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\u201cThe church doesn\u2019t stand apart from everything else,\u201d Werner D\u00fcttmann said when he was building it, \u201cit stands in the way.\u201d His words highlight how the newly built parish of St. Agnes with its 5,090 m\u00b2 premises\u2014today listed as a complex\u2014was at the heart of the new housing estate and yet did not stand at its center. Rather D\u00fcttmann saw the church and the center as unobtrusive yet prominent milestones, as distinctive markers, and as an open invitation for people to come together.<\/p>

D\u00fcttmann, the greatest architect of the postwar period, who designed over seventy buildings in his hometown of Berlin, including the Akademie der K\u00fcnste, the Br\u00fccke Museum in Dahlem, and the Hansaviertel library, thought in terms of a comprehensive design for society. The architecture critic Niklas Maak (Frankfurter Allgemeine Zeitung) called him \u201ca forerunner of the collective.\u201d It was about pioneering architecture, free from ornament and embellishment, that opened up the city to the people and made it accessible. It was the years of the social housing boom: in the six years alone in which D\u00fcttmann was Berlin\u2019s director of urban development (1960\u20131966), 20,000 tenements were built. D\u00fcttmann\u2019s goal was to strengthen the urban community and to show citizens the possibility of a true collective.<\/p>

With its clear brutalist forms and distinct, uncompromising lines, the St. Agnes building complex still on has the same effect on people today as it did back then. Despite its bulky, monolithic structure, the parish center, church, and twenty-meter-high tower, spanning a total of 3,562 m\u00b2, blends into the surrounding neighborhood with surprising ease. Martina D\u00fcttmann, the wife of the architect, wrote about the aesthetic and the actual function of the church in Werner D\u00fcttmann: Verliebt ins Bauen (Birkh\u00e4user Verlag, 1990): \u201cIt should stand apart from the buildings towering above it, and yet as a parish center also greet people with open arms. It should blend secular hospitality with the sacred, the holy. And so it does.\u201d<\/p>

Unusual for postwar architecture, D\u00fcttmann grouped the entire parish center around a rectangular, leafy inner courtyard accessible from Alexandrinenstra\u00dfe by way of a covered entrance. Buildings of different sizes and heights were positioned like silent watchers around the courtyard. In addition to the church, the tower, the chapel and its sacristy, the center originally housed the two-storey parish hall, including a meeting hall and an assembly hall; tucked in between them was the former clergy house with parish offices and housing for the parish priest, chaplain, and sacristan; and in the back of the former parish hall, a kindergarten.<\/p>

The centerpiece, the church itself, was just as austere and reduced on the inside as it was on the outside. Instead of the gold, marble, and fresco paintings of baroque churches, the interior featured the same unfinished concrete that covers the outer facade\u2014the clear outline of a basilica shooting up like an immense gorge. And instead of classical windows to break up the right angles of the facade, two slim window slits extended up sixteen meters from floor to ceiling behind the altar, and by the staircase to the former church gallery, two parallel bands of light along the roofline allowed the changing light to stream through and into the hall.<\/p>

The forms and angles were clear-cut, the surfaces almost never-ending, and, back then, the floors covered with end grain flooring\u2014an overwhelming sight in spatial terms. It is no wonder that the bishopric spoke proudly of a new \u201cstronghold\u201d at the inauguration of the church with its formidable tower on the May 16, 1966.\u00a0<\/p>

D\u00fcttmann, who after his time as director of urban development took up the role of president at the Akademie der K\u00fcnste from 1971 to his death in 1983, managed to link history with modernity in the building of St. Agnes. For example, he built the aisle walls from bricks found in the rubble. Visible to all churchgoers, these were found amongst the remains of the bombed houses which stood here a generation earlier. As Maak writes: \u201cThe histories and tragedies of the city, the life that once was here is thus alluded to as an abstract memory, as a mural depiction of the passion of Christ and as a wailing wall.\u201d<\/p>

Today, D\u00fcttmann is seen as one of most important urban planners of postwar Germany and not least because of buildings like St. Agnes. The records of the heritage protection authority state: \u201cThe parish center St. Agnes is regarded as one of the most important church complexes from 1960s Germany. It is the embodiment of the type of modern building known as a parish center, developed in the 1960s with large churches. [...] D\u00fcttmann\u2019s unpretentiousness coincided with a new unpretentiousness in church building.\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 7,\r\n \"colspan\": 7,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 1078,\r\n \"frameOverflow\": \"right\",\r\n \"classes\": \"text\",\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","phonegrid":"","_links":{"self":[{"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/pages\/182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/comments?post=182"}],"version-history":[{"count":0,"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/pages\/182\/revisions"}],"wp:attachment":[{"href":"http:\/\/st-agnes.net\/en\/wp-json\/wp\/v2\/media?parent=182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}