Nathan-Söderblom-Kirche

Did the architect envision a fortress or a sanctuary? The Nathan-Söderblom-Kirche in Reinbek, a striking example of post-war architecture, evokes both impressions. This imposing red brick and concrete structure, designed by Friedhelm Grundmann, stands as a testament to modern design while echoing the traditional basilica form. Dedicated in 1967, the Nathan-Söderblom-Kirche honors the Swedish Archbishop and Nobel Peace Prize laureate, Nathan Söderblom. His commitment to ecumenism and peace is reflected in the church’s very design, particularly the largest bell, the Ökumeneglocke, inscribed with “For the unity of the church.” Notice the distinct geometric shapes that define the exterior. Grundmann intentionally designed the building so its function could be understood from the outside. Observe the bell tower, connected to the nave by a bridge. See how the semi-circular side gallery projects southward. The entrance, preceded by a lower vestibule, leads into a space of surprising serenity. Inside the Nathan-Söderblom-Kirche, the concrete elements continue, contrasting with the whitewashed brick walls and dark slate floor. The main sanctuary, initially hidden by the low organ gallery, dramatically opens up to reveal a soaring space. Concrete pillars divide the nave into three sections, leading the eye towards the altar in the east. Interestingly, the altar isn’t illuminated by a traditional east-facing window, but rather by an overhead skylight. Flanking the altar are the elevated choir to the south and the baptistery to the north. These spaces, distinct in form and function, are also visible from the exterior. Look for the artwork within the Nathan-Söderblom-Kirche. The altar cross, sculpted by Hans-Werner Peters, portrays Christ as a victim of violence, a poignant reminder of the Holocaust. Above the altar hangs a thorny crown chandelier, symbolizing both the suffering of the crucifixion and the triumph of Easter. Even the rainwater plays a role in the church’s artistic narrative. Collected on the roof, it flows through two cubic gargoyles into a concrete sculpture below, intended by Grundmann to slowly erode over time. The organ, installed in 1972, is a masterpiece in itself, a modern interpretation of the North German Baroque organ. It reflects the church’s aesthetic, with a case designed by Grundmann himself. The Nathan-Söderblom-Kirche is more than just a building. It is a place of worship, a work of art, and a powerful symbol of peace and unity.