Consider this paradox. The Epiphaniaskirche stands as a testament to both destruction and renewal. It embodies a unique harmony of contrasts.
Welcome to the Epiphaniaskirche. It is a fascinating blend of old and new. Its story is one of resilience after the devastating air raids on Frankfurt during World War II. What you see today is not just a church. It is a symbol of hope rising from the ruins.
In 1903, the Immanuelkirche was built here. It was designed in the neo-Gothic style by architect Aage von Kauffmann. The church served the growing residential area. But war changed everything. Only the bell tower and parts of the outer walls survived the bombings. For almost a decade, the ruined Immanuelkirche stood as a reminder of the war’s destruction.
In the early 1950s, architect Karl Wimmenauer was tasked with designing a new church. He incorporated the remaining ruins into his design. Wimmenauer sought to create harmony from opposing elements. The new church would rise from the ashes of the old. The foundation stone was laid on October 3, 1954. On March 11, 1956, the Epiphaniaskirche was consecrated. It stands as a cultural monument due to the Hessian Monument Protection Act. The church was last renovated in 2003.
Notice how the Epiphaniaskirche retains the original layout of the Immanuelkirche. The old outer walls form the enclosure up to about five meters high. The historic triumphal arch still stands. It spans the altar and bears the scars of war. This is a deliberate reminder of the Immanuelkirche’s destruction.
The new design emphasizes the nave. It is supported by eight concrete pillars. These are connected by gable-like beams. The spaces between the pillars are filled with concrete walls. Vertical parallelogram-shaped windows allow light to flood the space. The ceiling of the nave features star-shaped beams.
Outside, the Epiphaniaskirche features old stonework alongside the bright yellow nave. A grand entrance with a wide staircase was added. This addition echoes the materials of the original structure. Community rooms were added to the north in 1963. A space east of the church portal became a chapel. The tower stands to the north.
Inside the Epiphaniaskirche, the nave feels bright and airy. The old walls are plastered and painted white. The concrete elements of the new construction show the texture of the formwork. They are finished with a light gray glaze. The flooring is made of wood in the seating areas. Blue-gray slate tiles adorn the entrance and altar area.
Look toward the altar. You will see a copper cross and a rock crystal sphere by artist Gertrud Heim. Goldsmith Friedrich Gebhart created the baptismal font and copper candlestick. Ilselore Bezzenberger designed the stained-glass windows. Einhorn in Boppard created them. The organ on the gallery was built by F\u00f6rster & Nicolaus Orgelbau. The three bells in the tower were cast by the Bochumer Verein. They ring in the notes of F sharp, A flat, and B flat. Hans Heinrich Adam designed the windows of the day chapel. He also created the copper entrance doors with fish-shaped handles. Replicas of the four evangelists by Tilman Riemenschneider are in the right aisle. They were donated in 1983.
The Epiphaniaskirche is more than just a building. It is a living testament to Frankfurt’s resilience. It stands as a reminder that even from destruction, beauty and hope can emerge. It is a place where old and new meet.