Despite repeated reports that the congregation might sell its older, landmark building in what had become known as the Koreatown neighborhood, the temple began extensive renovations of the historic facility in 2008;[10] and the remodelled sanctuary reopened in 2013.

In 1862, a small community of Los Angeles Jews received its charter from the state to found Congregation B'nai B'rith.

[12] Long overshadowed by the more prosperous San Francisco Jewish community, L.A.'s Jews commissioned the congregation's first building, an impressive brick Gothic Revival style synagogue built in 1873 at the corner of Temple and Broadway in downtown Los Angeles.

[13] It was described by the Los Angeles Star as “the most superior church edifice in Southern California.”[4] By 1885 much of the congregation was pushing to move away from Orthodox practice, and Rabbi Edelman eventually resigned.

Both Hecht and Magnin implemented the Reform practices of the time, including wider use of the English language in services, and introducing organ and choir music.

The new temple was the dream of Rabbi Edgar Magnin who, over a career of seven decades, forged a Jewish identity for Los Angeles that joined pioneers and Hollywood moguls.

After World War I, Hollywood moviemakers became more involved in the congregation and Magnin was promoted to senior rabbi in 1919; the building project proceeded.

While most of the Jewish Hollywood producers were relatively secular New Yorkers with marginal religious interest, they were attracted to Magnin's vision of a popular modern Judaism.

[16] In deciding to include murals in the new temple, Magnin was inspired by his recent visits to great European cathedrals; the particular role of Los Angeles as the capital of the movie industry; and archaeological discoveries of the time that suggested that ancient synagogues used figurative art.

The Rose Window depicts a Torah Scroll and a Star of David in the center, and symbols of the Twelve Tribes of Israel in the outer circle.

The triple lancet windows on the east and west walls are each made up of some 5,000-6,000 pieces of glass and are the symbolic representation of the 12 tribes of Israel.

Funding for the east and west lancet windows was donated by film producer and studio head Louis B. Mayer.

[18] The block of Wilshire Boulevard where the temple sits was named Edgar F. Magnin Square in 1980 by the City of Los Angeles.

[20] Despite repeated reports that the temple would leave its historic building, Rabbi Fields restated the congregation's commitment to the location.

As the area surrounding its historic building has changed dramatically (becoming part of the rapidly expanding Koreatown district), the temple faced the decision whether to sell the property and refocus its operations on the Westside, where most of Los Angeles' Jewish population had moved.

[27] The temple began working with architect Brenda Levin in 2005, developing an expansive master plan for what was envisioned as a campus, including a renovated synagogue, a new pre-school and elementary school, the Karsh Social Service Center, and athletic and community facilities.

In 2013, Judson Studios restored the sanctuary's neo-Gothic windows, the sculptor Lita Albuquerque designed a memorial wall and the artist Jenny Holzer crafted a series of benches.

In 2015, more than a dozen architectural firms were considered for the Audrey Irmas Pavilion by a 15-person committee made up of congregation members, including philanthropists Glazer, Bruce Karatz, Eli Broad, and Anthony Pritzker.

[41] On the third floor, Mia Lehrer designed a circular sunken garden surrounded by walls painted an azure blue.