpture. At other times I will commence work on a wall sculpture with a very concise idea of how I want the finished piece to look. One of the beautiful aspects of wood sculpture is that each creation is truly unique by virtue of the nature of the material. Every log or board offers slightly different accents of color and grain texture. While I carve away the layers on a wood sculpture I seek to expose and show off these subtle variations in order to augment the depth and allure of the wood art.

I would like to note that in addition to executing ideas of my own I also create custom made wood art sculpture. One elderly lady from Portland, Oregon commissioned an abstract family tree depicting all her offspring. Another client ordered a sculpted wall hanging of a couple as an anniversary gift for his wife. And, of course, synagogues have an abundance of good opportunities for wall sculpture. A prominent example thereof is the ”Twelve Tribes” wall sculpture which can be seen in the synagogue furniture section of this site.

In summary, wood sculpture offers endless possibilities to explore forms and ideas and create unique artistic expressions that add warmth and beauty to any space.

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There is no doubt that ordering custom furniture offers the client great possibilities for acquiring truly original works of functional art that meet and even surpass what he or she desires. While some people might feel daunted by the prospect of ordering designer furniture, it’s actually a positive adventure in which both the client and I strive to achieve the best possible solution for a given space. This is a mutually rewarding process which in the end yields a piece of fine woodwork perfectly fitted to the client’s taste.

For over twenty years I’ve been working both directly with clients and through interior designers and architects. I believe that I have polished my ability to carefully listen and observe, thus enabling me to discern what the client’s preferences are. I have also developed an eclectic but clear sense of design, allowing me to grasp the existing essence of an interior-and how it might be altered to create a more interesting and beautiful environment. Often the mere addition of a custom made accessory or two can bring new life and warmth into a room. The “Flying Fox” Serving Table, for example, was commissioned to be placed in a dramatically lit atrium in a regal home in Memphis, Tennessee. It’s bold, angular lines accentuate the stark drama of the space which it occupies.

Ordering custom furniture has the additional advantage of enabling the clients to realize their dreams. I have one client whose daughter was an avid equestrian. We designed their entire dining room around the theme of horses jumping. Another couple described their desire that the bedroom should reflect a sense of quiet intimacy. Hence the “Forest Canopy Bed” was conceived. Yet another client requested that the fine woodworking in their furniture should manifest itself in the sculpted base of their ”Sheaves of Wheat Dining Table”. Later I implemented this carved motif on the backs of the accompanying dining chairs.

In short, I strongly believe in the potential for great pieces of designer furniture when there is meeting of open minds and positive energy. In addition to getting the fine woodwork of their dreams, clients get to feel that they took an integral part in the design process. I believe that’s one of the reasons why many clients keep coming back for more.

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One of the aspects I enjoy most about my profession is the variety of different kinds of artistic furniture that I get to create. While I derive pleasure and satisfaction from designing and crafting a unique sculpted coffee table or buffet, making synagogue furniture is in a whole other league. When I undertake to design an aron kodesh for a given community I can truly say that I do so with a sense of mission (shlichoot). 

Let’s examine the source of this feeling:

The atmosphere and spirit (ruach) of a synagogue are determined by many factors, first and foremost by the make-up of the congregation, of course. However, I am thoroughly convinced that the physical environment, as well, plays a substantial part in elevating the spiritual and emotional level of a sanctuary.  Whether I am designing an aron kodesh (ark), bimah (torah reading table), Elijah chair, or what have you, I always attempt to incorporate three important factors:

1) Relate to the existing space  -Personally, I have eclectic taste, and I certainly want my custom designed furniture to stand out proudly in the environment it inhabits.  But even so the pieces I design must dwell in harmony with all pre-existing elements of design and with the overall gestalt of the building. A good example of this blending can be seen in the various elements of “Clean-lined” synagogue furniture I made for the sanctuary in Mevasseret Tzion.

2) Take into consideration the make-up of the community – For me an inherent part of this process is to learn all about the congregation. I sit and speak at length with the rabbi and leaders of the congregation (gabaim) in an effort to gleam a better understanding of any particular traits, leanings or common history that the worshippers share.  This can later manifest itself both in the overall synagogue design and the verse chosen to adorn the aron kodesh. A case in point for this kind of client input is the “Abraham Saw the Place From Afar” Ark. According to tradition that synagogue is situated upon the very hilltop this biblical occurrence took place.

3) Add my own artistic interpretation – Once I have imbibed the essence of both the community and the synagogue design I then endeavor to design and craft the required synagogue furnishings. My aim is to create an atmosphere in which the congregants will feel both at ease and inspired. I achieve this by adding my own artistic rendering of man’s role as the conduit between heaven and earth. I hope and believe that when a worshipper looks up during the service at the aron kodesh I made, he or she will feel at peace and spiritually elevated.

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