Recall the feeling of standing in a large tent. It is a space both sheltering and temporary. That is the essence of the Philippus-Kirche.
The Philippus-Kirche emerged as a daughter of the Nathanael-Kirche. The Philippus-Kirche was built between 1959 and 1962. Hansrudolf Plarre designed it.
Since the 1950s, a community met in private homes. There were early events for children and older people. In 1954, a community nurse station was established. It was located on Stierstraße.
The site of today’s Philippus-Kirche was once a large vacant lot. Buildings on this land were destroyed in the war. They were not rebuilt. The Berlin City Mission erected a large tent on this site. This tent inspired the church’s current form and location.
In 1958, the church council decided to begin building the Philippus-Kirche. They used Plarre’s plans. The church was consecrated on June 24, 1962. Just days later, on July 1, 1962, the Nathanael parish was divided. Two independent parishes emerged. The new parish was named Philippus after Philipp Melanchthon.
In 2000, the mother and daughter churches merged. They formed the Evangelical Philippus-Nathanael parish.
In 2010, disaster struck. The Philippus-Kirche was closed. Building authorities feared the roof would collapse. By 2012, the church was reopened. This was thanks to many artists and people who cared about the church.
The Philippus-Kirche is one of two churches in the Philippus-Nathanael parish. The Nathanael-Kirche dates back to the historicist period. The Philippus-Kirche is a post-war modern building. Plarre designed it. He was a second-prize winner in the competition to rebuild the Kaiser Wilhelm Memorial Church.
The Philippus-Kirche rises over a hexagonal floor plan. Its longitudinal walls are slightly flared. In church tradition, it faces east. One of the two front walls is clearly glazed towards the community center. The other altar wall faces east. Florian Breuer designed it in bright blue and green colors.
Like the Kaiser Wilhelm Memorial Church, about 60% of this facade dissolves into light. The blue-green stained glass dynamically illuminates it. The Philippus-Kirche’s spatial impression is defined by this colored glazing. It backs the altar area raised by two steps. The altar is flanked by the pulpit and baptismal font. Even the closed, centrally angled row of pews is unique. It reflects the floor plan’s peculiarity.
The cross by Waldemar Otto is also remarkable. It was initially controversial. Its play of light and shadow evokes Golgotha. The clear glass window on the west side illuminates the foyer. It serves as a meeting space. The Schuke organ stands on a gallery. Seminar rooms are on the north side. Smaller rooms are on the south side.
The church building resembles a tent. It fits into the post-war modern architectural style. Tent, ship, and dwelling is the title of a dissertation on post-war church buildings.
The Philippus-Kirche’s spatial form represents a protective tent. The play of light and the bell tower contribute to its atmosphere. It offers refuge in uncertain times. This church embodies a community’s resilience. It is a testament to faith. It is a beacon of hope. It rose from the ruins of war. It almost succumbed to structural failure. Yet, through community spirit, it stands tall. The Philippus-Kirche is ready to welcome all.