Baroque at the Berlin Palace

Building design

The foundation stone for the construction of the new Berlin Palace as the Humboldt Forum was laid on June 12, 2013. A good two years later, the company F. X. Rauch began with the façade cladding in the Schlüterhof. We take stock of the progress on the occasion of the Bergfest. The Warthau sandstone capital weighs around four tons. The façade work on the Berlin Palace is in […]

The foundation stone for the construction of the new Berlin Palace as the Humboldt Forum was laid on June 12, 2013. A good two years later, the company F. X. Rauch began with the façade cladding in the Schlüterhof. We take stock of the progress on the occasion of the groundbreaking ceremony.

The Warthau sandstone capital weighs around four tons. Work on the façade of the Berlin Palace is in full swing and baroque décor is making its way into Europe’s largest cultural construction site. The new building will blend in well with the largely preserved ensemble of buildings in Berlin’s Mitte district. The major project will also create jobs – including for natural stone processing companies. Up to 700 people will be working on the construction site at any one time.

F. X. Rauch was able to secure a total of six contracts as part of the reconstruction of the Berlin Palace: the exterior façade facing the Schlossfreiheit (west façade), the rear façades and the courtyard portals I, V and VI in the Schlüterhof as well as the façade work on courtyard portal IV. Parallel to the contract, F. X. Rauch received an architectural plan from the client, which depicted the rough features of the façade using elevations, sections and detailed plans. “From this, we drew up a work and installation plan, which the client had to approve,” says Rauch.

Warthauer sandstone

The Munich-based company uses Warthauer sandstone almost exclusively for the natural stone work. The stone is quarried in a quarry in Wartowice (Warthau), Poland, around 300 kilometers from Berlin, which was leased specifically for the large-scale project. As there is no proper warehouse in Berlin, the delivered material has to be installed quickly. Close timing of deliveries and correspondingly smooth logistics are essential. The natural stone work includes window frames, cornice bands, columns, capitals and balustrades. Stone carvings such as coat of arms cartouches, reliefs and royal portraits are also painstakingly created by hand by stonemasons and stone sculptors.

When work on the façade began in February 2015, it was difficult to imagine that the concrete shell would become a reconstruction of the Berlin Palace. Now the baroque-style façade has already been raised up to the lower edge of the second floor. The inauguration ceremony is set to take place on September 14, 2019 – the 250th birthday of Alexander von Humboldt. In addition to art collections, museums and a library, the palace will also house a large event center for conferences, exhibitions, concerts and theater performances.

Find out more about the construction of the Berlin Palace in STEIN in October 2016.

POTREBBE INTERESSARTI ANCHE

Original and reproduction – What does the print edition of RESTAURO 5/23 have to offer?

Building design
Cover: The robot as sculptor? A 3D robot programmed by the Institute for Digital Archaeology in Oxford is able to produce millimeter-accurate replicas of the Elgin Marbles (British Museum) using lidar technology. Photo: © laura.veschi for Roboter srl and The Institute for Digital Archaeology

Cover: The robot as sculptor? A 3D robot programmed by the Institute for Digital Archaeology in Oxford is able to produce millimeter-accurate replicas of the Elgin Marbles (British Museum) using lidar technology.

Photo: © laura.veschi for Roboter srl and The Institute for Digital Archaeology

What is an original, a reproduction, a copy, an imitation, a forgery? And could showing reproductions, especially of frequently presented, prominent works, be a way of preserving cultural assets? But what consequences does this have for our perception of the originals? Conservators and art historians do important work in museums by recognizing what is genuine and what is false. What do the backs of artworks reveal? How can the results of an older restoration be recognized? And what scientific analysis methods are available to us today to examine works of art non-invasively?

What is an original, a reproduction, a copy, an imitation, a forgery? And could showing reproductions, especially of frequently presented, prominent works, be a way of preserving cultural assets? But what consequences does this have for our perception of the originals? Conservators and art historians do important work in museums by recognizing what is genuine and what is false. What do the backs of artworks reveal? How can the results of an older restoration be recognized? And what scientific analysis methods are available to us today to examine works of art non-invasively?

What exactly is an original, a reproduction, a copy, an imitation, a forgery? Could showing reproductions, especially of frequently presented, prominent works, be a way of preserving cultural heritage? The ancient Elgin Marbles, the marble sculptures and fragments from the Parthenon, are among the British Museum’s showpieces. London and Athens have been arguing about their repatriation for over 120 years. Now the debate is gaining new momentum – from an unexpected source. A 3D robot programmed by the Institute for Digital Archaeology in Oxford is able to produce millimeter-accurate replicas using lidar technology. This opens up completely new perspectives.

High-quality replicas of historical fittings for doors and window handles help with the restoration of listed buildings. At Ventano, these are painstakingly produced by hand using traditional sand casting methods. The Bissendorf-based company also specializes in handmade replicas of cement tiles.

The Restoration Center (RED) was founded in 1976 as a municipal cultural institute in Düsseldorf. In Ehrenhof 3a, in the immediate vicinity of the Museum Kunstpalast, restorers from a wide range of disciplines work in close cooperation with each other. Some rooms had been empty since 2005 because the installation of an air conditioning system had compromised the statics. In spring 2023, the interdisciplinary institute reopened after several years of renovation.

We hope you enjoy discovering this issue!

Dr. Ute Strimmer, Editor in Chief Restauro

Click here for the magazine.

In the last issue, we looked at “Preventive conservation” – an approach to the long-term preservation of art and cultural assets that aims to prevent damage in advance or minimize the risk of damage. To the magazine preview.

Doors close easily and silently with a magnet

Building design
Honored with the German Design Award: Winner 2019

Honored with the German Design Award: Winner 2019

Until now, the usual “push-pull-slide” motion sequence has characterized the opening and closing of interior doors. Simonswerk now offers an intelligent alternative: the “Keep Closed” magnetic locking system for wooden interior doors. Its discreet design also emphasizes linear and flush room concepts.

The combination of closing magnets and magnetic plate reliably holds the door leaf in its end position without current, noise or contact. The holding force can be infinitely adjusted as required, making opening and closing intuitive, smooth and quiet. The use of several magnets enables even doors with excess height and very heavy doors to be moved silently and smoothly.

Photos: Simonswerk GmbH, Rheda-Wiedenbrück

In addition to its convincing technical features, Keep Closed impresses with its filigree design. The hinge, locking unit and handle are finely coordinated. The door leaf and frame are flush with one another, and the locking technology is integrated into the frame and door leaf in such a way that it blends completely into the wooden surface. Alternatively, the locking magnet and magnetic plate can also be installed in the upper, horizontal area of the door. This means that the functional elements are completely hidden from view. Apart from the discreet handle, which is available in five different colors, no elements of the locking system are visible when the door is closed.
The innovative and design-oriented system is suitable for many areas of application – in both the private and commercial sectors.

Product: Keep Closed – the magnetic locking system for wooden interior doors
Manufacturer: Simonswerk GmbH, Rheda-Wiedenbrück
Awards: German Design Award, Winner 2019