Colonnade Courtyard of the Old National Gallery UNESCO World Heritage Museum Island Berlin

Original design (1880 )

Like hardly any other open space, the Kolonnadenhof is shaped by architecture. Not only are its spatial edges formed by unique buildings, but its centre is also occupied by one. The essential features of its garden layout emerged almost inevitably with the creation of this ensemble. They can be found in the first design of 1874, in the realized form of 1880 (design of the zoo director Eduard Neide) as well as in all simplifications of the following decades.

Lush planting (1910-1930 )

In contrast, the vegetation of the gardens was already viewed critically by Kaiser Wilhelm I, as the growing plants soon obscured the spatial context within the colonnade courtyard.

Securing the foundation of the Neues Museum (1980-1993 )

When the foundation of the Neues Museum was secured in the 1980s, the western courtyard became a construction site. Only the paved areas of the eastern side of the courtyard as well as individual trees and bronze sculptures remained on site. The Four Pass Fountain and further sculptures were secured in the depots of the National Museums.

Simplification of the garden (1950-1980 )

In the 20th century, all shrubbery was gradually removed. Lawns and solitary trees now determined the vegetative appearance of the courtyard.

Realisation competition (2001 )

In 2001, the Federal Office for Building and Regional Planning (BBR) launched the international competition "Zwischenräume - Gestaltung des öffentlichen Raumes auf der Museumsinsel Berlin ". Chaired by landscape architect Guido Hager, the jury unanimously awarded 1st prize to Levin Monsigny's competition entry.

Excerpt from the jury:
"Two themes are juxtaposed and emphasized: the core area of the Museum Island, urban, with strictly defined banks and calm stone pavements, and on the other side the sequence of gardens: Lustgarten, Domgarten, Kolonnadengarten, with loosely planted banks and thoroughly romantic garden images.
In the Kolonnadengarten, the motifs of the historic garden are taken up and interpreted in a very restrained and modern way. The National Gallery is given an appropriately tranquil apron with a bordered lawn around the historic fountain. Geometrically cut box hedges spatially enclose the square and give it austerity and conciseness. Darkly underplanted tree fields are set in contrast to this very effectively, emphasising the garden aspect with different shades of green, without however pushing themselves into the foreground. ...
The proposed surfacing is welcomed. They are understood as a large ground plate, in which the various buildings are calmly stored and emphasized in their individuality. In the vicinity of the National Gallery, differentiation of the structures with the same material traces the historic route. ...
The design of the cathedral garden is welcomed. The square in front of the cathedral is pleasantly quiet, and the simple sunken garden gives the space a quality of stay. The lighting concept is very interesting and differentiated. It emphasizes the different facades and room edges by indirect lighting. This can create interesting and romantic lighting moods, however, the system seems quite elaborate.
Overall, the work with its careful interpretation of history and in the calmness of the design elaboration offers an interesting contribution to the development of the city-significant open space of the Museum Island."

to the stories back to overview

1. Original design (1880)
2. Lush planting (1910-1930)
3. Securing the foundation of the Neues Museum (1980-1993)
4. Simplification of the garden (1950-1980)
5. Realisation competition (2001)