In the decades following the Holocaust, Jewish congregations commissioned architects like Erich Mendelsohn to design synagogues that reflected their intertwined histories in America.
Tóth's high-vaulted concrete ceilings in Doylestown signal an outsider's arrival, representing the conflict between radical aesthetics and traditional American tastes.
Brady Corbet's film uses the arrival of Tóth in 1947 as a commentary on the melting-pot myth, contrasting the hope of America with the realities of acceptance.
Tóth's first design, a sleek office chair and desk, symbolized a futuristic vision amidst the traditional aesthetics of mid-20th century American design.
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