The synagogue A place of worship does not have to be dark, cold and solemn. It can be welcoming, bright, warm, both in its layout and its furniture. Several effects have been processed to make the place unusual with a subtle simplicity. The light The room is continuously lit by the sun. Long, slender windows flee to the heavens. This vertical direction is the first sign of a deified manifestation where the gaze is invited to raise its eyes to the sky. Then each pier is revealed as so many column supporting clouds. The aerial realm of the divine based on the dedicated works of humans. The synagogue plays with the running and inclination of the sun as well as with the rhythm of the seasons. Thus the first rays axially strike the facade. We enter the place with Phebus in front of us and stripes of lights parallel to each other which naturally show us the way to the altar, La Bima, where the Téva and the Hekhal reside. This welcomes the most sacred element, the Thorah. This piece of furniture refers to the Ark of the Covenant. It is treated like a giant door with two oversized leaves, again bringing the man back to a totally dominated subject. At the end of the day, the sun shines to the west. The rays of light now project perpendicular to the centerline of the room. The light becomes entangled between the frontal glow of the openings and the orthogonal projections on the ground. The light is therefore elusive, incomprehensible, confirming the necessary work of prayer to translate the mysteries of God. Glazing The stained-glass windows are plates 8.90m high by 0.80m wide. These are laminated double glazing, one of the glasses of which is engraved on one of its faces. The groove engraving allows gold leaf to be placed inside it. The same glass is also screen-printed with bands of silver chloride providing an orange color. The whole thing when set up reacts in various ways to the sun, both outside the building and in the synagogue. From the street, the incidence of the sun obscures the clear glass, making the interior of the synagogue unreadable. The stained glass window does not let any glance pass. It works on a ternary rhythm. First by an intense reverberation thanks to the gold leaf, then a soft transparency of the serigraphy, and finally an opaque black band due to the reflection of the sun on the glass. Conversely, from within, the magic of glass turns the situation around. One is struck by the interior clarity, the transparency of the glass which allows the gaze to escape over the city, and the yellow lines animated by the rustle of the leaves of the trees in the street. The stained glass window also allows the link with the Jewish community. The stained-glass window can be seen as a Talit, this stole that we wear to pray and cover ourselves before Yahweh. The geometric composition of the alternative lines along the length of the glass is reminiscent of this hemmed piece of fabric. The seats The construction of the new European Center of Judaism invites us to design an armchair for the new synagogue. Rather than the usual bench manufactured for Americans and produced in an Israeli Kibbutz, we thought about a seat that hesitates between the theater chair and the Dominican church bench. The seat will however be comfortable. We can stay there to pray for a whole day. It is accessorized with various elements: a foldable shelf allowing the placement of a larger or smaller prayer book. A rear cabinet to store personal effects. A leather cushion and backrest. A central armrest that allows each user to be separated. A head or shoulder wedge which further delimits the personal hold in the seat. The seat can mate with a neighboring seat. It works in a bench of 2 or 3 people. The design was done in the economy of means. The number of wood elements has been carefully considered to avoid unnecessary falls. The chandelier The discovery of the chandelier begins with parallax. The position of the observer is decisive in determining the shape of the suspension. His perception is completely different if we walk in the axis of the entrance or sit sideways on the mezzanine. The chandelier therefore promotes various evocations and does not necessarily stigmatize the place as a synagogue. Which can easily become an auditorium without ostentatious religious sign. The chandelier comes in the form of two triangles nested in space. The chandelier is therefore a star, symbolizing the bucket of David. It is therefore not immediately readable. It is an echo of the construction of the Jewish Museum in Berlin by Daniel Libeskin (each segment of the Star of David unfolds linearly to constitute the body of buildings in the museum.) It is covered with straight bulbs regularly arranged along the length of the metal frames in the form of airplane wings. These bulbs evoke the glamorous side of mirrors in artists' boxes. They are also reflected on the windows after dark. The result is a multiplication of light sources on each window, referring this modest building to the illuminations of the Palace of Versailles. The atmosphere This synagogue stands out from its sisters. It is planted on a crossroads. Contrary to the sense of history which has always wanted to protect the faithful from attacks, by creating a succession of ramparts between the place of prayer and the city. This time, the book acts as an attractor. Present by the sobriety of its invoice, in cyclopean concrete block, like the David's wall. But discreetly shining with a thousand day and night lights. The interior brings us back to more domestic concerns with a treatment of blond wood to express a Scandinavian "hygge", allowing everyone to feel comfortable at home during the pray. When Ikea meets Yahweh.