The Wieskirche is a unique masterpiece of Bavarian rococo architecture, which impresses with its light-flooded architecture, richly decorated stucco work and deep spiritual atmosphere. Built in 1745 as the result of a miraculous event, it embodies not only architectural excellence, but also a living pilgrimage tradition. Since its inclusion in the UNESCO World Heritage List in 1983, the pilgrimage church “Die Wies” has been representative of the harmonious interplay between art, faith and landscape.

The recognition of the Wieskirche as a UNESCO World Heritage Site is based on its exceptional universal value. This lies above all in the authenticity of the site: The surroundings have remained completely untouched to this day, and the form and design, material and substance as well as the use and function of the church have been preserved unchanged. Equally important is its integrity, because in this sparsely populated, almost deserted area, a religious and architectural project could be realized without external restrictions. As a result, all the elements that give the church its universal value have been preserved and there are no direct negative effects from structural development or neglect.
At the same time, the Wieskirche fulfills two essential UNESCO criteria: according to criterion (i), it is a perfect masterpiece of Rococo art, built in the open air and impressively embodying the artistic flowering of the 18th century. According to criterion (iv), it is an exceptional testimony to cultural and religious traditions that uniquely documents the combination of art, faith and landscape. This makes it clear why this place is of universal importance beyond its regional significance.

The Wieskirche, officially the Pilgrimage Church of the Scourged Savior on the Wies, was recognized as a UNESCO World Heritage Site in 1983 and has since been considered an outstanding example of the beauty and significance of Rococo in Bavaria. This building was constructed between 1745 and 1754 under the direction of the architect and stucco artist Dominikus Zimmermann and stands out not only for its exterior design, but above all for its interior: stucco, ceiling paintings, ornamentation and lighting combine to create a total work of art that is inextricably linked to religious experience. Even the source of the will to build – the so-called miracle of tears at the figure of Christ the Scourged Savior in 1738 – bears witness to the deep spiritual roots that characterize this place to this day.
The Wieskirche was built in a landscape that was barely populated and relatively untouched, which means that the church does not subjugate its surroundings, but corresponds with them. Dominikus Zimmermann not only had walls erected, but also created spaces that create an almost heavenly effect through light and transparency. The architecture is airy and bright, and in combination with the lavish stucco decoration, carvings, gold ornaments and the trompe-l’œil fresco in the dome, an inner world is created that invites the viewer to linger and contemplate. The harmony between art and landscape is an essential feature of the Wieskirche; it was deliberately built in the open countryside so that form and design, material and substance, use and function could unfold undisturbed. The openness of the space and the illumination of the interior through numerous windows allow the artistic elements to achieve their maximum effect, not merely as decorative accessories, but as an integral part of religious space.

The value of the Wieskirche lies not only in what is visible, but also in what it preserves: in the authenticity of its overall appearance, in the integrity of its architectural forms, in its function as a pilgrimage church that continues to be visited. Different artistic disciplines – architecture, stucco, painting, sculpture and carving – enter into dialog here in a rarely seen perfection. The ceiling frescoes by Johann Baptist Zimmermann are particularly noteworthy, as are the stucco garlands created by Dominikus Zimmermann. The opulent interior decoration remains unrivalled in its richness and refinement, as is also emphasized on the UNESCO website. It is equally important that the Wieskirche preserves living religious traditions in its function as a sanctuary: pilgrims, church services, pilgrimages and the awareness of a place that wants to be more than an architectural monument characterize its profile.
The location of the Wieskirche at the foot of the Alps, in the middle of a rather sparsely populated region, enhances the experience: those who visit it not only experience art history, but also nature, silence, spatial expanse and the interplay of light and shadow. This means that a visit at different times of day provides different impressions. In the morning, the sun illuminates the frescoes and stucco work particularly impressively; in the afternoon, the shadows and light change the perception, so that you almost have the feeling that the church changes its face as the day progresses. This effect is part of what makes the Wieskirche so special – not as a fixed point, but as a place of living experience.

From a scientific point of view, the Wieskirche is an object of study on several levels: On the level of architectural history, it shows how rococo and religious function merged, how artists such as Dominikus and Johann Baptist Zimmermann worked, what techniques and materials they used and how these have been preserved over time. At the level of the World Heritage documents, attributes such as integrity and authenticity can be precisely defined: the intact surroundings, the original substance, the historical use and the complete furnishings. The Wieskirche is also a role model in terms of cultural management and monument protection – how to protect a place without taking away its function, how to transform a church into a mere tourist attraction without its religious users. The Wieskirche thus not only stands for baroque religiosity and artistic enjoyment, it remains a living place of pilgrimage that attracts people who want to experience art, faith and history. It symbolizes the flowering of rococo in Bavaria and at the same time the task of preserving cultural heritage so that future generations can understand the depth and beauty of this place.

– Guided tours: In-depth insights into the architecture, art and history of the Wieskirche.

– Church services and pilgrimages: Spiritual events and a lively pilgrimage tradition.

– Music and concerts: Organ concerts and other musical events in a historic atmosphere.

– Further information on opening times, guided tours and current events: www.wieskirche.de.

Tip: Visit the church in the morning sunlight, when the frescoes and stucco work are particularly radiant.

Quartiers- und Landschaftspark Berlin TXL, 1st prize Weidinger Landschaftsarchitekten, Berlin As soon as the future BER airport opens, the transformation of the Berlin-Tegel airport site can begin: a new district is planned – the Schumacher Quartier with over 5,000 residents including a central neighborhood park – as well as an adjacent large landscape park. Weidinger Landschaftsarchitekten impressed with a concept that takes the local […]

As soon as the future BER airport opens, the transformation of the Berlin-Tegel airport site can begin: a new district is planned – the Schumacher Quartier with over 5,000 residents including a central district park – as well as an adjacent large landscape park. Weidinger Landschaftsarchitekten impressed with a concept that takes up the local heathland and extends as an ecological bridge from the Tegeler Stadtheide across the airfield to the new urban quarter. The design transforms the heath theme across the entire site – from the extensively structured landscape park in the west to the intensively designed neighborhood park in the east. The latter is spatially defined by a tree-lined promenade in the north and a small-scale garden strip in the south. Various areas and sub-spaces are integrated into the adapted open heathland: prairie shrub beds, pine groves, lawns with park trees, lounges, play and exercise areas are arranged along the north side of the park and link the elongated park space like a chain. The animation gives a spatial impression.

All images: © Weidinger Landscape Architects

A green ring around the old town is intended to bring Stralsund’s historic ramparts back to life. The concept by Holzwarth Landschaftsarchitekten together with TRU Architekten won over the jury with a newly built Schützenbastion. This traces the historical form and rises barrier-free towards the south. Although part of the Green Ring, the structure stands out clearly from the parking area – encased in Corten steel, it forms a striking structural edge in front of the calmly designed lawn in front of it. On the bastion, the new polygonal square complements the sequence of the Old and New Markets.

The individual bastions form a coherent chain of open spaces with different focal points, from which the Schützenbastion stands out – it is also one of the two main entrances to the old town. With a wide flight of steps and an urban, multifunctional square, the bastion links the parking area with the old town. The planners have preserved the avenues and rows of trees along the ramparts, but have left the riverside areas free in order to bring the historic cityscape back to life.

All images: © Holzwarth / TRU

For the green heart of the Danish city of Esbjerg, Topotek 1 developed a future-oriented version of a city park in collaboration with Henning Larsen Architects. The design for the redesign of the 30,000 m² Esbjerg Bypark accentuates the characteristic features of the park by respecting the site-specific history and the special topographical conditions. For example, a stepped amphitheatre for over 2,000 visitors emphasizes the steep slope and strikingly curved topography of the park. The terracing allows views of the harbor and the sea, which connect to the south of the park.

The center of the amphitheater is formed by a lowered building with a flat roof that functions as a stage. The building itself is used for event technology. The interplay with water also emphasizes the differentiated topography of the park. The stage can be transformed into a water basin in summer and an ice rink in winter. A raised concrete ring element serves as an informal boundary to the play area in the east of the park. When filled with water, the ring serves as a further play element in summer.

All images: © Topotek 1 / Henning Larsen Architects