Fancy a powerhouse of God? That’s what Berliners call the Kirche am Hohenzollernplatz. This church stands on the eastern side of Hohenzollernplatz in Wilmersdorf. It is a leading example of Brick Expressionism.
The naming of the church after Hohenzollernplatz was meant to be temporary. But the name stuck even though debate continues.
In the early 20th century, the Evangelical Wilmersdorf Congregation grew. The existing churches could not contain them all. So, in 1927, they decided to build another church here at Hohenzollernplatz. A competition was held. The Hamburg firm of Fritz Höger won. Ossip Klarwein was the head designer. However, Höger partly modified Klarwein’s initial concept. Klarwein relocated to Berlin to supervise construction. It lasted from 1930 to 1933. Soon after its completion, Klarwein emigrated to Palestine to escape the Nazis.
The modern design was much debated before construction. The church’s basic structure is a concrete skeleton. Brick facades clad it. The masonry is patterned with raised and recessed verticals. This design appears along the building’s sides. You can also see it on the semicylindrical structures by the entrance. The narrower east and west ends and bell tower show evenly laid clinker brick. Höger preferred this material. The hip roof’s copper turns greenish. It contrasts with the dark reddish brick. The slim bell tower is a landmark. It is easily seen along Hohenzollerndamm.
Inside the Kirche am Hohenzollernplatz, the main floor is elevated. It includes the nave, aisles, choir, and altar. Below is a fellowship hall. Two round staircases flank the western entrance. They lead to the main inner portal. The portal announces the interior’s dominant forms. The church’s west-facing elevation is eye-catching. It flanks the eastern edge of Hohenzollernplatz.
The nave consists of 13 arched girders of ferroconcrete. They end as pilasters at the ground. Viewed from the west, the girders seem to taper east. The pointed arches give the interior a Gothic feel. This is unusual for sober Protestant churches. This look combined with the building’s volume earned it the nickname Powerhouse of God.
Allied bombing severely damaged the Kirche am Hohenzollernplatz during World War II. In 1943, fire gutted it. Reconstruction proceeded gradually. It finished in 1965. From 1990 to 1991, architect Gerhard Schlotter renovated it further. He enabled its use as an exhibition space for contemporary art. Schlotter also restored the prayer hall to its original colors.
Hermann Sandkuhl created decorative sgraffiti. These displayed various figures. They sat in the recessed spaces between the brick pilasters. The fire destroyed them all. Erich Waske’s tympanon decoration was also lost. It depicted the Sermon on the Mount.
The prayer hall is lit by three long windows. The originals shattered during the bombing. In 1962, Sigmund Hahn designed a new central window. In the 1990s, Achim Freyer added colorful new windows.
Höger’s original baptismal font survived the war. It is made of clinker brick and adorned with gold paintings. Regina Roskoden’s abstract basalt sculpture of an angel is also here. Graphics by Max Pechstein and a crucifixion painting by Hermann Krauth are displayed in a by-room.
Since 1987, the Kirche am Hohenzollernplatz has hosted contemporary art exhibitions. These take place twice a year. Art plays a significant role in the local congregation. Services often address art in their theme. The Kemper organ is regularly used in services and concerts. Since 2008, the NoonSong has been held every Saturday. This liturgy is sung by Sirventes Berlin. It attracts hundreds of listeners.