Berliner Zeughaus

The Berlin Zeughaus (Old Arsenal) is an important architectural landmark on the grand boulevard Unter den Linden in the Mitte district. As part of the Forum Fridericianum, it leaves a lasting mark on Berlin's cityscape. The building was originally constructed in the Baroque style to serve as an arsenal for the Brandenburg-Prussian army. Over the centuries its function changed several times, until it was converted into a museum building in 1880. Today the building houses the German Historical Museum, which presents the history of Germany in a comprehensive permanent exhibition. The historic building is currently closed for renovation work and a redesign of the exhibition, while the museum continues to operate in the neighboring new building.

The history of the building goes back to the time of Elector Frederick William, who in his political testament of 1667 ordered the construction of a fine arsenal. Although the Parisian court architect François Blondel submitted a design as early as 1685, the necessary funds were lacking. Not until May 28, 1695 did Elector Frederick III have the foundation stone laid, driven by the desire to adorn Berlin, as a royal residence, with impressive buildings. His coronation as King in Prussia and military successes fueled the project. The first master builder was Johann Arnold Nering, who died early. His successor Martin Grünberg felt overburdened and asked to be released, whereupon Andreas Schlüter took over construction management at the end of 1698.

As a sculptor, Schlüter played a major role in the decoration, but as an architect his contribution remained rather insignificant, since his plans hardly went beyond Nering's. He also pointed out structural defects, which led to the collapse of a pillar in the east wing. Because the master builders changed so often, it was difficult to determine who was to blame. In autumn 1699 the French architect Jean de Bodt took over. De Bodt, who had fled France to escape religious persecution, gradually altered the old plans. His concepts, influenced by French Classicism and English architecture, shaped the building decisively.

The building was completed under Frederick William I, the so-called Soldier King. After the death of Frederick I, the new king tried to repair the shattered state finances through strict frugality. The Zeughaus was no longer treated as a showpiece but as a purely functional building. The interior therefore looked plain and utilitarian in contrast to the magnificent facades. The last funds were not approved until 1729, so the building could be put to its intended use after a construction period of 35 years. The result was a monumental two-story building with an almost square floor plan and numerous sculptures surrounding the inner courtyard.

Between 1877 and 1880, Emperor William I had the Zeughaus converted into a hall of fame (Ruhmeshalle) for the Brandenburg-Prussian army. Under the direction of Friedrich Hitzig, the building was transformed into a museum of Prussian history with a significant collection of military history. During World War II the building suffered severe damage from bombs and shells. The facades were breached, the attic burned out, and a large part of the sculptures was damaged. After the war the Soviet occupation authorities ordered its reconstruction. From 1948 to 1965 the building was restored to its original form, and the later additions made for the hall of fame were removed.

Because the building fabric was in worse condition than expected, the interior was completely gutted in 1950. It was replaced with a modern steel-and-concrete structure, while the Baroque exterior walls with their sculptural decoration were preserved. From 1952 to 1990 the Zeughaus housed the Museum of German History, which served as East Berlin's central history museum. After reunification, the German Historical Museum took over the building. An extensive renovation was carried out through 2003, in which the rose-colored facade and the sculptural decoration were restored.

A special architectural feature is the postmodern exhibition building at the rear, designed by the Chinese-American architect I. M. Pei. This new building is connected to the historic Zeughaus by an underground passage. Pei also designed the vaulted glass roof over the inner courtyard. The building's sculptural decoration follows a clear program glorifying the art of war and paying homage to the warlord. Andreas Schlüter shaped the program decisively, influenced by his experiences on a trip to Italy, where he had become acquainted with works by Michelangelo and Bernini.

The exterior facades are richly adorned with sculptures. The central projections on the east, south, and west sides are emphasized by triangular pediments. The roof balustrades hold numerous trophies, including simple individual trophies and large groups composed in a pyramid shape. The pediment reliefs show mythological and allegorical scenes, such as Athena as goddess of battle or figures of Fama announcing victory with trumpets. In front of the main entrance stand four larger-than-life female figures representing arithmetic, geometry, engineering, and pyrotechnics, skills regarded as the foundation of artillery.

The courtyard contains Andreas Schlüter's most important works, the 22 heads of dying warriors. These high reliefs form the keystones of the round-arched windows on the ground floor and show the warriors' death throes with almost frightening clarity. They are regarded as a gallery of strong but defeated enemies and are among the few sculptures on the building that have remained almost undamaged for more than three hundred years. These sculptural works lend the courtyard a dramatic and impressive atmosphere that continues to fascinate visitors today.