“But the word of the Lord endureth for ever.” Ikegaya’s Nested Churches at Berlin’s St. Elisabeth’s.

 

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Elisabethkirche, c. 1994. Photo: wikiwand
“Des Herrn Wort bleibt in Ewigkeit”.This text, 1 Peter 1:25, was on the frieze of Karl Friedrich Schinkel’s Elisabethkirche in Berlin from 1834, when it was built, through its destruction in World War II, until well into the 1990s, when it sat as a ruin.

 

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The church in April 2017. Photo: Robin Oomkes
But although the church exterior has been beautifully restored since, the epigraph  signifying eternity hasn’t returned. Berlin artist Riku Ikegaya created a temporary installation based on this story of destruction and reconstruction of architecture: a model of Schinkel’s church, made out of scaffolding pipes for the frame and construction timber for the benches, inside the actual church – hence the project’s name: Nested churches. He fronted the church’s model with Saint Peter’s words, in neon.

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Ikegaya’s Nested Churches. Photo: Robin Oomkes
During opening hours, the  words are partially visible from outside, creating a compelling desire to enter. Meanwhile, the artist would like us to consider our expectations of eternity, in a digital age where change seems to be the only constant.

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Ikegaya’s Nested Churches. Photo: Robin Oomkes
On the altar, which is not part of St. Elisabeth’s standard equipment (it is no longer used for religious services), there is a dish containing communion wafers inviting you to explore the background of  Ikegaya’s work. If you’re lucky, you can catch the artist wandering around the church!

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Ikegaya’s Nested Churches. Photo: Robin Oomkes
WhatNested Churches by Riku Ikegaya

Where: Elisabethkirche, Invalidenstr. 3, 10115 Berlin. U/S: Rosenthaler Platz, Nordbahnhof, trams 8 and 12.

When: Daily, 20 April until 1 May, 12-7 pm.

More at: bit.ly/-ewigkeit

 

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Recreating Mies’ Villa Wolf at Gubin

Ludwig Mies van der Rohe’s first and last modernist works at Berlin’s Kulturforum

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Model of Villa Wolf at Gubin, Poland. The terraces overlook the Neisse river, the post WW-II border between Poland and Germany. The model was created by students of Potsdam’s University of Applied Sciences.

In the public entrance hall of Hans Scharoun’s Staatsbibliothek on Potsdamer Straße, there’s a temporary exhibition on a fantastic architectural project: the planned reconstruction of Ludwig Mies van der Rohe’s Villa Wolf in the now Polish town of Gubin.

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Mies (1886-1969) originally trained as a bricklayer, which shows in the extensive use of the material in his early designs.

Villa Wolf, built in 1925/6, was Mies’ first modernist construction, and it is generally accepted to also be the first modernist building in the world. Bombed in World War II and never reconstructed, it is now one of those mythical places of architectural history – just like Mies’ famous Barcelona Pavillion. Created for 1929’s World Fair, Mies built the Pavillion as a showpiece of Germany’s newfound intellectual creativity after the suffocating historicismof the imperial era. It was disassembled after the show and vanished, and only photographs survived. When it was reconstructed in 1986, it drew massive attention.

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Berlin’s Kulturforum. From left to right: Mies’ Neue Nationalgalerie, Friedrich August Stüler’s St. Matthew’s church, and Hans Scharoun’s Philharmonie and Staatsbibliothek.

Showing this exhibition at the State Library creates a nice juxtaposition with Ludwig Mies van der Rohe’s very last design, the Neue Nationalgalerie built in 1969. It sits just across the road from the library and also is part of the Kulturforum. Mies returned to Berlin from the United States, where he had moved in 1937 to escape the Nazis, one more time to finish this project, which can be considered as the architect’s reconciliation with Germany.

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Mies’ architectural drawings of the Villa Berg have been preserved at the New York MoMA.

And that’s exactly how the sponsors of the new Villa Wolf at Gubin see the project – as a reconciliation between Germany and Poland. As was the case in Frankfurt and Görlitz, two other towns on the Oder-Neisse border, the new border created in 1945 split Gubin and Guben (on the German bank of the river) in two. But when the building is completed, it will be a monument for one of Germany’s most famous architects, sitting on the Polish side of the river but overlooking Germany. Construction is planned to start in 2017 and the rebuilt villa will serve as museum for Mies van der Rohe’s work.

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Poster for the exhibition and conference at Berlin’s State Library

The exhibition at the State Library has now ended, but more information on the villa’s resurrection project can be found at www.villawolfgubin.eu.