Vienna's Stadttempel Restored After Surviving 1938 Annexation

Vienna's Stadttempel, the only synagogue in the city to survive the 1938 Nazi annexation, has been restored in a ten-month construction programme completed just before this year's Jewish high holidays.

The 200-year-old building, formally titled Wiener Stadttempel, was designed in 1826 by Austrian architect Josef Kornhaüsel and remains a working community space: it welcomes around 12,000 visitors a year, hosts Bar and Bat Mitzvahs and holds regular services. Vienna practice KENH Architekten carried out the restoration under strict heritage protection, working with the Federal Monuments Office and IKG, the official Jewish community organisation in Vienna.

"To work on such a remarkable gem of sacred architecture is a privilege," said Eric-Emanuel Tschaikner, co-founder of KENH Architekten. "When we saw it, the beauty of the historic building was there, but previous interventions were at odds with the original idea."

Planning and negotiation took approximately two years. The works themselves took ten months.

What changed at the entrance?

The synagogue survived the 1938 Nazi pogroms, but until recently visitors entered through a side door. KENH has restored the external doors, and internal openings now echo the original design panelling while remaining modern.

To the right of the entrance, a vestibule converted from shops in the 1980s has become a multifunctional gathering space with seating, where people can listen to prayers that last up to six hours.

How did the architects handle colour and storage?

The wood panel colour draws on Biedermeier-era painting. "At that time, accents were frequently set in bold orange, tobacco yellow, or in pastel shades such as sky blue, powder pink, and pale lime green," said KENH co-founder Natalie Neubauer. "They were always combined with warm beige and white tones."

The central and lateral storage uses a system of concealed compartments and transformable elements. "Fold-out sales stands and other flexible features allow the space to adapt seamlessly between different modes of use," said KENH co-founder Kim Tien.

How did they solve the acoustics?

The main sanctuary retains Roman-style columns that direct views up to a blue ceiling with six-pointed gold stars. That ceiling inspired a Lobmeyr-made crystal cup reinterpreted by the practice during Vienna Design Week earlier this month.

The oval plan, shaped by Kornhaüsel's theatre design background, suits performance but not noise control. KENH addressed acoustics and delivered heating and cooling across all three floors. The architects designed curved seating that maximises space; the preservation office initially resisted the idea until an archival photo proved the original design was curved.

The upholstered seating reduces echo and carries an integrated heating and cooling system, as do the walnut-clad walls. Members have confirmed they can hear and enjoy the entire service, even from the upper floors.

What did the works reveal?

Extending the Bimah, the central platform from which the service is led, exposed the original Hungarian red limestone and Solnhofen limestone floor, typical of the building's construction period. The practice has reinterpreted it on the main sanctuary level.

Original natural stone slabs found in the forecourt now sit beneath a new fountain in the former open courtyard. Above, KENH integrated lights into the glazed roof covering. Rib panelling details from the bottom of new and original doors repeat here too.

In place of traditional memorial plaques, milled inscriptions are integrated into the walls, keeping the community part of the building's fabric. "Despite the changes, the community still recognise their temple," Neubauer said.