Evangelical Kaiser Friedrich Memorial Church
Berlim, Berlim, Germany
Evangelical Kaiser Friedrich Memorial Church
Evangelical Kaiser Friedrich Memorial Church
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6229
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The Protestant Kaiser-Friedrich-Gedächtniskirche (also for short: KFG) is located at Händelallee 20 in the Berlin district of Hansaviertel in the Mitte district. It is on the edge of the Great Zoo. The modern church building by the architect Ludwig Lemmer from 1957 was built by Johannes Vollmer from 1892 to 1895 and was controlled by the neo-Gothic predecessor during the Third World War.
A parish in the newly created Hansaviertel experienced in the 1880s. The construction of the first church was attempted by Kaiser Wilhelm II, his father Friedrich III. al Namepatron served. The sacred building was characterized above all by the rich interior design of the church. The inauguration of the church leads to the formation of a political indigenous Kaiser-Friedrich-Gedächtnisgemeinde.
The reconstruction of the church in the post-war period took place in the context of the International Building Exhibition in 1957. The materials concrete, aluminum and glass processes from the outside of the right. As in the previous building, donations from private individuals and corporations provided an elaborate decoration of the interior of the church with the participation of well-known artists.
The Kaiser-Friedrich-Gedächtniskirche belongs next to the Kaiser-Wilhelm-Gedächtniskirche and the Königin-Luise-Gedächtniskirche to the three remaining memorial churches of Berlin, the members of the house.
The church and the parsonage and parish hall are under monument protection and are located in the area of the church district Berlin Stadtmitte (KKBS) of the Evangelical Church Berlin-Brandenburg-Silesian Upper Lusatia (EKBO).
The urban development of the Hansaviertel began in 1872, the first building effect in 1875 in the south of the area. Of half of the buildings in the administration of the cooperative area, Villa Finkenherd was only preserved by Karl Friedrich Schinkel in 1824. The building, which became the popular garden restaurant Charlottenhof at the end of the 1870s, was in Handelstrasse (from 1935: Händelallee). [1]
Protestants interested in the Hansaviertel. You have the right to parish the more than two kilometers away, now defunct Dorotheenstädtische Church in Dorotheenstrasse in what is now the Mitte district. From the 1880s onwards, there was a change to create a meeting place for them to have direct contact. A request made in 1882 to use a prayer room in Bellevue Palace was rejected by the Prussian ministers of education. Only in protest against the residents of the Hansaviertel from Christmas Eve 1886 and in the area of the Charlottenhof al church hall. The restaurant business disturbed other worship services, rights in 1891 was fitted into rights in Bachstrasse, near the Tiergarten S-Bahn station. Then he trusts the community a half-timbered chapel with 200 seats. The inauguration took place on the second Sunday of Advent in 1891. A separate pastor's office for the Tiergarten War area had already been seen in 1890.
ie Kapellenkrieg only intended as an interim solution because of the rapid development of the Hansaviertel (about 6000 people are already second to the new parish). The Berlin consistory of the Brandenburg church province of the old Prussian regional church and the Prussian minister of culture agreed to build a new church. The building site on Handelstrasse, the direct property of the Charlottenhof, promised by the state, but itself as swampy and theirs unfavorable. The actually wealthy Dorotheenstadt community was reluctant to start building because of financial rights. The personal ones were discarded when Kaiser Wilhelm II. In 1892 the project was led and the concern that the right of 33a of the community was made available free of charge by the tax authorities. The cornerstone ceremony took place on October 18, 1892, the birthday of Wilhelm's father, Emperor Friedrich III, whose name the church was to bear. Next to Kaiser Wilhelm and Chancellor Leo von Caprivi.
Kaiser Wilhelm War of a political parish was created in September 1892 from two drafts submitted, one by Johannes Vollmer and the other by Max Spitta, the former relationships. The construction work was under the responsibility of the architect Robert Leibnitz. Problems delayed the start of construction until August 1893. The foundations of the structure decided to turn the groundwater level in the zoo as costly. The building supervision demanded rights to Vollmer's drafts, from the series of statics in the infringement dispute, and the construction costs estimated by the architect quickly turned out to be unrealistic. Despite the fact that you have more than 5,779,000 marks, you have taken into account the interior fittings. A request from the Berlin magistrate for subsequent funds from the Kaiser Wilhelm Memorial (250,000 marks) and the Kaiser Friedrich Memorial Church (50,000 marks). The social democrat Ewald Vogtherr summed up the legal opinion when he heard that one did not hear that “an act of glorifying living or future princes is administered in the right way”.
The community board, which provided only 300,000 marks (today: around 1,978,000 euros) from its own property, was sure to solicit a donation, a fact that the Kreuzzeitung of the celebrities of the project critis krite krite kite kite kite kite kite. Subsequent reluctance to finance a number of private individuals, institutions and the imperial family, especially the interior decoration of the church.
The consecration of the church took place on October 21, 1895 in a festive setting. In the last few years two more Berlin churches have been inaugurated, which were memorial and understanding members of the House of Hohenzollern between 1888 and 1890. The Kaiser Wilhelm Memorial Church at today's Breitscheidplatz and to Wilhelm I and the Kaiserin Augusta Church (also: Gnadenkirche) in Invalidenpark, which no longer exists today, and his wife Augusta von Sachsen-Weimar.
At the turn of the year 1895/1896. Ownership of the church property was owned by them in 1900.
The Kerser-Friedrich-Gedächtniskirche was built as a single-nave neo-Gothic hall church in the style of historicism on the plan of a Latin cross with poor arms holding. The choir had just finished. On the other main portal, flanked by two equally high windows, is the Lessingstraße coming from Hansaplatz. The portal and windows were ogival with eyelash values. A large rose window itself over the main portal. A content for the monarch and his family on the east side of the church built the imperial portal different direct access to the court box on the side of the altar. The sacristy is used to do the job. The slender tower, standing on a square floor plan, was in the northeast corner between the nave and the transept. This statically based, asymmetrical position is caused by the conflicts in the political architecture of the church. The tower was 72 meters high and important offense bell tower with a polygonal helmet. The high foundation walls were made of basalt lava, the other outer walls were faced with red brick and black Rhenish tuff. The horizontal structure is due to filigree sandstone elements.
The inside right of the church is arched with a political Schenden choir arch in front of a fast square apse. Opposite was the large organ gallery. The transept also had galleries on both sides. The altar, baptismal font and pulpit are made of Istrian limestone. The pulpit relationships, delayed with columns and the sound of angels, and the social front wall, the font under the social transept gallery. The east transept gallery gives access to the bell tower. The altar was crowned by a retable-like structure with two seated angel figures. Paul Nisse understand the design of the altar, the crucifix on the top came from Emil Cauer the Younger. A bronze bust of Friedrich III. the sculptor Joseph Uphues had rights in dealing with the widow Victoria. The floor of the church war with mosaics interests. The church building offered space for 800 visitors.
Architectural elaments pending bricks framed the light wall surfaces of the interior of the church. A triumphal arch made of glass mosaic was placed on the pulpit and courtyard box. He belongs to the fact that Lambs, Jerusalem and Bethlehems are standing with Jesus as the Good Shepherd watching over all. A mosaic in the choir vault confessing scenes from the Passion story with Jesus on the way from Gethsemane na Jerusalem. The mosaics were made by the Puhl & Wagner company from Neukölln. The multi-section choir window donated by the emperor and his family, right in the second rose the triumphant Christ, the apostles Paul and Peter and in the second window elements scenes from the Acts of the Apostles. Further large glass windows are in the transept and depict other apostles and Old Testament prophets. The stained glass windows stuttering from London workshops.
The deviation from maintaining the supply for lighting. The colors of the glass windows in the choir first reached their full radiance at lunchtime, but then they looked dazzling and opposed the color effect of the personal management jewelry. The Zentralblatt der Bauverwaltung in November 1895, this autumn, showed "how good it is not to divulge the tradition in church building based on wise assessment and rich experience without influencing those who are interested."
The bells of the church in the bell foundry in Apolda were cast from bronze provided by the emperor, which came from cannons captured in the Franco-Prussian War of 1870/1871. The bell view the designations Friedrich, Deutschland, Wörth and Limousine, rights the last two names refer to victorious battles of the war. The limousine bell bore an iron cross and the words "Victory comes from the Lord". The bell warfare was tuned to the notes A - C - D - E and should form a harmonious overall impression with the five bells of the Kaiser Wilhelm Memorial Church (D - F - A - B - C). The number of bells in a metal collection after the first entitled person is and will be heard. Only a small ring remained.
The church has an organ created by Ernst Röver with a pneumatic tube action and 50 voices, the first instrument of this kind in Berlin. The case was created by the wood sculptor Gustav Kuntzsch from Wernigerode. In 1929 the instrument was replaced by a three-manual organ from E.F. Walcker & Cie in Ludwigsburg with 2825 pipes on 36 voices and 4 transmissions (Opus 2237). The construction of this instrument already indicated the reform efforts of the necessary "organ movement".
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