23.01.2026

The Zollverein Coal Mine

Building design

The Zollverein Coal Mine Industrial Complex in Essen has been a UNESCO World Heritage Site since 2001. Photo: Thomas Wolf, www.foto-tw.de, CC BY-SA 3.0 de, via: Wikimedia Commons

The Zollverein Coal Mine Complex is one of Europe’s most impressive industrial monuments and symbolizes the profound transformation of the Ruhr region. Since 2001, the complex has officially held the title of UNESCO World Heritage Site, which underscores its historical, architectural, and cultural significance. Visitors to the Zollverein Coal Mine Complex today can experience firsthand how industrial history and creative adaptive reuse come together.

In a place where coal was once mined and processed, culture and history now thrive—that is the Zollverein Coal Mine Complex in Essen. For decades, this complex shaped Germany’s heavy industry until the last shaft was closed in 1986. Today, Zollverein is a living example of how an industrial past and modern use can come together to form a harmonious whole—and that is precisely why the Zollverein Coal Mine Industrial Complex is a UNESCO World Heritage Site. According to UNESCO, it meets both Criterion ii (demonstrating, over a period of time or within a cultural area of the world, a significant convergence of human values in terms of the development of architecture or technology, monumental sculpture, urban planning, or landscape design) and Criterion iii (to constitute an exceptional or at least unique testimony to a cultural tradition or to a culture that is still extant or has disappeared).
The Zollverein Coal Mine was founded in 1847 as Coal Mine XII and quickly developed into one of Germany’s most important hard coal mines, employing over 13,000 people at its peak. A particularly defining feature of the site is Shaft XII, which was built between 1927 and 1932 in the New Objectivity style and was considered the most modern hard coal mining facility of its time. The architecture, designed by Fritz Schupp and Martin Kremmer, features clear, geometric forms and reduces decorative elements to a minimum to emphasize the functional character of the industry. At the same time, it represents the heyday of coal mining in the Ruhr region and technical innovations such as reinforced concrete headframes and modern conveyor systems.
At its peak, the Zollverein Coal Mine was an industrial giant: daily coal production reached impressive volumes, far exceeding those of average coal mines in the Ruhr region. Shaft XII was the most productive facility of its kind at the time. But the mine was more than just a production facility: The coal was processed into coke at the adjacent coking plant—built between 1957 and 1961. This coking plant also played a significant role in industrial operations and remained active until the early 1990s. The complex was not only a production site but also a social hub for the miners: housing developments, schools, and community facilities surrounding the mine bear witness to the close connection between industry and society. With its closure in 1986, the transformation from an industrial center to a cultural site began—a site that today enjoys international attention.

Architecture and Aesthetics

The reason for the inclusion of the Zollverein Coal Mine Complex on the UNESCO World Heritage List lies primarily in its outstanding combination of architecture and industrial function. The buildings are considered an exceptional example of how the ideas of classical modernism—particularly Bauhaus principles—could be applied to an industrial complex. In this way, the Zollverein Coal Mine Complex documents a decisive phase of heavy industry in Europe in a form that is significant functionally, aesthetically, and socially.
The World Heritage site includes not only Shaft XII, but also the Gründerschacht 1/2/8 complex and the Zollverein coking plant. In total, the site covers approximately 100 hectares—roughly the size of 100 soccer fields and thus larger than Essen’s city center. With about 96 buildings, over 200 technical installations and machines, approximately 2.7 kilometers of conveyor bridges, and more than 13.2 kilometers of pipelines, the Zollverein Coal Mine is one of the largest industrial monuments in Europe and the world.
The Zollverein Coal Mine is considered a prime example of 20th-century industrial architecture. Shaft No. XII is not only functionally designed but also captivates with its clear, monumental design language. The interplay of steel, glass, and brick lends the complex a timeless elegance that continues in its current use as a museum; with their cubic austerity, the winding towers resemble modern sculptures and serve as visual landmarks.
In addition to the exterior architecture, interior spaces such as machine halls and boiler houses provide impressive testaments to the history of industrial technology. The design follows the principle of “form follows function”: every line and every angle is geared toward maximum efficiency, allowing the coal mine to be interpreted as a total work of art in industrial history. Comparable sites include the steelworks at Le Creusot in France or the nearby Krupp plant in Essen.

Cultural Significance

On December 23, 1986, the Zollverein Coal Mine was shut down as the last of approximately 290 coal mines in Essen—marking the end of a chapter in mining history. Shortly before that, the site’s heritage value had been recognized, and the grounds were placed under protection. Instead of being dismantled, an ambitious renovation and repurposing project was launched: Between 1989 and 1999, the Zollverein Foundation and other institutions renovated the site and prepared it for new uses.
Step by step, the Zollverein Coal Mine evolved into a vibrant hub for culture, creativity, and business. Former industrial halls now house museums, design studios, and creative businesses—industrial monuments are given a second, contemporary purpose. In this way, Zollverein exemplifies what structural change in the Ruhr region can look like: preserving industrial heritage with respect while simultaneously creating space for something new.
The repurposing of the Zollverein Coal Mine Complex into a center for art, design, and culture has further enhanced its international reputation since 2001, when it was designated a UNESCO World Heritage Site. It is regarded as a symbol of the Ruhr region’s structural transformation, with artistic projects, exhibitions, and events that make use of the impressive setting and bridge the gap between the past and the present. The site also serves as a research center for industrial archaeology and historic preservation. It illustrates how industrial architecture possesses aesthetic and social dimensions and is perceived as a bearer of cultural identity, beyond mere economic relics.

Current Use

Today, the Zollverein Coal Mine combines historical substance with contemporary use: parts of the site house the Ruhr Museum, the Red Dot Design Museum, and the Phenomenal Lab of the Vitrine for Industrial Culture. The site serves as a venue for festivals, performances, and conferences, making it a vibrant hub of cultural interaction.
The preservation of the architecture and the integration of modern uses exemplify how industrial monuments can be sustainably preserved. Visitors here experience not only history but also the creative potential of industrial spaces. With its combination of architectural rigor, technical innovation, and cultural repurposing, the Zollverein Coal Mine Complex embodies the Ruhr region’s transformation into a hub of international exchange and remains a reference point for research and cultural education. Starting on January 27, 2026—International Holocaust Remembrance Day—the Holo-Voices project will also be on display there. In this project, Holocaust survivors have shared their stories. With the help of AI and modern hologram technology, their voices and stories will be brought to life for future generations as well.

07.12.2024

The corrected Rembrandt

Building design

Alongside other important works by Rembrandt (1606-1669), the Berlin Gemäldegalerie owns his masterpiece “Susanna and the Two Old Men” (1647). Recent studies of the painting have produced spectacular new findings. We spoke about the discoveries with Katja Kleinert, research assistant, and Claudia Laurenze-Landsberg, conservator at the Gemäldegalerie der Staatlichen Museen zu Berlin (SMB). The latest results of their […]

From March 3 to May 31, 2015, the Berlin Gemäldegalerie and the Kupferstichkabinett (SMB) are presenting the latest results of their examination of the Dutch artist Rembrandt Harmensz. van Rijn in the exhibition “Rembrandt’s Berlin Susanna and the Two Old Men. The creation of a masterpiece”. What exactly did you find out?

Kleinert: Rembrandt worked on the Berlin “Susanna” for more than a decade and created three different versions of the depiction during this time. This was already known and documented by the Rembrandt Research Project. Now, however, it is possible to reconstruct the three versions in detail. In addition, in collaboration with the Kupferstichkabinett, it has now been possible to reassess the time when work on the painting began. The first composition must have been created around 1635 rather than 1638. What was previously completely unknown and truly spectacular is the discovery that the work was extensively reworked again in the 18th century.

How did you track down this sensation?

Kleinert : The decisive clue came from a reproduction engraving by Richard Earlom (1743-1822) from 1769. The original is kept in the Kupferstichkabinett (SMB). The sheet documents the version of the picture that Rembrandt left to posterity in the 17th century. A comparison with the present-day work reveals how much more differentiated the painterly execution of the painting must originally have been. As a result, it was possible to correlate existing art technological results, which proved that parts of the painting had clearly been reworked at a later date.

Laurenze-Landsberg: ” Earlom’s reproduction engraving was a relief for me. I had already examined the panel painting with a stereomicroscope before I became aware of it. The separation of the paint layers and chipped areas revealed beautiful, precisely executed details that had been very roughly painted over. At the time, however, I still assumed that Rembrandt had reworked the painting and was confused by the master’s superficial, less meticulous way of working.

What investigations did you then carry out to investigate the suspicion of a later intervention by a third party?

Laurenze-Landsberg: In addition to the neutron autoradiographs, we also analyzed the X-ray, infrared and grazing light images and examined the image stereoscopically. The image carrier is a sugar box wood which, contrary to previous assumptions, is not made of mahogany but amaranth. The sugar trade flourished in Amsterdam in the 17th century.

You assume that the later overpaintings are by the English painter Sir Joshua Reynolds (1723-1792). What supports this theory?

Kleinert : The provenance of Rembrandt’s Berlin “Susanna” is very well documented. Two painters had the panel in their possession. Sir Joshua Reynolds was one of them. He owned the painting for a particularly long time. We also know that Reynolds was interested in old painting techniques. And that he often worked on other people’s works and altered or corrected them to suit his own taste. He was also not afraid to remove paint in order to study the working methods and techniques of other artists. By looking at the original together with English colleagues from the Reynolds Research Project, the painting technique could then be clearly attributed to Reynolds.

Laurenze-Landsberg: The neutron autoradiography supports this thesis. It shows intense blackening caused by the antimony isotope SB-124. Since no tin can be detected at the same time, the antimony-containing pigment must be Naples yellow. It came into increasing use from the middle of the 18th century. Elsewhere, the paint layer is swollen, which indicates the use of copaiva balsam. This is a resin that was used to “freshen up” paintings. It is known that Reynolds used it as a binding agent.

How do you assess the reworkings today?

Kleinert: There are examples of even more far-reaching interventions that raise the question of the extent to which one can still speak of an original masterpiece. The Berlin “Susanna and the Two Old Men” is a painting that has been altered at a later date and must be declared accordingly. But it remains a Rembrandt.

The interview was conducted by Britta Grigull.

More on Rembrandt’s drawings, the biblical Susanna theme and the corresponding Berlin exhibition in RESTAURO 2/2015.

21.12.2024

Event

Architects in snow fever

Building design

At the beginning of February 2015, the tenth open German Architects’ Championships in the disciplines of skiing and snowboarding took place in Mellau and Damüls, Austria. Around 120 participants took up the challenge. around 120 participants took up the sporting challenge. At the warm-up in Peter Zumthor’s “Werkraum” in Andelsbuch on Thursday evening, the early arrivals were able to get a first impression. In the exhibition “No Name Design” by Franco Clivio, the focus was on the inconspicuous things that accompany us in everyday life and yet rarely attract attention.

The following evening, the GAM open 2015 was officially opened by patron Lutz Heese (President of the Bavarian Chamber of Architects) in the Elsenalpstube in Damüls. After the subsequent ‘Kässspätzle’ meal, which was a culinary highlight, originally served in a wooden bowl, the 4 kilometer long and illuminated toboggan run into the valley could be tested. In bright sunshine and perfect conditions with 1.90 meters of snow, the starting signal for the 10th GAM open in the parallel slalom discipline for skiers and snowboarders was given on Saturday morning.

Jannis Merz (men’s skiing) with 22.420s, Armin Tittel (men’s snowboarding) with 27.360s, Birgit Keppler (women’s skiing) with 26.430s and Ulrike Schneider (women’s snowboarding) with 34.780s won the championships with best times. The office championship went to the team from the Reutlingen Chamber of Architects (Nightmare 2). The award ceremony took place in the evening, followed by a party at the four-star Design Hotel Sonne in Mellau.