The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes. […]

The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes.

For Ludwig II, the final completion of his buildings, which were also built to last, did not necessarily seem to be the decisive factor. Every year, millions visit the palaces that Ludwig had built. Does Dr. Alexander Wiesneth, Head of the Department for Historical Building Research, Monument Preservation and UNESCO World Heritage at the Bavarian Palace Administration, sometimes feel guilty because so many visitors come to the palaces every year and the wishes of the “Kini” are not being fulfilled? He denies this, as the castles have been in public ownership for almost 140 years. It provides the financial means, maintains a palace administration and also ensures that the buildings are preserved. However, this also results in the obligation to make them accessible to the public. He also emphasizes that only a living monument is one that will be appreciated. And perhaps Ludwig II would have been pleased to see the worldwide appreciation of the palaces and how enthusiastically people react when they see them. For many visitors, the buildings are probably already unique, but what are the criteria cited by the palace administration at UNESCO, which demands uniqueness and universality?

In order to build his dreams, Ludwig not only relied on court builders and architects, but also on set designers, painters and decorators. At times, he drove them to despair with his ideas and constant requests for adjustments and changes. In comparison to his fellow regents, the king was very involved in the planning work of his architects, and it was up to him to make the final decision on how the building was to be constructed. In doing so, he generally ignored the Vitruvian functions of firmitas (stability), utilitas (practicality) and venustas (grace). While other contemporary Historicist palace buildings served mainly representational and dynastic purposes, Ludwig entered dream worlds with his buildings. In these worlds, he dreamed himself into distant lands of earlier eras or into fairy-tale, opera and theater worlds. Explicitly excluded, however, were sightseeing tours, which were quite common at the time.

It should be noted that the palaces built by King Ludwig are not to be regarded as purely historicist buildings, which is also what makes them special. Rather, they must be seen as part of the phenomenon of staging that emerged in the 19th century. At the same time, they also reflect the era’s enthusiasm for technology, for example when the Venus Grotto in the park of Linderhof Palace uses light and sound installations and artificially generated waves to create the illusion of the Blue Grotto of Capri or, with different lighting, the Venus Grotto in Hörselberg from Richard Wagner’s “Tannhäuser”. Dr. Alexander Wiesneth from the Bavarian Administration of Palaces, Lakes and Gardens adds: “In a way, you can already get an idea of the development of the early film industry in the 20th century. There, too, a massive effort was made to create sets that made use of all the decorative arts. Ludwig II also collected ideas and inspiration in a similar way to a film director.” He also points out that the dream worlds that were created there must have been absolutely overwhelming for the few visitors. It still works today, if you let yourself get involved.

Ludwig II sent his advisors on trips to obtain images and photographs of a wide variety of places – you could almost compare them to movie location scouts, according to Wiesneth. The monarch also read many books in order to study past eras and gather ideas for his buildings. In addition to Wagner’s operas, which he greatly appreciated, the king also drew inspiration from world exhibitions and buildings that served as so-called imaginary journeys. These were (ephemeral) buildings that enabled visitors to travel to foreign and distant countries, to remote places such as the moon, or even to other eras. The monarch also adapted some of these early forerunners of amusement parks in the gardens of his palaces. For example, he purchased a Moorish-style pavilion that had previously been on display at the Universal Exhibition in Paris (1867). He furnished the so-called Moorish Kiosk with, among other things, a throne decorated with bronze peacocks. He used to read there, and his servants became extras in a staged performance, smoking tobacco and drinking mocha on divans in oriental-style costumes. Of course, it should be noted that European ideas of the Orient came into play here. However, Ludwig II also dreamed himself into past eras; for example, references to the time of King Louis XIV (1638-1715) of France can also be found in the palaces. This even goes so far that rooms from Versailles Palace have been faithfully recreated. This is why you can still see the famous Versailles Escalier des Ambassadeurs (Ambassadors’ Staircase) in Herrenchiemsee Palace, for example, which Louis XV (1710-1774) had demolished in favor of new living quarters. Louis II revived these epochs in his imagination and with his buildings. In the case of the palaces, one can certainly speak of a Gesamtkunstwerk in the Wagnerian sense, as the arts of music, poetry, painting, stage design and drama are united in a certain way. This is certainly one aspect of the uniqueness of the castles.

With an annual number of visitors of over 1.5 million in 2023, the four castles Neuschwanstein, Linderhof, Herrenchiemsee and Schachenhaus, which King Ludwig II of Bavaria had built, are undoubtedly among the visitor magnets in Germany. Dr. Alexander Wiesneth points out the special obligation to preserve a world heritage site as a whole for humanity and to make it accessible. He also emphasizes that he has noticed time and again that people from all cultural backgrounds are attracted to the castles. In his eyes, this also shows that the buildings meet the criterion of universal, exceptional value, as demanded by UNESCO. Experts, on the other hand, sometimes react negatively and dismiss the buildings as typical works of historicism that have not brought any stylistic innovations. The fascination that Ludwig and his buildings exert on visitors is probably another reason why art historians did not study the palaces for a long time. However, in order to be included on the UNESCO Tentative List, a well-founded explanation of what makes the building unique is required, as well as proof that it represents a significant value for the history of mankind. An application also involves many hurdles. Dr. Wiesneth told us that in addition to strict regulations on how nominations are processed, there are also other hurdles to overcome. For example, the castles have been on the German Tentative List since 2015. However, with tenth place on the list, they are in last place, which means that other applicants are considered first and nominated to UNESCO in Paris.

Furthermore, the affected municipalities also had to be brought on board. In the municipality of Schwangau in particular, there were concerns that even more visitors would visit Neuschwanstein Castle. There was also concern that the title would also impose restrictions on the development of the municipality. A referendum was therefore held, in the run-up to which there were also two question and answer sessions for citizens. Ultimately, however, the concerns that the title would attract even more people to the town – at least for Neuschwanstein Castle – were dispelled. After all, this castle in particular enjoys an immense worldwide reputation. A survey of visitors conducted by the Fraunhofer-Gesellschaft and the Bavarian Palace Administration showed that the majority already assumed that they were visiting a UNESCO World Heritage Site. It was also agreed that visitor numbers should be regulated by imposing stricter limits on the maximum group size. Online ticketing in particular makes it possible to manage the flow of visitors and distribute them throughout the year. Ultimately, such measures also serve to protect the properties, which can be damaged by excessive visitor numbers. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway.

In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to its title. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway. In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to the title. A management plan has also been drawn up. The management plan outlines the measures planned to preserve the castles, some of which pose particular challenges. Linderhof Palace in particular, which is located in a high alpine environment with strong temperature fluctuations in summer, is challenging to maintain. The reopening of the Venus Grotto is specifically planned for next year, and plans are already underway for measures at the “Moorish Kiosk”. There are also plans to meet with the affected municipalities once a year if the title is awarded. Now the Bavarian Administration of State Palaces, Gardens and Lakes has to wait and see. The assessment phase will now continue until next year, and then we will know in the middle of next year whether dreams will come true.

Read more: The Neue Nationalgalerie in Berlin is dedicating a comprehensive retrospective to US photographer Nan Goldin from November 23, 2024 to April 6, 2025

If you take a closer look at the national arena in the Romanian capital Bucharest, you are instinctively reminded of a Bundesliga stadium. This is no coincidence, as the roots of the arena lie in Germany. The Romanian national arena in Bucharest has German genes: the 55,000-seat soccer stadium was designed by Hamburg architects Gerkan, Marg […]

If you take a closer look at the national arena in the Romanian capital Bucharest, you are instinctively reminded of a Bundesliga stadium. This is no coincidence, as the roots of the arena lie in Germany.

The Romanian national arena in Bucharest has German genes: the 55,000-seat soccer stadium was designed by Hamburg architects Gerkan, Marg & Partner (gmp), the structural design was carried out by the engineering firms Schlaich Bergermann & Partner from Stuttgart and Krebs und Kiefer from Karlsruhe, and the general contractor was the construction company Max Bögl from Sengenthal in the Upper Palatinate.

Although it is a soccer stadium, the building is named after a female discus thrower: Lia Manoliu won the gold medal at the 1968 Olympic Games in Mexico City. However, the stadium is now known exclusively as the “Arena Națională”, i.e. the “National Arena”. The new building was named after Lia Manoliu after its predecessor, the “Stadionul Național Lia Manoliu”, the old national stadium. It previously stood on the same site and was demolished in 2008.

Unlike the arena, it was a multi-purpose stadium. Its stands were not covered and the athletics facilities were located between the pitch and the stands. This meant that at the beginning of the millennium it no longer met the requirements for a venue for international soccer matches. In 2006, Max Bögl won the tender for the construction of the new national arena – which, however, had been planned quite differently at the time. However, the German company submitted an alternative project to the client, the city of Bucharest, which was much simpler and cheaper to build.

The National Arena bears unmistakable similarities to Frankfurt’s Waldstadion. This is no coincidence: the same team of general contractors, architects and engineers built the stadium on the Main between 2002 and 2005. The closable membrane roof in particular is almost a one-to-one replica of the construction in Frankfurt. As there, the roof is located in the large video cube above the pitch when folded up. It extends within 15 minutes when required. It then spans the area between the grandstand roofs. The stand roofs themselves are supported by a so-called pressure ring, which towers over the stadium like a crown. The ring rests on 40 steel pillars, which sit on the concrete construction of the grandstand ring.

The stands have two tiers. The architects designed the spectator area with seating shells in different shades of red, blue and yellow, the national colors of Romania. On the outside of the stadium, the verticality of the concrete columns supporting the stands defines the appearance of the building. The grassy embankment on which the arena stands is still a relic of the old national stadium. It mediates between the new building and the historic sports park that surrounds it. Large steps lead up the rampart. They make a visit to the National Arena a bit of a pilgrimage.

Find out more about the National Stadium Budapest. Here you can find an overview of the EURO 2021 stadiums.