Maria Grün

Have you ever heard of a church nicknamed “Mary in the Green”? Right here in Hamburg stands Maria Grün, a Catholic parish church affectionately known by that very name. Originally called “Maria im Grünen,” the name was shortened sometime in the 1930s. Maria Grün is more than just a church. It represents a piece of Hamburg’s history, specifically the final Catholic church constructed before the Weimar Republic’s end. Its story begins in the early 20th century, with the expanding railway lines bringing more people to the Elbe suburbs. This population boom necessitated a new church. In 1928, the Altona-Blankenese mission parish was founded. A design competition followed in 1929. The brief emphasized respecting the unique scenic and cultural landscape of the Elbe communities. It also encouraged making the most of the beautiful building site. The architect Clemens Holzmeister, whose design impressed a jury including the renowned Peter Behrens, won the competition. Holzmeister, born in Tyrol in 1886, had already made a name for himself with buildings like the Simmering fire hall in Vienna. During the 1920s and early 1930s, he designed several churches in Austria and Germany. Interestingly, he headed a master class at Vienna’s Academy of Fine Arts from 1924. From 1928, he also held a professorship at the Düsseldorf Art Academy. It was at this very academy that Heinrich Campendonk, the artist behind Maria Grün’s stunning windows, also taught monumental painting. The foundation stone for Maria Grün was laid on October 27, 1929. Less than a year later, on September 7, 1930, the church was consecrated. The building, made of reinforced concrete, sits on a circular ground plan. Its cylindrical apses and cuboid bell tower are clad in Oldenburg clinker. A rounded flight of steps leads up to the tower. Inside Maria Grün, Campendonk’s stained-glass windows command attention. The altar area is conch-shaped. Two side conches by the altar apse hold the sacristy and side chapel. A round window graces the ceiling of the congregation room. The pews follow the interior’s circular walls. This unique layout was the first of its kind in a Hamburg Catholic church, uniting the liturgical area and congregation. Campendonk, born in Krefeld, had studied under Jan Thorn Prikker. He belonged to the expressionist artists’ circle “Der Blaue Reiter.” For Maria Grün, he designed five colored, round-arched windows for the chancel apse. These depict angel figures, their positions interacting with the church’s curves. When sunlight streams through, the church is bathed in yellow, orange, and red hues. Further windows, added to the parish hall and ambulatory from 1935 onwards, explore Christological and Marian themes. Three windows symbolize the divine virtues of faith (a cross), love (a heart), and hope (an anchor). Maria Grün underwent renovations in the 1980s and a complete overhaul in 2007. These renovations brightened the side chapels and improved accessibility, adding a ramp to the front. Maria Grün stands as a testament to a moment in Hamburg’s history, a blend of architectural innovation and artistic beauty.