Gustav-Adolf-Kirche Munich-Ramersdorf
The Protestant Gustav Adolf Church is one of the oldest churches in the Prodekanatkreis München-Südost . Its creation is closely interwoven with the model settlement Ramersdorf , a building exhibition from 1934 (German settlement exhibition Munich). This was initiated by the city council and architect Guido Harbers (1897–1977), from whom the designs for several houses in the settlement and those for the church and rectory came from.
history
Since 1931 the Protestant citizens in the east of Munich tried to set up an independent parish and a building fund to build a church. At the end of 1933 / beginning of 1934, the city of Munich decided to build the model estate. From the beginning, Harbers had pursued the plan to create a Protestant church at an important urban site in this settlement. The foundation stone was laid on November 18, 1934. Due to favorable financing arrangements ( heritable building rights ), which are also thanks to Harbers, the church was built in 1935 and the parish hall in 1936. The inauguration was on September 1, 1935. During the Second World War , the church building itself was little damaged.
Harbers planned for the church a structure with 13 × 23 m and an eaves height of 6.20 m, as well as a gable roof with a 46 degree incline. The church tower is pushed into the structure at the northeast corner. A somewhat steeper gable roof rises in the same direction over a base area of 6 × 6 m and an eaves height of 16 m. The structure is plastered smoothly in white with the scarce eaves and verge designs also used in the settlement. The echoes of the Romanesque architectural style through the small high-seated arched windows, the simple furnishings and the castle-like character correspond to the ideal of the "Germanic style" typical of the time. The interior is determined by the flat, suspended wooden coffered ceiling and wooden gallery balustrade. The windowless chancel - set off in the east by steps - is adorned with a fresco depicting the "Resurrection on the last day" by Hermann Kaspar . The round glass window in the western front was designed by Harbers' daughter.
The rectory was a single-storey building with a hipped roof, situated perpendicular to the street and connected to the church by a covered, open corridor. Thus, the outside area of the church was clearly divided into a forecourt to the west and an intimate inner courtyard to the southeast. Construction began in the spring of 1935 and was completed a year later. On July 31, 1944, the house was completely destroyed. It was not until 1951 that a new building was carried out on the old foundation walls according to the plans of the church building office with a gable roof and a higher knee floor. In 1962, when a larger parish hall and apartments were needed for employees of the parish, Guido Harbers was commissioned with the extension, which extended the building in the direction of the gable. This is how the building got its present form.
An extension on the south side for community rooms was added in 2001. In 2004, the basement with youth and group rooms was first renovated. In 2005 the ground floor was renovated with the installation of a kitchen and the redesign of the community hall. This was followed in 2014 by the design and completion of a youth room and in 2015, with the change from Pastor Herzog to Pastor Ammon, the complete renovation of the rectory in accordance with the monument protection.
Today the Gustav-Adolf-Kirche is registered as an individual monument in the Bavarian Monument List under the number D-1-62-000-2755.
The frescoes on the facade
In the vestibule of the Gustav Adolf Church there are four frescoes with three figures each. All figures are shown standing frontally in traditional costume and have a nimbus . Their iconography follows that of the twelve apostles. Each of the figures has an attribute by which one could recognize which figure represents which apostle. However, the attributes are ambiguous, giving the impression that these are not the twelve apostles. The architect is said to have won over the artists Schilling and Günther Graßmann for these frescoes .
Outside left
Peter stands first . He is holding the key in his left hand. The right arm hangs straight down the body and the palm is open to the front. Besides the attribute of the key, Peter can also be recognized by his traditional hairstyle and trimmed full beard. Andreas is standing next to Peter . He holds his instrument of torture, the inclined crossbar, in front of his body with both hands. It is also named after him as the St. Andrew's Cross. On the other side of Andreas is Jakobus the Elder. Older . He holds the staff of Jacob in his left hand and the right is raised in a gesture of blessing. On his head he wears the pilgrim's hat with the shell in the middle.
Left inside
A young, beardless man stands first. Already by this he can be recognized as Johannes . In his right hand he holds the chalice, the attribute for the disciple John. The eagle with a nimbus can be seen on the left at his feet. This is the attribute of John the Evangelist. The middle figure of this field shows Thomas holding a square in front of his chest with both hands. James the Younger follows him . He can be recognized by the walking stick in his right hand and the book.
Right inside
The first figure in this row of frescoes cannot be assigned. She holds a staff in her right hand, perhaps a walking or walking staff. This attribute cannot be assigned to any of the remaining apostles. Also not an evangelist who is represented on the outer facade. In the center is probably Philip with the cross in his raised right hand. He is holding a stone in his left hand. However, this is the attribute of Jude Thaddäus and Matthias . Thus the assignment of this figure is not clear. He is clearly followed by the evangelist Matthew . He holds a book open to the viewer in both hands in front of his chest. To the left of his head is an angel, his attribute as an evangelist.
Right outside
Again the first figure cannot be clearly interpreted. It could be the Evangelist Luke . He is holding a tape in his left hand. This could be a Gospel tape or a painting tape, as Luke is also known as the Madonna Painter. The middle figure cannot be clearly assigned either. She has raised her right hand in a gesture of blessing and in her left hand she is holding a rod with a knob. This could be a blunt lance. Then this figure would have to be interpreted as the apostle Matthias. The right and thus last figure of the cycle is clearly Paul . He is holding the book in his right hand in front of his chest. In his left hand he holds the sword by which he most likely found death, since this was a privilege of execution for Roman citizens. His sparse hair and beard also distinguish him as Paul.
The altarpiece
The altarpiece of the Gustav-Adolf-Kirche, a fresco, calls for an examination of contemporary history. It can be roughly divided into a grid of three columns and three rows. In the middle of the top row is an eye with a hand emerging from it. To the right and left of it there are two cherubins , the four centers of which show the attributes of the four evangelists. In the row below, Christ sits in the middle with his right hand raised in a gesture of blessing, flanked by two archangels on each side. It is striking that Christ is depicted with light blond hair and blue-gray eyes in accordance with the Aryan ideal of the National Socialists . To the left of him stands the archangel Michael with a sword , who was associated with the Germanic god Wodan in the ideology of the 1930s , and Hermann Kaspar depicts him without a halo . Below this group are three angels with long trumpets in their hands and use them to awaken the dead emerging from the coffins.
For the altarpiece, the church's architect won over the then professor at the Academy of Fine Arts in Munich, Hermann Kaspar . The artist's view of art and the explanation of the type of representation can be found well in his article: “The essence and tasks of architectural painting” in the magazine “Die Kunst im Deutschen Reich”, 1939: “How the authoritarian state must be independent of the consideration of irrelevant individual interests and serves a higher ideal, monumental painting - a symbol of nature - must also be free of its contingencies. This independence speaks from every part of old works of monumental art and is often referred to as stylization and idealization, but in reality this is the expression of an art conception oriented towards the whole and towards classification. "
Origin of name
On November 6, 1932, Pastor Bomhard von St. Paulus gave a lecture about the Swedish king Gustav Adolf , about his life and work on the occasion of the 500th anniversary of his death. The king's jubilee year was certainly one of the decisive factors for the later naming of the church. If one cannot deny this naming a certain militant self-confidence, after all Gustav Adolf was the martial protector of the Protestants in Germany, then on the other hand it could have been understood as a more or less subtle affront. There is a relevant votive picture in the well-known Catholic pilgrimage church of St. Maria Ramersdorf, which is not far away . The picture shows the release of thirty hostages of Gustav Adolf, who were only released after three years imprisonment in Augsburg during the Thirty Years' War.
organ
The organ , built by Albert Moser in 1936, has two manuals , a pedal and 13 stops . It has a pneumatic action and has the following disposition :
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- Coupling : II / I, I / P, II / P, II / P 4 ′
literature
- Ursula Henn: The Ramersdorf model estate in Munich. A settlement concept between tradition and modernity (= Miscellanea Bavarica Monacensia 138, new series of the city archives ). Uni-Druck, Munich 1987, ISBN 3-87821-222-4 (also: Munich, Techn. Univ., Diss., 1987).
- Dieter Vollmar: 50 years of Evang-Luth. Gustav-Adolf-Kirche Munich Ramersdorf. Munich 1985.
- Hannelore Zarschizky, Detlef Daumiller: The building history of the Protestant Gustav-Adolf-Church Munich-Ramersdorf. In: Departure. Special edition for the 75th anniversary of the Evangelical Gustav Adolf Church. Munich 2010.
Web links
Individual evidence
- ↑ a b Historical load: Church buildings during the Nazi era , accessed on November 17, 2019.
- ↑ Ursula Henn: The model settlement Ramersdorf in Munich. A settlement concept between tradition and modernity . Commission publishing house UNI-Druck, Munich 1987, ISBN 3-87821-222-4 .
- ↑ Disposition of the organ
Coordinates: 48 ° 6 ′ 46.2 " N , 11 ° 36 ′ 28.5" E