St Hedwig‘s Cathedral in Berlin

Architectural design competition and conceptual design
Redesign of the interior and its architectural context

The basic concept of the building traces back to Frederick the Great and his imperial architect Georg Wenzeslaus von Knobelsdorff. St Hedwig‘s cathedral was built in a period of transition between late rococo and early neoclassicism. Frederick the Great‘s architectural heritage comprises elements of Ancient Greek architecture, radiating sensuous serenity. The outer proportions of the reconstructed cathedral largely correspond with the original design concept in scale. Our competition entry for the redesign of its interior embraces the scale of the original building in an aim to redefine the relationship between the interior and the exterior.

The cupola

The newly exposed ribbed structure of the cupola conveys two spatial subdivisions within the large space. Rococo-style frescoes have the effect of amplifying the proportions of a space, giving the space more depth throughits layered composition. The circular rhythm of the ribbed structure in the cupola follows this same principle in an abstract manner. This creates the illusion of the space opening up above, rhythmically pacing the overall impact of the interior.

The main church room

The altar is to remain in its original position whereas the spatial relationship between the pulpit and the altar is redifined. The vertical opening is closed. This revokes the visual and spatial division of the altar and the remaining church room, thereby bringing the celebrant and the congregation closer together. The rearrangement of the pews aims to focus more greatly on the liturgical rituals of mass. By sealing the opening, further space arises for additional pews. A provision is made for flexible seating in front of the altar, satisfying the spatial needs for special holy sacraments such as priestly ordninations. The colour scheme entails a range of whites and greys for the walls, complementing the gold-coloured railings and windows in the clerestory gallery. The proposed light natural stone flooring coheres with the stone used for the altar and the pulpit as well as the pews. The Virgin Mary‘s altarpiece is placed in a prominent position in a wall niche adjacent to the altar.

The chapel

The current sacresty is turned into a chapel for small and peaceful masses, now permanently accomodating the tabernacle. The altar and the pews in the chapel are arranged inversely to the large church room, so that the tabernacle is situated on the extended central axis of the main space, visible from both places of worship. The chapel becomes a secluded place of peaceful prayer. The colour scheme and the use of materials in the chapel relate to those of the larger vaulted space.

The crypt

By closing it off from the main room, the crypt matures into a haven of tranquility. Stairs either side allow the visitor to enter the crypt at one end, pass through the space and exit it at the other end. Entrance and exit obtain a symbolic meaning; the crypt is both a place of baptism and burial at once.

The baptismal font is placed at the centre of the circular space in accordance with the liturgical significance of baptism, while the tombs remain in their inherent position.

Architecturally, the crypt is defined by a ring of round columns and the brick structure of the wallls. Protuding ‚capitals‘ amplify the height of the ceilings. Recesses in the rounded ceiling emphasize this effect further, while brick walls accentuate the original peaceful atmosphere in their tectonic layering.

The details – capitals, glass windows and mesh railings

The capitals are designed faithful to the rhythm of acanthus leaves in the Corinthian order (antique orders). The circular ribbed structure of the cupola reappears in a smaller version on the capitals, as a recurrence of its architectural language. As a whole, the vast proportions of the interior are now defined more subtly and gently.

A proposal is made for the glass windows to be reinterpreted in line with the main design concept of the building, bearing an adaptation of rococo style and yet breaking with the clearly defined basic order of tectonics. The whites, greys and gold-coloured accents are complemented with red elements in the windows. The shade of green in the existing colour scheme of the walls also recurs in the glass windows. A detailed depiction of the windows is subject to participation in the second competition round. The proposed redesign of the railings in the clerestory gallery is a flowing structure that mediates between historical reminiscence and modern all-over designs.

A detailed depiction of the sculptoral elaboration is subject to participation into the second competition round. The rhythm of the grids harmonises with the architectural language of the windows. The gold colouring relates closely to Schwippert‘s colour scheme. The choir cloakrooms and the organ both remain in their current positions.

The Bernhard Lichtenberg Building

The Bernhard Lichtenberg Building is part of a listed ensemble of buildings. While it can be agreed that the extension was of utmost necessity, the most recent addition to the ensemble fails to correspond with its historical context. The mansard roof on the old building makes a harmonious connection between the two wings complicated. The present extension protudes clumsily into what was originally intended as public space behind the cathedral. Visitors emerging from the cathedral are unpleasantly confronted with garages and fire escape stairs belonging to the event hall. Inappropriately, this creates a backyard atmosphere in what would otherwise be an enthralling urban situation.

The new concept

The proposal is to maintain the historical part of the building to which a new building shall be added. The preservation of the original Lichtenberg Building is intended to protect the continuity of the place. The new wing is to develop its own architectural language withal harmonising with the urban context of the entire ensemble of buildings. The space between the cathedral and the Lichtenberg Building must act as a mediator. This side of the building requires a new entrance that suggests a warming gesture to its visitors. The Lichtenberg Building is a central body within the parish, yet it must also be able to beckon visitors from all around the world and welcome them with open arms.

The historical wing

At present, the building is not listed in its entirety. Therefore, it may be assumed to be sensible to demolish both parts of the existing building. However, it seems more appropriate to preserve the original building, thereby avoiding the risk of jeopardising the historically rooted atmosphere of the place. The old wing is to be fully refurbished, accomodating the new sacresty. A generously proportioned underground passageway that is naturally lit (walkable skylights) connects the new sacresty with St Hedwig‘s cathedral. As functions and uses are reassigned to different areas, a new spatial concept is conceived with ample areas within the old wing.

The new wing

Due to the unpleasing result of the most recent addition to the ensemble in terms of urban planning, a replacement is proposed as an autonomous element that enriches and graces the entirety of the ensemble. The new building is distinctively accentuated with a 6-storey high tower. It appears as a seductive contrasting element to the cupola of the cathedral and yet it remains subordinate to the ensemble. The tower moderately taller than the building to its left.

The building‘s recesses conclude in alignment with the tower. They correspond with those on the upper levels of the neighbouring building. The rear side of the building is recessed from the second storey upwards, conveying a more generous space behind the cathedral.

The entrance to the new wing

The cathedral and the Lichtenberg Building are within close vicinity of oneanother, nonetheless they are spatially detatched. Cathedral visitors are confronted with an unappealing façade at the rear of the building. Accessing the Lichtenberg Building involves walking once around it to reach the entrance. By placing the entrance to the new wing towards the rear facing the cathedral, a new urban context is formed, forging a direct interplay between the two buildings.