“Entlaufenes Schwimmbad” or perhaps your childhood U-Bahn station? That’s what some might think of Hamburg’s Martin-Luther-King-Kirche. This unique nickname hints at the unconventional design we see before us.
The Martin-Luther-King-Kirche isn’t your typical church. It challenges traditional notions of sacred spaces. Completed in 1974, the church reflects the spirit of its time. This was a period of social change and questioning of established norms. The architects Asmus Werner and Bernhard Winking embraced this spirit. They aimed to create a community center that was open, inviting, and multidimensional.
The Martin-Luther-King-Kirche embodies a “small city within a large city”. That was the vision of architect Asmus Werner. The building houses living spaces and group rooms. They are connected by stairs and corridors. This design fosters a sense of community. It also allows for diverse activities.
Notice the striking blue tiles that adorn the exterior. Locals affectionately call the Martin-Luther-King-Kirche the “Blaue Kachel” or “Blue Tile”. The blue contrasts with the red window frames. These colours make the church stand out against the surrounding high-rises.
The Martin-Luther-King-Kirche’s layout resembles a Greek cross. The community and residential buildings fill three sections. A stepped plaza with a bell tower marks the entrance. At the heart of it all lies the Feiersaal. This is the church hall. Passages and stairs connect and divide all parts of the building.
Inside the Martin-Luther-King-Kirche, the Feiersaal continues the theme of unconventional design. The space is divided into zones. This is achieved by varying levels, steps and platforms. Light streams in through clear windows. They run around the room just below the ceiling. The wooden structure of the roof is visible.
Originally, this area consisted of small gardens. In 1970, Steilshoop was designated for a large housing development. The community wanted a church that was open to the neighbourhood. It should not be a dominant sacred structure.
Many of the furnishings in the Martin-Luther-King-Kirche’s Kirchsaal are intentionally mobile. The altar, baptismal font and chairs can all be moved. However, the fixed pulpit adds direction to the space. This creates a balance between freedom and architectural design.
The Martin-Luther-King-Kirche acquired its name in 1979. It was named after the American civil rights activist Martin Luther King. The bell tower was added later in 1988. In the 1980s, the community actively participated in the peace and anti-nuclear movement.
The design team also carefully selected materials for the Feiersaal. White walls contrast with wooden surfaces. Concrete elements add texture. Brass accents provide subtle highlights. The architects also designed key features. These are the pulpit, altar, lectern, baptismal font and collection boxes. Alfons Werner, the architect’s father, created the lamps and altar cross. The Walcker workshop built the organ.
The Martin-Luther-King-Kirche stands as a testament to innovative church design. It serves as a hub for worship. It is also a center for community engagement and social work. It is a space where the sacred and the everyday intertwine.