Seven chapels – across fields and meadows

Building design
Volker Staab's chapel near Kesselostheim stands in the middle of a slope full of meadows, fields and scattered groups of trees. Photo: Eckhart Matthäus/ Siegfried and Elfriede Denzel Foundation

In the middle of a slope full of meadows, fields
and scattered groups of trees stands Volker Staab's chapel near Kesselostheim. Photo: Eckhart Matthäus/ Siegfried and Elfriede

Picturesque, straight out of a landscape painting – that is picturesque. And that applies to the seven wooden wayside chapels near Dillingen an der Donau.

Picturesque, straight out of a landscape painting – that is picturesque. And that applies to the seven wooden wayside chapels near Dillingen an der Donau.

“In the evenings I walk over field and meadow, the blue sky above me, around and beside me green seeds, green trees, and I am not alone; for he who created heaven and earth is around me.” – Caspar David Friedrich

Caspar David Friedrich was aware of the importance of nature for himself and for his time, that of Romanticism. Nature offered – and still does – space for the subjective feelings of the individual to take precedence over reason, to escape into mysterious and melancholically beautiful worlds, to find security and God. The seven wayside chapels around Dillingen are a good example. The Siegfried and Elfriede Denzel Foundation, established in 2016, is responsible for the “Seven Chapels” project. The foundation’s aim is to promote art, history, the church, religion and culture. With this aim in mind, Peter Fassl, district curator and deputy chairman of the foundation, developed a plan in discussions with the founder and timber entrepreneur Siegfried Denzel at the beginning of 2017. In the same year, a selection of possible locations was made together with architect Hans Engel, with the executing architects ultimately choosing their own locations: Seven chapels by architects Hans Engel (Augsburg), Frank Lattke (Augsburg), John Pawson (London), Volker Staab (Berlin), Alen Jasarevic (Mering), Christoph Mäckler (Frankfurt am Main) and Wilhelm Huber (Betzigau) were built between 2018 and 2020 around the Danube, along some of the newly created cycle paths. The architects only had two specifications to consider in their design: The chapel was to be made of wood and have a cross. The architects responded to this concept individually. How? A hike along the approximately 130-kilometre circular cycle path shows you.

For us, the circular route begins with a chapel that stands out from the crowd – the cycle path chapel near Gundelfingen by Hans Engel. It is the only chapel with an open design that consciously incorporates the surrounding nature. Located directly on the water, it was the first chapel to be completed and was blessed on June 30, 2018. Engel deliberately designed “not a building, but an open structure made of reduced, weather-resistant components”. The idea behind this is to create a clearing between four copper beeches, the banks of the Danube and fields. The result is never final, but depends on the changing times and landscape. The chapel has a cross-shaped floor plan measuring approximately five by five meters and is also five meters high. Twelve turned larch wood columns support the flat wooden roof. There are three graphically printed glass walls made of frameless safety glass. On the glass side walls are theological and philosophical quotations from all over the world. They refer to nature. An artistically designed glass panel with a cross hangs in a kind of altar room. There are two seating areas in the side niches.

The second wayside chapel is located between Oberbechingen and Wittislingen at a fork in the road. Frank Lattke chose a building site located in an area of fenland covering around 250 hectares in the Swabian Alb – the Dattenhauser Ried. From a distance, the top of the roof is barely visible from the fields. The wooden architecture reveals itself to the observer with every step towards the chapel. Once there, birdsong can be heard from inside the chapel, and a feeling of security and peace spreads. “The intention is not to create a towering architectural symbol in the landscape, but a place of contemplation that gives visitors a foothold in the vastness of the landscape,” says the architect. The flat topography with the shoreless horizon characterizes the site and finds an anchor point in the almost eight-metre-high chapel. The steep and angular architecture rises above the square base area of around five by five meters. It is clad in untreated spruce boards that turn gray with the weather. The chapel thus merges with the landscape.

The entrance is created by a gable wall made of sticks that curves into the room. Here, too, the space opens up with every step: from low to high, from narrow to square, from concrete floor to parquet made of spruce cubes. The interior is spanned by a filigree, diagonal bar structure that begins in the corners of the floor. The construction guides the eye and makes the room appear higher. Birds nest directly under the ridge. The cross made of burnished, brushed and narrow tombac sheeting rises almost suspended from the rear corner of the room. It is framed by two slender, floor-to-ceiling window openings. The lighting mood is created by the light coming in from the entrance: it falls gently and varies depending on the position of the sun through the open bars and fills the interior made of untreated spruce wood with different bright, warm shades of color.

John Pawson ‘s “Wooden Chapel” is hidden at the edge of the forest near Unterliezheim. Coming from the valley, the compact chapel only reveals itself on the ascent. The architecture looks like a sculpture made of stacked tree trunks and bark – simple, yet monumental. A total of 40 Douglas fir trunks with a length of around 12.5 meters and a diameter of 90 centimeters were transported from the Black Forest for the construction. You enter the chapel through a narrow entrance. The interior, which is around six meters high and eight meters long, is dominated by the sawn wooden surfaces of the trunks. A window lets light into the room and draws the eye to the church tower in the village. A gap along the long sides directly below the ceiling lets soft light into the room. At the front is a cross through which amber-colored daylight shines from outside. Through the contrast between the narrow, condensed chapel interior and the panoramic landscape, Pawson creates a fascinating interplay of spatial narrowness and expanse.

Volker Staab designed the chapel near Kesselostheim. Situated in the middle of a slope full of meadows, fields and scattered groups of trees, the approximately 14-metre-high tower blends in between four trees. The view is a key factor in the choice of location. A 35-metre-long footbridge leads to a small square, which is closed off by a wall with a recessed bench. Opposite it stands the chapel tower on an area measuring four by four meters. At first glance, the architecture appears compact, but it consists of a permeable envelope of square lamellas arranged one above the other. Two wooden brackets arranged crosswise support the slats. Cable bracing reinforces the construction. Rain, snow and wind enter the interior through the walls and the open ceiling. But light also falls through the slats and creates an atmosphere that the architect deliberately controls: the differently aligned slats primarily illuminate the upper part of the tower and thus emphasize the pull towards the sky. In addition, the construction tapers slightly towards the top. Although the cross is present twice in the chapel, it is not clearly recognizable as a Christian symbol: a metal cross is embedded in the floor and is repeated in the construction at the top of the tower as a connecting element. Only those who seek a place of Christian devotion will find it.

Alen Jasarevic‘s wayside chapel is located in the Danube floodplains near the Schwaigen. The chapel rests between deciduous forest, the Danube’s oxbow lake and fields. When viewed from the front, it looks like a twelve-meter high tepee. But the idea is different: It is intended to symbolize hands joined in prayer. The almost triangular base is six meters long and widens from two to five meters. From the outside, the architecture is clad with natural shingles. The entrance is concealed behind a triangular door made of untreated steel. Once inside, the door closes slowly, heavily and automatically. A dull, thunder-like sound fills the room, and your gaze wanders to the only source of light at the highest point of the chapel. At the open top, two rods independently form a cross. Ambient sounds, sun or rain penetrate through the high opening and affect the atmosphere. Three steps lead down into the chapel room. The floor and steps are made of concrete. They form a kind of trough, above which three 14-centimetre-thick cross-laminated timber panels form the walls and roof. Sculptor Josef Zankl worked the entire surface of the interior with a gouge. Thanks to its overall spiritual effect and craftsmanship, the chapel is one of the most powerful on the circular route.

The chapel designed by Christoph Mäckler is the youngest on the circular route. It was blessed on December 19, 2020. The wooden house stands on the edge of wide, flat fields near Oberthürheim, right on the edge of a small forest and marked by large chestnut trees. It is eight meters long, three meters wide and the entrance is located in a porch measuring around two by two meters. The chapel is reminiscent of the archetype of a log house with a pitched roof, but the architect emphasizes the verticality with the enormously steep roof. The proportions of the chapel are clearly based on the Gothic church building. This intention is even more evident inside: 150 small square colored glasses bathe the room in a deep blue light, while a kind of choir stall on the long sides directs the eye to a golden yellow glass cross in the gable wall. Unprecedented, the chapel seems to have stepped out of a Romantic painting as a picturesque gem.

Our final stop is the “Blue Chapel” by Wilhelm Huber. The twelve-metre-high, tower-like chapel stands between tall spruce trees and a country road in the elongated Laugna valley. The interior is accessed via a covered forecourt and a sliding door. While untreated larch wood characterizes the architecture on the outside, the interior features a different play of colours – white and blue. The light falls through a blue hand-blown skylight and is reflected on the white-painted walls. A filigree metal cross stands almost in the middle of the room. The seven chapels set religious landmarks, form powerful symbols in the landscape and at the same time provide a sense of security. One is reminded of Novalis’ demand that the world must be romanticized for its original meaning, and feels the active and timeless power of romanticism around and in the chapels.

“7 wayside chapels. Architectural landmarks in the Danube valley”

Edited by Peter Fassl, Siegfried and Elfriede Denzel Foundation,
published in March/2021,
22 by 28 centimeters, hardcover
312 pages, 100 illustrations

ISBN 978-3-7774-3738-5

More about the Siegfried and Elfriede Denzel Foundation and the book here.

On a rural estate in Cuenca, central Spain, the Madrid-based architecture firm Sancho-Madridejos has built a chapel that resembles an original work of art made of folded reinforced concrete.

POTREBBE INTERESSARTI ANCHE

World Heritage Site on course for rejuvenation in Muskauer Park

Building design

More than 200 years ago, Hermann Prince von Pückler-Muskau began to lay out his extensive landscape park near Muskau. Photo: René Egmont Pech

Today, visitors can still stroll through the landscape park that Hermann Prince von Pückler-Muskau began creating more than 200 years ago and which is now a German-Polish UNESCO World Heritage Site: Muskauer Park on the Lusatian Neisse. However, the appearance of the park is changing, as the damage to the park’s trees and shrubs has increased significantly in recent years. What the park administration is doing to preserve a historic park in times of climate change. […]

Today, visitors can still stroll through the landscape park that Hermann Prince von Pückler-Muskau began creating more than 200 years ago and which is now a German-Polish UNESCO World Heritage Site: Muskauer Park on the Lusatian Neisse. However, the appearance of the park is changing, as the damage to the park’s trees and shrubs has increased significantly in recent years. What the park administration is doing to preserve a historic park in times of climate change.

“In landscape gardening, we are not in a position to deliver a permanent, firmly completed work, like the painter, sculptor and architect, because it is not a dead but a living work […]”, writes Hermann Prince von Pückler-Muskau in his “Notes on Landscape Gardening” from 1834. At this time, he had been working on creating an extensive landscape park in his Muskau estate for around 20 years. Although he would not be able to complete the park as he envisioned it, he sold his property in Muskau in 1845. Regardless of this, he was aware that a park would never be a completed work, as the quoted passage from the chapter “Conservation” shows. He continues: One must not stop working on a park in order to maintain its designed appearance. “Our main tool, which we now use to create, our brush and chisel, is the spade; but the main tool of preservation and continued work is the axe”, writes Pückler. Muskauer Park, known as Park Mużakowski in Polish, can still be visited today, more than 200 years later. The fact that this living work of art continues to exist is due not only to conservation, but also to restoration and reconstruction measures.

The 830-hectare Muskauer Park is one of the few cross-border UNESCO World Heritage Sites. One third is on the German side – including the main buildings such as the New Palace. Around two thirds of the park area extends east of the Neisse River on Polish territory. The two parts of the park are connected by two reconstructed bridges over the Neisse: since the end of the 1980s, the German and Polish administrations have been cooperating in the restoration of the landscape park, which dates back to the plans of Hermann Fürst von Pückler-Muskau in the first half of the 19th century. In 2004, UNESCO added the landscape park to its list of World Heritage Sites.
The successful restoration of the cross-border park after destruction during the Second World War and after the Polish side had been left to run wild for decades is part of the story of Muskauer Park. The necessary cross-national cooperation, the German-Polish understanding in numerous projects since then, follows on from this. Even before that lies the history of its creation: Pückler’s vision, but also the lesser-told involvement of his wife Lucie, the gardener and garden artist Jacob Heinrich Rehder and Eduard Petzold. Or how the subsequent owner, Frederick, Prince of the Netherlands, invested in the park, replaced Pückler’s less stable wooden bridges with more solid constructions and had other, as yet unrealized measures implemented. The park is also relevant from an art-historical and professional-historical perspective, as a complete work of art, as an important example of a landscape park in the 19th century and as a contribution to the development of the disciplines of landscape architecture and garden design. The numerous facets of Muskauer Park thus fan out; their sum makes the park the place it is today – and which is now being damaged by the effects of climate change.

Even today, the park still largely follows Pückler’s “roadmap”, says Cord Panning, park director and managing director of the “Fürst-Pückler-Park Bad Muskau” foundation, which is responsible for managing the German part of the park. By this he means the placement of the buildings, how the paths and watercourses are laid out, the topography and the spatial layout of the park. And this despite the fact that the park was damaged during the war and that Pückler was succeeded by several new owners. Instead of adapting the park to their own ideas, the successors not only decided to respect Pückler’s park vision, but also partly continued his roadmap, albeit stylistically updated, explains Panning. And that is how they still do it today, he explains. Historical substance is respected; where there are flaws, attempts are made to act in the spirit of Pückler. If this is not possible, there are redesigns – the projects range from smaller ones in the flower gardens to larger investments. Panning estimates that Pückler would not be dissatisfied with the further development of his vision and the current shape of the park. Between the original park design and current projects, however, lies the recent history of the garden monument: before the question of its preservation could arise at the end of the 20th century, the park had to be restored in the first place. “Muskauer Park as we knew it from literature actually no longer existed,” says Panning. This has to do with the division of the park along the Neisse: According to Panning, while things were fine in terms of the way the park section was treated as a garden monument in the GDR, the overall spatial composition no longer existed. However, this was fundamental to Muskauer Park. “Even if good work was done on the German side, the counterpart was always missing,” says Panning. On the Polish side, the park areas were assigned to the forestry administration; paths and open spaces subsequently became overgrown and the spatial composition created by the vegetation was lost. The result was a veritable jungle, as Panning calls it. He describes the restoration of the park as a mixture of restoration and reconstruction: on the Polish side, paths and lines of sight were restored, the outlines of destroyed architecture were indicated with low walls and the bridges over the Neisse were rebuilt.

Like Pückler, Panning says that work on a park is never finished: “You are in a dynamic process that needs to be managed.” This involves working with the park’s trees and shrubs, for example. In the past, there was a principle of gradual transformation, says Panning. The number of old trees that had to be removed each year was kept within limits – he cites 30 to 50 trees as a key figure. With 16,000 trees on the German side of Muskauer Park alone, this is a small percentage. New specimen trees from the nursery replaced the old ones. Visitors were largely unaware of the process, reports Panning. However, after the drought years of 2018 to 2020 and in times of climate change, this principle is no longer working: “The number of trees being felled has increased exponentially,” says Panning. Instead of 30, there are now 300 trees a year that fall, and the trend is rising.

Muskauer Park is not the only historic park that is suffering from the effects of climate change. Researchers at TU Berlin shared the results of their study “Park Damage Report Model Project” with the public at the beginning of this year. In this study, they examined 61 historic gardens and parks in Germany – more precisely, the damage to their trees and shrubs as a result of climate change. The data analysis regarding vitality revealed that in 2022, around 59 percent of the trees in the parks studied were impaired – from slightly to moderately and severely to dead.
Norbert Kühn, Professor at TU Berlin, Head of the Department of Vegetation Technology and Plant Use and also head of the Park Damage Report study, sees an urgent need for action here. Because: “The dry years of 2018 to 2020 have created a completely new situation, and many of the parks are facing problems that they have not faced before.” The biggest challenge for historic parks due to the effects of climate change is the death of old, large trees, says Kühn. Two main issues here are heat and drought: the latter causes the soil to dry out, even in deeper layers. Heat in turn increases evaporation – two “self-reinforcing effects”, says Kühn.
In the study, the researchers found large local differences between the plants investigated. In some plants, 90 to 100 percent of the trees were damaged, while in others it only affected 5 to 25 percent of the tree population. They found it difficult to interpret these differences, says Kühn: “You have to assume that every park is an individual.” Each one has different framework conditions, so the location and soil composition, time of origin and state of preservation are different.

It is now important that the individual parks become aware of their individual vulnerability, emphasizes Kühn. By this he means that park administrations are aware of the natural conditions such as soil and water or the age of the trees. According to Kühn, this is not a matter of course for historical sites: “We know a lot about the art-historical background of the parks – but often very little about the ecological conditions.” Monitoring the damage is also important in the future, as well as continuing to survey individual trees. He would also like this to be digitized to provide a better basis for future assessments. Although Muskauer Park was not part of the TU Berlin study, damage to the trees and shrubs has also been recorded here. And the management of Muskauer Park is already taking measures.

A hotspot of the problems in Muskauer Park is the Bergpark. The elongated part of the park on the German side is located southwest of Bad Muskau. “The beech trees have been collapsing here since 2018,” says Cord Panning. The damage is caused by heat and drought, but also by fungal and insect infestations. One of the approaches now being used in Muskau is nothing new: natural regeneration. This means that new young trees are allowed to grow on their own from seeds from the local tree population. In the Muskauer Bergpark, these are mainly copper beeches. Interventions are made in the regrowing stock, such as thinning out or removing unwanted tree species. Individual young trees that have grown up in this way can also be moved to other places in the park as solitary trees, so-called self-promotion. Instead of buying trees from tree nurseries, they are developed from the park’s own stock. According to Panning, “myriads of young beech trees” can already be seen in the Bergpark. “We have an excellent starting material with which we can now work back into the design of the historic garden.” Panning cites the fact that the trees grown in this way are more resilient and resistant as an advantage. This is where epigenetic effects come into play: the parent generation feeds environmental stress – such as a lack of water – into the seed via enzymes known as methylation, which activates or blocks certain DNA properties, he explains. The next generation of trees is then already adapted to these new conditions caused by climate change and can also grow under them. Last but not least, this approach to restoring the tree population is cheaper and requires less care and water than planting new trees. It was nothing sensational, but it was a realization that we were moving away from outsourcing and towards working with natural processes, says Panning. Natural regeneration is not a one-to-one replacement for planting a purchased, already larger tree – especially with regard to the appearance of the park. Succession gardening, as Panning calls it, takes more time: “It’s a process that can take decades. It requires a rethink, including in management.” And natural regeneration and thus adaptation to changing site conditions cannot be applied to all tree species – for example, not to those that are vegetatively propagated, or cloned, for example by cuttings. In Muskau, this applies to trees that are prominently placed in the center, but only a few, says Panning in conversation. He estimates that problems will arise sooner or later with such vegetatively propagated tree species that are genetically identical. To prevent this, new breeding lines with a different genetic disposition are needed.

Overall, however, Panning advocates working with natural processes and taking a holistic approach to the maintenance of a park, and having as many tools as possible at your disposal to adjust what you can do horticulturally in the park. “If you have these tools at your disposal, I am convinced that you can defy the challenges of climate change,” says Panning.
The appearance of historic parks will change in the future. This is also the case in Muskauer Park, where more young trees will replace old ones in the coming years. But once you understand the background, you can also see it in a positive light, says Panning – “because it will continue with the next generation”. It remains to be seen how the young copper beeches in the Bergpark will develop and whether the approach of natural regeneration will prove successful for Muskauer Park. In any case, work will continue on the landscape park initiated by Pückler, albeit under different conditions in times of climate change – because the living garden work of art that is Muskauer Park will never be complete.

Muskauer Park, known as Park Mużakowski in Polish, literally transcends borders: Covering several hundred hectares, the park straddles both sides of the Lusatian Neisse and is therefore located in both Germany and Poland. On the German side, the park surrounds the Saxon municipality of Bad Muskau; the south-eastern edge of the park borders the Polish town of Łęknica.
Muskauer Park goes back to Hermann Fürst von Pückler-Muskau, who developed and began to implement his vision for the landscape park over several decades in the first half of the 19th century. Pückler’s gardener Jacob Heinrich Rehder and his wife Lucie, née von Hardenberg, were instrumental in making the Gesamtkunstwerk a reality.
Pückler worked on the park from 1815 to 1845. Having run into financial difficulties, the Pücklers sold the property in Muskau in 1845. He was not able to realize all of his ideas for Muskau Park, but he nevertheless recorded his vision in his description of the park in the 1834 publication “Andeutungen über Landschaftsgärtnerei”.
Subsequent owners, including Prince Frederick of the Netherlands and later the Counts of Arnim, continued to design the park – largely in line with Pückler’s ideas, adapting the style to the respective times and sometimes adding their own. Under the new sovereign Prince Friedrich, Rehder was succeeded by his pupil, the garden artist Eduard Petzold.
Muskauer Park is a landscape park that is significant as a complete work of art, but also influenced the development of landscape architecture and garden design.
the development of landscape architecture and garden design as a profession. Prince Pückler was inspired by the latest designs of English landscape gardens, which he saw during his stays in England. He attached great importance to visual axes and perspectives and composed scenery in such a way that parallels could be drawn with landscape painting. For Muskauer Park, Pückler created lakes and the Hermannsneiße, an artificial fork in the river; however, he also worked with the existing topography. The meandering paths deliberately open up different views to visitors – today again, it must be said.
Since 1945, Muskauer Park has been divided into two states due to the new border along the Neisse. At the end of the Second World War, the park was destroyed, the bridges over the river were blown up and the New Palace – rebuilt by Prince Friedrich in the neo-Renaissance style – burned to the ground. The eastern part on Polish territory, around two thirds of the entire park, was subsequently treated as a nature reserve and became overgrown. This and the division of the park meant that the overall composition with its visual axes and perspectives was no longer given.
Since 1992, the western part of the park in Germany has belonged to the Free State of Saxony. In 1993, the Free State established the dependent foundation “Fürst-Pückler-Park Bad Muskau”. Since then, its mission has been to restore and preserve the ensemble in cooperation with its Polish partners. The Narodowy Instytut Dziedzictwa, the National Institute for Cultural Heritage of the Republic of Poland, is responsible for the part of the park located in Poland. In the late 1980s and early 1990s, a joint German-Polish initiative was launched to restore the park, which has been gradually taking place ever since. This concerns both the landscape composition of the park and structural elements: the bridges over the Neisse were reconstructed – the central double bridge from 2002 to 2003 and the English Bridge from 2009 to 2011 – allowing the two parts of the park to grow together again and making it possible to walk through the park again as Pückler had intended. The New Palace was rebuilt from the mid-1990s until 2013. Muskauer Park has been a German-Polish UNESCO World Heritage Site since 2004. It is one of the few cross-border World Heritage Sites. The park is freely accessible to all; exhibitions in the New Palace and the palace garden and the ascent to the palace tower cost an entrance fee.

Read more: The rebirth of a historic metropolis: Mosul shines in new splendor. After years of restoration work, the Iraqi city of Mosul is celebrating its rebirth.

Wave pool

Building design

The bathroom for children, designed by the Rhyme Team interior design studio, impresses with its wooden elements, which give the tiled room a cozy, homely atmosphere. The playful elements in the fronts of the washbasin tie in directly with the wave-shaped, custom-made mirror. In addition to brown and beige tones, the office opted for a pink-colored natural stone. The bathroom is flooded with light and inviting thanks to the floor-to-ceiling windows.