Arnim Palace
The Palais Arnim was the historic building at Pariser Platz 4 in Berlin . Eduard Knoblauch designed it in 1857 as the capital city apartment of the Prussian politician Count Adolf Heinrich von Arnim-Boitzenburg . From 1907 to 1938, after renovation and expansion by Ernst von Ihne, it was the seat of the Prussian Academy of the Arts . While the GDR Academy of the Arts used the remaining extension after the Second World War , the heavily damaged historical part of Knoblauch's building was cleared in 1960 after 15 years of neglect. Since 2005 there has been a new building for the Akademie der Künste on the site of Palais Arnim , which also includes parts of the old building.
The previous building
In 1737, the protective Jew Meyer-Rieß built a baroque palace on the 38 × 100 meter plot of Quarré No. 4 . The two-storey building designed by an unknown architect had ten axes under a mansard roof , and eleven around 1820 , with the right one having the shape of an archway as an entrance and passage. The middle three axes were highlighted by pillars that formed an open hall on the ground floor and supported a balcony, as well as a crowning balustrade in the roof zone. To the rear lay the spacious courtyard and a large garden that adjoined the property of State Minister Friedrich von Görne , later the Palais of Princes Alexander and Georg , at 72 Wilhelmstrasse .
In 1760, Caroline Maria Elisabeth von Labes (1730–1810) bought the palace from the property of Meyer-Rieß's widow. She was born Daum and widowed Fredersdorff . Amalie Karoline von Labes (1761–1781), who married Baron Joachim Erdmann von Arnim (1741–1804) in 1777, was one of her children from her marriage to Johann Freiherr von Labes (1731–1776). The marriage resulted from the poet Achim von Arnim , who spent his childhood years in the grandmother's palace after his mother's death. In 1816 Prince August of Prussia , who lived unmarried in Bellevue Palace and in Palais Wilhelmstrasse 65 , acquired the palace and left it to his partner Karoline Friederike von Waldenburg and their children as a home. After several changes of ownership, Eduard Knoblauch completely rebuilt the palace for Count Arnim-Boitzenburg in 1857/1858.
Garlic's burrow
It now had one more story and a flat roof with a continuous balustrade. Knoblauch matched the facade and proportions of the building to the neighboring Palais Redern , built by Karl Friedrich Schinkel . He removed the portico but kept the balcony. On the balustrade, six crater vases accentuated the three central axes and the corners of the building. The restrained, late classicist plastered facade was stronger on the ground floor and less rusticated on the upper floors . Knoblauch gained the space for a spacious staircase by extending the side wing. In the judgment of the contemporaries, Knoblauch's conversion was tantamount to a new building. Towards the end of the 19th century, the Prussian state was looking for representative locations for the Akademie der Künste and parts of the Marstall , which had to vacate their shared property on Unter den Linden because of the planned rebuilding of the Royal Library and the University Library . In 1903, Prussia and the Arnim family agreed to buy the palace as the future seat of the Academy of Arts.
Conversion and new construction by you
In 1905 the reconstruction of the palace headquarters of the Academy began associated with the creation of an exhibition building by Ernst von Ihne, the favorite architect of her protector , Wilhelm II. Meanwhile, was on the neighboring plot no. 5 after the demolition of the Palais Rederns the Hotel Adlon in The result was a building size that exceeded the scale previously maintained on Pariser Platz. As early as 1878, the Rohdich Foundation had erected a new neo-baroque building for the Wrangel Palace on the neighboring property No. 3, which towered over the Arnim Palace with its facade dominated by colossal pilasters .
Ihne renounced both competition with the triumphant new buildings and the typical use of neo-baroque style elements. Except for the transformation of the left window axis into an exit and a subtle enlargement of the existing entrance, the facade remained unchanged. Delivery vehicles were able to drive around the new exhibition building, which took up the entire rear property, from Pariser Platz on a narrow U-shaped street.
Inside the palace, as the only major intervention in Knoblauch's work, Ihne created an elevated columned hall along the existing passage, illuminated by a light shaft with a skylight . From here the main staircase led to the upper vestibule with entrances to the Great Hall, the conference room, the rooms of the Academy President, his secretaries and the function rooms.
On the ground floor, one entered the anteroom from the portico to reach the connecting hall of the new building. This only neo-baroque decorated room was intended as a party room for visitors to the exhibition and had a false, only suspended vaulted ceiling . It opened to four exhibition halls one behind the other, which surrounded eight smaller ones. With the exception of two halls for sculptures, which also had windows, they were illuminated by skylights that took up almost the entire ceiling . A steel structure 60 meters long, 30 meters wide and seven meters high supported the glass hipped roof of the exhibition building. Where the old and new buildings met south of the connecting hall, the Ihne Tower was built with a spiral staircase that connected all floors of both buildings.
On January 24th, 1907, the 195th birthday of Frederick the Great , the inauguration ceremony of the enlarged Palais Arnim took place in the presence of Austrian and foreign academy members. Three days later, on his 48th birthday , Wilhelm II, for whom a throne was set up in the connecting hall, received the general public in the exhibition building.
Several times a year the academy organized exhibitions, which made the Palais Arnim a well-known part of Berlin's cultural life. At the end of the monarchy in Prussia, solidified in a Wilhelmine academicism , it opened up to modern art in the years of the Weimar Republic under the Academy President Max Liebermann (1920–1932) .
After the National Socialist “ seizure of power ”, the academy under the “protector” Hermann Göring lost its independent position in German art life, which was incompatible with the “ Führer principle ”. The academy's last exhibition in September 1937 was dedicated to the subject of "Italian art from 1800 to the present" on the occasion of the Italian dictator Benito Mussolini's visit to Berlin .
Reconstruction of Speers
The Academy, after leaving ripples in the years 1933 and 1937 " brought into line " and since 1938 by Georg Schumann only managed provisionally, had become a mere instrument of Nazi cultural policy. Of the 41 members appointed in 1937, ten were architects, including the architect and city planner Albert Speer . He used his premises in Palais Arnim as a workplace in his capacity as general building inspector for the Reich capital . Adolf Hitler created the ministry-like position especially for him on January 30, 1937.
In February 1937 Speer justified his claim to the entire Palais Arnim with the "possibility for the Fiihrer to come through the ministerial gardens into the rooms of the new office [and by the] fact that the Prussian Academy of the Arts is the only building in the immediate vicinity Is near the Reich Chancellery, whose corporation currently no longer fulfills any significant purpose. "
The search for a new and representative location for the academy made it easier that in July 1937 the campaign against degenerate art led to the closure of the New Department of the National Gallery in the Kronprinzenpalais . In July 1938, the vacated Kronprinzenpalais, expanded by a new exhibition hall, was available to the Academy of the Arts as alternative quarters. From the spring of 1938, Palais Arnim and its extension served as the office of the General Building Inspector.
Speer divided the rooms of the Palais Arnim in order to set up offices and studios, taking up quarters in the great hall. In his exhibition building, he had a large model of Berlin set up in the middle flight of the hall, which only partially retained its skylight. All eight other halls were given windows instead of skylights, were converted into studios and workshops and built over with two office floors with new staircases. Hitler often visited the building to inspect the models and plans for the planned reconstruction of Berlin and to discuss them with Speer and his employees.
During the Second World War , the Ihne building received additional extensions and heights in 1941/1942 and 1942–1944. In 1942, after Hitler had appointed him successor to Fritz Todt in the office of Reich Minister for Armaments and Ammunition , Speer moved into the Wrangel Palace, Todt's neighboring seat, as General Inspector for German Roads . At the Palais Arnim the spear established in 1943 under the direct and Rudolf Wolters led task force for the reconstruction of destroyed cities bomb . Many employees, such as Konstanty Gutschow , Julius Schulte-Frohlinde , Friedrich Tamms , Ernst Neufert and Werner Hebebrand , managed to stay true to this task in a prominent position in post-war West Germany .
War damage in 1945 and the years up to 1960
As a result of an air raid on March 18, 1945, the rooms facing Pariser Platz burned down the Palais Arnim. The outer walls and parts of the ground floor, including the staircase of the Knoblauch building, have been preserved. The structure of the throne room , the exhibition and studio building in Jhnes and the extension buildings in Speer, including their roofs, suffered only minor damage.
The same air raid completely destroyed the Wrangel Palace and the Kronprinzenpalais. On April 13, 1945, the Akademie der Künste moved its headquarters to the building of the Hochschule der Künste in Charlottenburg. From there, Schumann and Alexander Amersdorffer (1875–1946), successors to Ludwig Justis in the post of "First Permanent Secretary" since 1909 , revived the Academy after the end of the war. With the death of Amersdorffers in August 1946, the initiative petered out.
In the same month, Adolf Jannasch began to prepare for the "re-establishment" of the Academy of Arts on behalf of the SED- dominated Berlin magistrate . Since November 1946, the German Central Administration for National Education of the SBZ (DVV), from which the Ministry for National Education of the GDR was to emerge in 1949 , supported the all-German project. With this in mind, Prime Minister Otto Grotewohl opened the German Academy of the Arts on March 24, 1950 . Its “provisional seat” was until 1977 in the Kaiserin-Friedrich-Haus, which Ihne built in 1906 for the Kaiserin Friedrich Foundation for advanced medical training on the Charité property at Robert Koch Platz in Berlin-Mitte .
As early as 1946, the DVV initiated security work, an inventory and planning for the Palais Arnim and the exhibition building, and in 1949 its Vice President Rudolf Engel demanded that the exhibition halls be used as studios . By 1952 “the old academy building on Pariser Platz should be rebuilt and ready for occupancy”. In 1950, influential members of the Academy, including Bertolt Brecht , Max Butting and Heinrich Ehmsen, got involved in a “building commission” to rebuild the building on Pariser Platz . The first plan of the Deutsche Bauakademie for the reconstruction of the Berlin city center envisaged the restoration of the Palais Arnim in 1951.
Nevertheless, the repair of the exhibition building, which from 1952 onwards served the academy as a studio, office, magazine and event building , was only delayed . The ruins of Palais Arnim, which had been unsecured for nine years, were already considered to be irredeemable in 1954, despite the fact that the facade had been preserved. Although Engel, now President of the Academy, described the appearance of the palace as “terrible” in March 1954, reminded the “alleged monument protection” and in April 1954 pointed out to the National Committee for the Rebuilding of Berlin “that all our work is incessantly on the aim is to defend German communist culture and art in the relentless struggle against fascist and militarist barbarism ”, no further construction work was carried out. In 1960 the ruins of Palais Arnim were removed.
In the repaired exhibition building, members of the academy such as Fritz Cremer Gustav Seitz and Heinrich Ehmsen continued to train numerous visual artists in their master studios , including Harald Metzke's Ernst Schroeder Werner Stötzer and Manfred Böttcher . In the party cellars they designed, the students left floor -to-ceiling, experimental-surrealistic wall paintings in which, beyond socialist realism, the “refusal of what is required” was reflected.
The Ihne building from 1960 to 1990
The demolition of the ruins of the Palais Arnim had the use of Ihne Javelin building not affected by the Academy, but after construction of the Berlin Wall in August 1961, she had the throne room of the East German border troops leave. They set up a “base” consisting of several rooms and a cell for arrested border violators behind a separate entrance under a low ceiling. On October 2, 1971, an officer of the border troops shot and killed the wall jumper Dieter Beilig in one of the rooms at the base .
In November 1963, the Politburo of the SED decided to remove the studio building in favor of a green area. However, the demolition did not take place because no new building could be built or a replacement location could be found for the academy, which was constantly suffering from lack of space. After a hurricane covered the roof of the building in August 1972 , the building police restricted its use after the repair. The headquarters of the Academy on Robert-Koch-Platz, which had not undergone any major repairs or reconstructions since 1950, was moved to the Langenbeck-Virchow-Haus in 1976 because the People's Chamber housed there was able to move to the Palace of the Republic . After more than ten years of renovation work, the headquarters returned to Robert-Koch-Platz in 1987, with the Langenbeck-Virchow-Haus remaining in the possession of the academy.
The new academy building planned since 1980 on what was then the square of the academy did not materialize and the demolition of the Ihne Speer building on Pariser Platz prepared in 1984 had to be postponed again and again. Until the end of the GDR, the academy used two sculpture studios, eleven master class studios and numerous workshops and storage rooms in the building on 2000 m². In November 1989 academy members Wieland Förster and Harald Metzkes asked those responsible for the GDR to keep the studio house as the last building of the Prussian Academy of the Arts, because “when it is blown up, a piece of our history disappears”.
After 1990
In the course of German reunification in October 1993, after a "conflict-ridden rapprochement", the GDR Academy of Arts and the West Berlin Academy of the Arts also merged to form the Academy of Arts , sponsored by the states of Berlin and Brandenburg . The West Berlin Academy emerged in belated competition with the founding of the German Academy of the Arts in 1954. In connection with the International Building Exhibition in Berlin in 1960, it had a seat in the Tiergarten district . The building had become too small in the meantime and should be expanded from 1991. The reunified academy decided to use the property on Pariser Platz for its headquarters.
The design of the new building concerned the perimeter development of Pariser Platz as the most representative of the central locations in Berlin. This immediately entered into the supra-regional discussion about the structural self-portrayal of reunified Germany. Finally, the Senate agreed to a glass facade for the new building. In addition to the fundamental dispute, the division of the parcel affected the planning. In 1999, when Behrenstrasse was cut through to Ebertstrasse , Berlin sold the southern part, which was now on a street, to the owners of the neighboring Hotel Adlon for 17 million euros, whereby a passage from the new academy building to Behrenstrasse was agreed. The result was the demolition of two of the rooms in the Ihne building that had been converted by Speer in March 2000.
As early as 1993, the academy decided to integrate the Ihnes exhibition halls into the new building. They returned to public awareness through an exhibition at the same time as the wrapping of the Reichstag and as the location of a theater production broadcast on television. The exhibition building had suffered severe damage in 1995 as a result of the building work for the Hotel Adlon due to the sagging and breaking of the foundation , but its preservation, including the glass roof, was laid down in 1999.
The new building for the Academy of the Arts was built between 2000 and 2005 based on drafts by academy members Günter Behnisch , Manfred Sabatke and Werner Durth . The carefully secured old building lost the extensions and additions by Speer. During the construction work, the monumental Prometheus in fetters , Reinhold Begas ' long-lost old work , came to light on the west side of the Ihneturm behind a wall . Speer acquired the picture in 1942 for the General Building Inspectorate and had it walled up two years later to protect it from bombing attacks.
When laying the foundation stone, Durth stated:
“Out of respect for this place and for the quality of this architecture, which was only able to unfold its splendor on the inside, we [...] exposed the layers of history in order to preserve them and bring them to bear again, so that they are as authentic as possible tell their own story. "
Where the entrance to Behrenstrasse is located, the mural, Metzke's Banquet of the Poacher and Prometheus in Shackles , moved from the cellar is on display. Further to the north, remains of stairs in the wall testify to the removal and renovation of Speers. Under its exposed ceiling made of Prussian caps, the throne room shows remnants of neo-baroque furnishings. Its use by the border troops of the GDR is made visible by the preserved access from the Ihne tower, which is only around 1.5 meters high, and the division that can be seen in the floor plan.
In addition to the cubature of the new building, the doors of the Ihneturm, which once led to its floors , are reminiscent of Palais Arnim .
literature
- Otto Sarrazin , Friedrich Schultze: The expansion of the Palais Arnim to the service building for the Royal Academy of the Arts. In: Zentralblatt der Bauverwaltung , Volume 27, 1907, No. 71, pp. 466–468. ( Digitized version )
- Thomas Michael Krüger: Academy of Arts Pariser Platz Berlin. (= Die neue Architekturführer , No. 69.) (Photos by Florian Bolk) Stadtwandel-Verlag, Berlin 2005, ISBN 3-937123-39-3 .
- Werner Durth , Günter Behnisch : Berlin. Pariser Platz. New building for the Academy of Arts. Jovis, Berlin 2005, ISBN 3-936314-36-5 .
Web links
- Entry in the Berlin State Monument List
- Academy of Arts. In: arch INFORM . (Information about the new building)
- Information from the Akademie der Künste on the building history of the Pariser Platz 4 site with floor plans from 1907 and 2005
Individual evidence
- ↑ For the prehistory see Laurenz Demps : Der Pariser Platz. Berlin's reception salon. Henschel Verlag, Berlin, 1995, ISBN 3-89487-215-2
- ↑ Achim von Arnim was born in 1781 in the neighboring house No. 3, which the grandmother bought for her daughter, but then sold in the same year because of her death at the birth of Achim von Arnim. See Ingo Erhart: Achim von Arnim's birthplace . In: International Yearbook of the Bettina von Arnim Society . Vol. 16, Saint Albin, Berlin 2004, pp. 119-121.
- ↑ For Sarrazin and Schultze (see literature, p. 465) Knoblauch was the sole builder of the Palais Arnim. Likewise for Karl Emil Otto Fritsch in: Architects Association of Berlin (ed.): Berlin and his buildings [facsimile edition of the original edition of Berlin, 1877], Ernst and Son, Berlin 1984, ISBN 3-433-00995- 3 , p. 406 f.
- ↑ For the history of the building see the website of the Stiftung von Rohdich'scher Legatenfonds : [1]
- ^ Wording of the letter in Werner Durth, Günter Behnisch: Berlin. Pariser Platz. New building for the Akademie der Künste , Jovis, Berlin 2005, ISBN 3-936314-36-5 [cited below as "Durth / Behnisch"], p. 66.
- ↑ A building age plan of the Ihne building from 1994 at Durth / Behnisch, p. 69, documented a. a. Speer's extensions
- ↑ For the degree of destruction see the illustration “Inventory September 1950”, Durth / Behnisch, p. 87, description p. 85 f.
- ↑ From a template by the Central Committee of the SED , quoted in Demps, p. 121
- ^ Illustration of a model from the Bauakademie for the street Unter den Linden from December 1951 in Durth / Behnisch p. 83
- ^ Wording of the letters in Werner Durth, Günter Behnisch: Berlin. Pariser Platz. New building for the Akademie der Künste , Jovis, Berlin 2005, ISBN 3-936314-36-5 , p. 88
- ^ The imminent demolition was announced by the authorities in September 1959 along with the ruins of the French embassy . See Senate of Berlin (ed.): Berlin Chronicle of the Years 1959–1960. Edited by Hans J. Reichardt, Joachim Dogmann, Hans U. Treutler. State Archives Berlin. Contemporary history department , Heinz Spitzing Verlag, Berlin 1978, p. 371 [always documented]. Demps , p. 121, gives 1960 [without evidence] as the year of disposal. Götz Eckardt (ed.): Fates of German architectural monuments in the Second World War. A documentation of the damage and total losses in the area of the German Democratic Republic. Volume 1, Henschelverlag Art and Society, Berlin 1980, p. 39, gives 1958 [without evidence].
- ↑ Durth / Behnisch quote Gudrun Schmidt: Document prints in the art collection of the academy , in: Angela Lammert, Gudrun Schmidt (Red.): Bittere Frucht. Lithographs by master students of the German Academy of the Arts in Berlin 1955–1965. Academy of Arts in Berlin, Berlin 1991
- ↑ A list in Durth / Behnisch, p. 105
- ↑ Quotation from Durth / Behnisch, p. 94
- ↑ Formulation in Durth / Behnisch, p. 104, on the unification process, pp. 105–109
- ↑ See the exhibition catalog Marita Gleis (Ed.): 1945. War. Destruction. Construction. Architecture and town planning 1940–1960 . Henschel-Verlag, Berlin 1995, ISBN 3-89487-229-2 .
- ↑ See Esther Vilar : Speer. With contributions by Klaus Maria Brandauer and Wolfgang Schächen . (Photos by Jim Rakete ), Transit Buchverlag, Berlin 1998, ISBN 3-88747-128-8 .
- ↑ Durth / Behnisch, p. 204
- ↑ On the meaning of "Prometheus" see Esther Sophia Sünderhauf (Ed.): Begas. Monuments for the Empire. An exhibition on the 100th anniversary of the death of Reinhold Begas (1831–1911) . Sandstein, Dresden 2010, ISBN 978-3-942422-15-4 , p. 272.
Coordinates: 52 ° 30 ′ 54 ″ N , 13 ° 22 ′ 45 ″ E