Berlin: Museum Island, New Synagogue and Hackesche Höfe.

Berlin: Museum Island, New Synagogue and Hackesche Höfe.

Welcome to the very heart of Berlin. A city where the echoes of history and the pulse of modern life merge into one vibrant hole. Our journey begins on Museum Island, a remarkable UNESCO World Heritage site, where every column and gallery whispers the secrets of millennia. From there we continue to the new synagogue, a powerful symbol of faith and remembrance. Its golden dome shining as a beacon of resilience and hope. At last, we arrive at the Haka Shahhofa, an enchanting maze of art deco courtyards, creativity, and urban energy where Berlin reveals its freespirited and artistic soul. Join us on this journey to feel the breath of time, to listen to the voices of the past, and to discover the true essence of Berlin. [Music] At the eastern end of Unden Linden Boulevard, you can admire the fairy tale beauty of the palace bridge spanning the river spree and cross it to reach Museum Island. Alternatively, you can take the U5 subway line to the museum’s insulation or ride bus lines 100 or 300 which stop nearby. Before us stands the palace bridge or Schllo Brooka, a graceful stone archway linking the grand boulevard of unden Lindon with museum island and the city palace. This threeched bridge built of sandstone and granite in austere classical forms was created in the 1820s by the renowned architect Carl Friedrich Shinkle. It became far more than a crossing over the river spray. It was conceived as a ceremonial gateway to the very heart of Berlin. Its true pride and beauty are the eight marble sculptural groups adorning it. These monumental figures crafted between 1842 and 1857 by pupils of the celebrated sculptors Johan Gotfried Shadow and Christian Daniel Ral commemorate the wars of liberation against Napoleon. The sculptures share a unifying theme, the hero’s journey. The goddess Nike teaches a youth the heroic legends. The winged goddess of victory instructs a young boy while resting a shield upon her knee. On the shield are engraved the names of Alexander, Caesar, and Frederick, evoking great historical figures renowned for their heroic deeds. The goddess Athena teaches a youth the art of weaponry. [Music] The goddess Athena arms the warrior. [Music] The goddess Nike crowns the victor. The goddess Nike lifts the wounded. The goddess Athena leads the youth into a new battle. The young hero is protected by the goddess Athena. The goddess Iris carries the fallen hero to Olympus. These allegorical scenes create the impression of an ancient myth unfolding right above the river spree. The goddesses guide man from his first steps toward wisdom through heroic deeds and ultimately to eternal glory. The palace bridge is in essence a stone poem about the path of the hero. From youth to maturity, from struggle to triumph. It became an essential part of Berlin’s royal axis from the Brandenburgg gate along Unter Lynden leading to the city palace and the cathedral. The bridge symbolized the nation’s journey toward greatness and was conceived as the forcourt to the palace and the sacred ground of art, Museum Island. And when you stand here between the boulevard and the island, it feels as if you too are drawn into this grand procession. Ahead of you rise the museums, the cathedral and the palace. Behind you stretches the famed Un Lindon with Frederick the Great on horseback following close behind. The bridge unites everything, past and present, art and life, history and the city itself. [Music] Crossing the bridge, we arrive at one of Berlin’s most historic sites. To the left stands the Berlin Cathedral and to the right the Berlin City Palace, today the Humbult Forum. Historically, these two buildings were inseparably linked together, forming the central ensemble of the city. Facing one another across the spree, they embodied the very heart of Prussia. On one side, spiritual authority, the cathedral, on the other, worldly power, the palace. From the 15th century onward, the city palace served as the official residence of the Hohens dynasty, the electors, and later the kings and emperors. The Berlin Cathedral was conceived as their principal court church and donastic burial place. In 1417, the princely house of Hoen, then still Bergraves of Nuremberg, came into possession of the Margraviate of Brandenburgg along with the electoral dignity. The Hoens soon made the twin city of Berlin Chon their capital. By 1451, their first Berlin castle was completed as the new seat of power built on the very site now occupied by the Humbult Forum. This early residence was intended to consolidate the Hoen Solern’s authority in Berlin. In the 17th century under Elector Frederick William, the great elector, the castle was substantially expanded. The chief architect of this transformation was Andreas Schlutoter, who in 1698 began reshaping the old castle into a magnificent Baroque palace. Schlutoter designed a new facade, sumptuous interiors, and the famous portal with the equestrian statue of the elector. The palace soon became a true symbol of Prussian power. The palace was rebuilt by order of Frederick I under the direction of Andreas Schlutoter between 1698 and 1713 and came to be regarded as a masterpiece of European Barack. It was the centerpiece and one of the largest buildings in Berlin. Standing at the convergence of several visual and urban axes, the palace shaped the cityscape with its imposing facades, its vast scale, and from the 19th century onward, its 70 m dome. After the proclamation of the VHimar Republic in 1918, the palace was repurposed to house governmental, artistic, and scholarly institutions, including the Alexander von Humbult Foundation. Partially destroyed by fire at the end of the Second World War in 1945. The palace was demolished in East Germany in 1950 to 1951 despite international protests. Later in 1971, the Palace of the Republic was erected on its site. After the reunification of Germany, the so-called Eric’s lamp shop, as locals nicknamed the Palace of the Republic, was closed due to severe asbestous contamination. Following the complete removal of asbestous by 2003 and a brief interim use of the building as an event venue, the German Bundistag decided on its final demolition. At the same time, the Bundist tag voted to reconstruct the Baroque facads of the former palace while dedicating the interior to museums and cultural projects. The reconstruction took place between 2013 and 2020, resulting in the opening of the Humboldt Forum. Today, its halls host museums, exhibition spaces, and research centers, making it once again a cultural heart of Berlin. The city palace with its humble forum is truly a unique building in Berlin. While the original Baroque facades have been carefully reconstructed on three sides, the facade facing the river spree presents a modern design. The palace’s interior, home to the Humbult Forum, is likewise contemporary in style. Thus, the Berlin City Palace has traveled a remarkable path. from a medieval fortress to a baroque symbol of Prussian power destroyed in the postwar years and reborn in the 21st century as a cultural center preserving its historical facades while embracing a modern soul. In the 19th century, King Frederick William IV and the architect Carl Friedrich Shinkle envisioned a sacred and royal axis, the palace as the center of state power and the cathedral as the grand embodiment of faith. Thus, between 1894 and 1905, the present Berlin Cathedral was constructed according to the designs of Julius Rashdorf, a monumental neo renaissance building with a dome nearly matching the scale of St. Peters in Rome. It was intended to rival the neighboring palace in magnificence. We invite you to explore more about the Berlin Cathedral in our dedicated film often called the Protestant Saint Peter’s. The cathedral demonstrated the triumph of Protestant faith while the palace symbolized dynasty and state. Together they underscored the union of spiritual and secular power. During the Second World War, the cathedral was heavily damaged and its dome destroyed, though the structure survived and was later restored. The palace, however, was demolished in 1950, and only in the 21st century were its facades reconstructed to house the Humbult Forum. Today, with the restored palace standing once again beside the restored cathedral, we can see the historical ensemble envisioned in the 19th century, Berlin’s true heart of power, faith, and culture. The Lust Garden, literally garden of pleasure, is a historic park and square located directly in front of Berlin Cathedral on Museum Island at the very heart of the city. Today, it is a green public space, a beloved spot for leisure and a magnet for visitors. Yet, its history is both rich and complex. Once this ground was nothing more than the vegetable gardens of the Hoen, where carrots and cabbages were grown for the court. But in the 17th century, the elector decided that the capital should breathe beauty. Thus, the first ornamental garden was created. Over the centuries, the Lust Garden transformed again and again like an actor changing costumes. At times, a military parade ground. At others, a ceremonial square for mass demonstrations and later a stark granite arena of the Third Reich. Under the GDR, it was even renamed Markx Engles plots, complete with a monument to the revolutionaries. And today, it is once again a garden, lawns where it feels delightful to walk barefoot on a hot summer’s day. Wide pathways where tourists and students stroll. At the center, a fountain brings the square to life. Children splash in the water. Weary travelers rest along its edge. and photographers search for the perfect angle. Beside the Alt Museum stands a colossal granite bowl weighing more than 70 tons. Once hailed as the eighth wonder of the world, conceived as a symbol of the unity of science, art, and national pride, it served as a kind of calling card of 19th century Prussia. Here in the very heart of Berlin, upon the quiet waters of the spree, lies Museum Island, a UNESCO World Heritage site. A place where time itself becomes space and where cities and civilizations meet within arms reach. Museum Island is home to five museums built between 1825 and 1930. The Alt Museum, the Nues Museum, the Alte National Gallery, the Bode Museum, and the Pergamon Museum. In 2025, Museum Island will celebrate its bicesentennial. [Music] It all began with the opening of the royal collection to the public and the construction of the Alt Museum. Its centerpiece was the legendary ancient bronze statue of the praying boy, once stolen by Napoleon and returned in 1815. This first museum was soon followed by the Noisy Museum, housing treasures from Egyptian excavations and the National Gallery, envisioned as a temple of German art. With the sensational arrival of the Pergaman altar at the end of the 19th century, Berlin at last caught up culturally with its great imperial rivals, England and France. By decree of King Frederick William III, the northern part of the island was transformed into a sacred ground of art and science open to all. The museum boom of the 19th century reflected the rising self-awareness of the bourgeoisi as well as Prussia’s and later the German empires growing claims to power. The Altus Museum is one of the most beautiful buildings in Berlin and a true masterpiece of the architect Carl Friedrich Shinkle. Standing on Museum Island directly opposite the Lust Garden, it opened its doors in 1830 as the first public museum of Prussia. Created to make art accessible not only to the royal court but to the citizens as well. The building is regarded as a manifesto of Prussian classicism. Its architecture speaks the language of antiquity while its purpose embodies the ideals of the enlightenment. The facade faces the loos garden with a majestic colonade of 18 ionic columns reminiscent of ancient temples. A broad staircase leads up to the main entrance as if inviting the people to ascend into a temple of art. Inside the highlight is the grand rotunda crowned with a dome inspired by the pantheon in Rome. Here, ancient statues were displayed, drawing a direct parallel between classical grandeur and Berlin’s new role as a cultural capital. The museum was meant not only to preserve antiquities, but also to cultivate a sense of harmony to show that the modern state was continuing the traditions of antiquity. In this way, Prussia declared, “We are the heirs of Europe, and we too are creating a culture of global significance.” Today, the Altz Museum forms an integral part of the museum island ensemble. Within its walls is housed a magnificent collection of ancient art. Greek voses, Atruscan jewelry, Roman sculptures. Standing before its colonade, one can easily grasp Shinkle’s vision. Here, art was meant to elevate not just the elite, but every visitor who ascended the steps. This was not a palace for the few, but a temple of culture for all. Its austere columns serve as an open invitation to enter the world of antiquity, a world where everything begins with harmony and proportion. Before continuing from the Altus Museum to the Noyas Museum, we make a brief detour to the historic Friedri’s bria. This name established in the 18th century is linked to the Prussian king Frederick the Great. The Friedri’s Bruca is an elegant romantic stone arch bridge adorned with ballastrades and decorative details. From here, one enjoys a splendid picturesque view of Berlin Cathedral, the river spree, and Museum Island. It is one of the most popular spots in central Berlin for strolling and for capturing memorable photographs. Crossing to the opposite bank, we pause once more to admire the majestic Berlin Cathedral from this vantage point. Along the river prominade, you will find numerous cafes and small restaurants. Perfect places to rest and enjoy a snack. Some of them boast a rich and storied past. One example is Alois Moser’s Alpine Cuisine, which serves unique Bavarian beer. The brewery behind it is nearly a thousand years old. As the oldest operating brewery in the world, it offers a wide selection of distinctive beers of the highest quality. Here you can see the striking bronze sculpture group three girls and a boy by Wilfried Fitzenwriter. Set picturesely on the banks of the Shri opposite Berlin Cathedral. Created by the German sculptor in 1988, the bronze figures are part of Berlin’s public art landscape. Rather than depicting a specific action, the group symbolizes a quiet, perhaps introspective moment of reflection or observation. With the view of the cathedral rising behind them, the riverside setting provides a beautiful backdrop for the ensemble. Through their natural postures and the flowing texture of the bronze, the young figures evoke a sense of calm, meditation, and contemplation. Today, they offer not only a jewel of public art, but also an invitation to pause and reflect in the very heart of bustling Berlin. On the side of the former GDR Museum building facing the boulevard, you will find two well-known little shops. The Lint Confectionary offers a wide and varied assortment of chocolates, and the Amplemen souvenir shops are themselves a true Berlin attraction. There are only six of them in the entire city. The story of the ampleman goes back to 1961 when Berlin was divided. That year, a traffic psychologist from East Germany, Carl Peglau, proposed a new pedestrian signal design that would be clearer and safer. He believed that traditional circles did not always capture attention, especially at night or in poor weather conditions. Thus, the Ampleman was born. A little man in a hat. Ample in German means traffic light. Man means man. The red ampleman stands with arms outstretched like a barrier symbolizing stop. The green ampleman steps forward energetically symbolizing movement and freedom. People immediately grew fond of these cheerful, easyto- read figures. They became a symbol of East Berlin and an inseparable part of its unique culture. But after the fall of the Berlin wall and the reunification of Germany in 1990, it seemed that the ampleman would disappear forever. The federal government decided to standardize traffic lights across the country, which meant the beloved little figures would give way to the dull West German circles. Then something remarkable happened. The people of East Berlin took to the streets in protest. They demanded to keep their cherished amplemon. This was more than just a fight for a traffic light. It was a struggle to preserve their identity and history. Their efforts succeeded. Designer Marcus Hecausen revived the Ampleman, launching the production of souvenirs featuring the iconic figure. From t-shirts and mugs to lamps and magnets. Today, the Amploman is one of the most famous symbols of Berlin and of Germany. You can see him not only on traffic lights, but also on the streets as lifesized figures, as well as in souvenir shops all over the world. From the Ampleman shop, we stroll once more past the magnificent Berlin Cathedral and return to the colonade located just behind the Alta Museum. This elegant structure is a long gallery lined with slender classical columns. The original design was created by Friedrich Agugust Steweler, a pupil of Carl Friedrich Shinkkel. It was conceived not only as a decorative element but also as a unifying link between the museums. The colonade was built in the 1860s during the formative years of the great museum complex. Its courtyard forms a central open square before the entrance to the Alte National Gallery framed on three sides by rows of columns. As an architectural motif, the colonades connect the National Gallery, the Noise Museum, and the Alta Museum into one harmonious ensemble rooted in the vision of King Frederick William IV to transform the Spree Island into a true sanctuary of art and science. Today, the Colonade Courtyard is not only an architectural monument, but also a place of leisure. Tourists and locals alike enjoy walking here. And in summer, the space hosts cultural events. The Colonade Courtyard creates a special atmosphere on Museum Island. It unites the strict monumentality of the museums with a more intimate human space for contemplation. [Music] The Colonade Courtyard is renowned not only for its architecture and gardens, but also for its collection of outdoor sculpture. Following its restoration in the early 21st century, the space was re-imagined as a sculpture garden. Here, works from the 19th and early 20th centuries are on display, primarily sculptures from the collection of the Alte National Galleri. Their themes often draw on antiquity, mythology, and allegory, perfectly complenting the classical architecture of the colonade. The sculptures are placed freely across the lawn and along the colonade, creating a dialogue between architecture, nature, and art. This transforms the courtyard into an open air museum where visitors can walk around the works, see them in changing light, and feel as though the figures themselves come alive in the space. The Archerus, a bronze by Ferdinand Lepka, dating from 1905 to 1906, depicts a nude woman drawing her bow. She stands poised, her gaze fixed upon a distant target. The taut, elastic tension just before the release of the arrow is expressed throughout her entire figure, a vivid embodiment of strength and beauty in motion. Centaur and Nymph, created in 1888 by the renowned sculptor Reinhold Beos, presents a mythological scene of a centaur and a nymph, an allegory of power and beauty. The Hun on horseback, a bronze by Eric Hussell from 1895 to 1897, portrays a Hun warrior in battle stance. His horse recoils from a skull on the ground, a potent symbol of struggle, confrontation, and triumph over the past. Agugust Renoir, celebrated above all as a painter, also turned to sculpture and is often considered one of the great artist sculptors. His washerwoman, created in 1919, shows a nude female figure holding a piece of cloth in both hands, the fabric falling before her body in a lifelike flowing movement. The emotional bronze sculpture, the fisherman, also known as the rescued, was created in 1887 by sculptor Adolf Brute. immediately awarded a prize. This group depicts a vigorous bearded fisherman in an oil skininn coat holding in his arms a young woman he has saved from drowning. The narrative quality of the scene which Brute is said to have witnessed himself brought swift recognition to the 22year-old artist. The work’s focus on an ordinary man turned hero made it especially popular and memorable. The Noyus Museum was built in 1855 by order of King Frederick William IV of Prussia. Its architect Friedrich August, a pupil of Shinkkel, designed it in a blend of classicism and neo Renaissance and it is regarded as his masterpiece. During the Second World War, the museum suffered heavy damage and remained in a semi-ruuined state for decades, particularly throughout the GDR era. Restoration work began only in 1999 and was completed in 2009 under the direction of the British architect David Chipperfield. Today, the Neyas Museum houses outstanding collections of ancient Egyptian art, most famously the worldrenowned bust of Nefertiti, a symbol of grace and power. It also presents exhibitions on prehistory and early history, covering the period from the Stone Age through the Middle Ages. In front of the museum stands the famous sculpture Amazon on horseback by sculptor Louie Twion. Created in Rome in 1895 and later acquired by the National Gallery in Berlin. It was installed in the Colonade Courtyard following the reopening of the Noise Museum. It is one of only three original sculptures that still remain in the Colonade Courtyard today. We now arrive at the Alte National Gallery. Its majestic staircase rising upward as if leading into a true temple of art. And standing before us is a powerful equestrian figure, King Frederick William IV of Prussia, the man to whom Berlin owes its museum island. He sits astride a bronze horse, not as a conqueror with a raised sword, but as a patron of the arts, a ruler of vision and imagination. His gaze is calm, fixed into the distance. He appears more philosopher than warrior. The horse beneath him is noble and composed. Its stride not a battle charge, but a steady, assured movement forward. At the base of the monument are allegorical figures, religion, art, history, and philosophy. Each seems to whisper its own council of eternity, of beauty, of the memory of generations, of the depth of human thought. Together they form a true chorus of stone and bronze proclaiming the great idea that culture is the very foundation of the state. The sculpture was created by Alexander Kendrelli at the end of the 19th century. It is more than just a monument to a king. It is a manifesto of its age. Berlin declaring itself a capital not only of military might but of spiritual strength as well. The bronze, dark and weighty, seems to hold within it the breath of time, and the monument itself feels like an invitation to ascend the staircase, not only toward the gallery, but toward the very ideals for which Museum Island was conceived. Beauty, knowledge, and eternity. The gallery was founded in 1861 when banker Johan Hinrich Vagner donated 262 paintings to Prussia. works that would become the foundation of the future national gallery collection. The present building designed by Friedrich August Stoeler and constructed under the direction of Hinrich Stra was conceived in the style of a Roman temple with an apps. Its resemblance to a Greek temple symbolizes its role as a temple of national art. Above the entrance, one can read the German inscription deutschen kunst to German art. The gallery was inaugurated in 1876 in the presence of Kaiser Frederick William IV. During the Second World War, the building suffered severe damage. It partially reopened in 1949, though full restoration continued until 1969. As part of the renewal of Museum Island, the gallery underwent further restoration between 1998 and 2001, including the expansion of its upper floor and the refurbishment of its facades. The Alte National Gallery, home to one of Germany’s most important collections of 19th century art, presents masterpieces by artists such as Casper David Friedrich, Adolf Mensel, Sabin Lepsius, Edoir Manet, Clode Monet, August Renoir, and August Rodan. Among its most significant works are Friedrich’s Monk by the sea, Rhdan’s the thinker, and Manise in the conservatory. Within its galleries, the 19th century seems to breathe again. The voices of romanticism and realism, the first steps of impressionism. It is a narrative in the language of art about humanity, its emotions, its hopes, and its doubts. The James Simon Gallery is the new central entrance and visitor center of Museum Island. It is located between the reconstructed Neyer Museum and the river. The gallery is named after Henri James Simon, the wealthy patron who donated major collections, including the world famous bust of Nefertiti to the Berlin state museums. The name restores the presence of this remarkable Jewish philanthropist in the city’s cultural memory whose contributions were long forgotten or suppressed during the Nazi era. The gallery serves as a logical portal much like the Louv pyramid, guiding visitors across the island and directing them toward its various museums. It combines social purpose, architectural expression, and the practical needs of a museum complex, transforming the island into a dynamic public space. The project was designed by British architect David Chipperfield and became a key element of the 1999 master plan for Museum Island, which sought to modernize and integrate the entire museum complex. The building stands on a high stone plinth clad in light colored stone and adorned with a graceful colonade. A wide central staircase leads up to the upper terrace and main level where visitors find a spacious foyer, a cafe, a bookshop, and viewing areas. The majestic and solemn building of the Pergamon Museum was constructed between 1910 and 1930. Designed by Alfred Mesel and Ludvig Hoffman in a style of restrained classicism commissioned under Kaiser Wilhelm II, the Pergeaman Museum houses three major collections. The Collection of Classical Antiquities, the Museum of the Ancient Near East, and the Museum of Islamic Art. The collection of classical antiquities is especially renowned for its full-scale architectural reconstructions. Its centerpiece is the world famous Pergamon altar created in the 2nd century BC with its monumental freeze depicting the battle of the Olympian gods against the giants, the monstrous children of Kronos, Lord of Time, and Gaia, the Earth goddess. The Museum of the Ancient Near East contains a remarkable collection of artifacts from Mesopotamia, Syria, and Turkey. Among its treasures are the world famous Ishtar Gate, one of the most celebrated monuments of Babylonian architecture. The Museum of Islamic Art features, among other masterpieces, the facade of the famed Mashhata Palace. Its freeze is adorned with intricate arabes and floral ornamentation with vines interwoven with depictions of people and animals. An exceptional rarity in Islamic art where human representation is typically forbidden. Here the cities of antiquity rise again in full scale. The halls echo with the footsteps of millennia. These are not merely display cases but architecture itself carried across the ages. Since 2023, the Pergeaman Museum has been completely closed to visitors for a major renovation as part of the museum island master plan. A partial reopening of the north wing, including the hall of the Pergamon altar, is expected in 2027, while full restoration is scheduled for completion in 2037. The Pergamon Museum is one of the most ambitious galleries of reconstructed ancient architecture. Within a single space, it unites Greco Roman, ancient Neareastern, and Islamic traditions. It stands as an architectural symbol of 20th century museiology reflecting both the evolution of exhibition concepts and Germany’s cultural ambitions on the world stage. The exhibition project Pergamon Museum the Panorama launched in 2018 presents around 80 key works from the antiquities collection which is currently closed for renovation. Visitors can also experience a striking 360°ree panorama by artist Yadagar Aisi depicting the ancient city of Pergamon in the year A D 129. This temporary exhibition space is located directly opposite the Bode Museum. At the northern tip of Museum Island, where the water seems almost to embrace the stone, stands the Bode Museum. A home to sculpture, Byzantine art, and countless coins in which metal itself tells the stories of empires and trade routes. The museum occupies a neo baroque building constructed between 1898 and 1904. Designed by architect Ernstto vonina at the commission of Kaiser Wilhelm II. Originally named the Kaiser Friedrich Museum, it was renamed in 1957 in honor of its first curator, the art historian Wilhelm Fonode. The building is an impressive neo Baroque ensemble with a grand dome and a richly articulated facade, a true symbol of Berlin’s museum splendor. The magnificent decorative interior leaves an unforgettable impression. The exhibitions are arranged both geographically and chronologically. Byzantine and Gothic art on the ground floor, Italian Renaissance and Baroque on the upper level. The museum presents one of the largest collections of sculpture from Spain, Italy, France, Germany, and the Netherlands, spanning the Middle Ages through the 18th century. Particular emphasis is placed on the Italian early renaissance with works by Luca dear Robbia, Donatello, Franchesco Lurana and others. The numismatic cabinet houses one of the largest collections of coins and metals in the world. Around half a million objects spanning from the 7th century BC to the present day. In March 2017, the museum was the scene of a spectacular theft. The Canadian big maple leaf coin bearing the portrait of Queen Elizabeth II was stolen. Made of pure gold, the coin weighed 100 kg, measured 50 cm in diameter and 2.8 cm in thickness with an estimated value of about €3.7 million. The thieves entered through a window near the railway. The coin was most likely melted down and has never been recovered. The theft of the golden coin remains one of the most widely discussed museum crimes in recent history. During the Second World War, part of the collections was evacuated to Berlin’s anti-aircraft bunker. After the war, a fire there destroyed countless works of art. Some objects were taken to the Soviet Union with only part of them returned in 1958. The 20th century left the island marked with the scars of war and division. Yet Berlin has a unique gift for restoring meaning to stone. Patiently piecing together what was lost, uniting the museums into a single journey. A walk through the ages from the Nile to Helos, from Babylon to Berlin. Museum Island is not merely a set of collections. It is a dialogue of civilizations about beauty, faith, power, trade, love and memory. And here one comes to realize we have always been connected by roads, by seas, by ideas. [Music] On the bridge in front of the museum stands the sculpture head of Hector by Marcus Lupertz. Lupertz is one of Germany’s most renowned contemporary artists and sculptors. A leading figure of neoexpressionism or as it is often called in Germany the Nea Wa New Wild Ones. His work here was inspired by ancient mythology. Hector, the hero of Homer’s Iliad, was the Trojan commander and defender of Troy, who fell in single combat with Achilles. The sculpture does not aim to idealize the image of the ancient hero, but instead distills it into a symbol, the human head, as a sign of memory, destiny, and at the same time, vulnerability. The head of Hector does not strive for anatomical accuracy. It is more akin to a monumental mask, simplified with rough and tense features. Its placement beside the museum which houses a rich collection of ancient and bzzantine sculpture creates a dialogue between classical antiquity and contemporary art. Inside the museum visitors encounter the authentic artifacts of the ancient world. Outside a modern artistic interpretation of myth. Loopertz creates a contemporary mythology in which the figures of antiquity appear as fragments, reminders of eternal themes, fate, war, and human vulnerability. The MBU bridge, its name meaning my jewel in French, links the northern tip of Museum Island, where the Bode Museum stands, with the Mita district on the opposite bank of the spree. The name comes from the nearby Monu Park. It is a relatively small and elegant pedestrian bridge built in the classical stone aesthetic that harmonizes beautifully with the monumental facade of the Bode Museum. From its vantage point, one can enjoy a magnificent panoramic view of the spire of Berlin Cathedral and the ensemble of Museum Island. Crossing the bridge, we find ourselves on Miju Street, heading toward the new synagogue. Along the way, we encounter several remarkable historic buildings. One of them is the former Imperial main telegraph office, constructed between 1910 and 1916 to the designs of architects Wilhelm Valter and Max Lehman. At the time, it was one of Germany’s most advanced and complex postal and telegraph facilities. Built in the Neo Baroque style, the building features a massive facade with striking details such as pylons, columns, and bronze doors inscribed with the words main telegraph office. Today, the building houses a hotel as well as a small exhibition space. The magnificent new synagogue of Berlin was constructed between 1859 and 1866 as the principal house of worship for the city’s Jewish community, replacing the old synagogue, which could no longer accommodate the growing number of congregants. The architects of the project were the renowned Edward Koloblau and Friedrich Agugust. The synagogue was built in the exotic Moorish revival style inspired by the Alhhamra in Granada. This choice of architectural language was both a symbol of belonging and an affirmation of the cultural distinctiveness of the Jewish community. The building could seat up to 3,000 worshippers, making it the largest Jewish house of prayer in Germany. Its three- tiered facade composition, richly adorned with multicolored bricks, terracotta elements, and freeze decorations, is crowned by a central dome more than 50 m in diameter, the striking visual landmark of the district. During the anti-Jewish poggrams of 1938 on Crystal, the synagogue was set on fire. Yet, it was saved from complete destruction by a police officer who invoked its protected status as a historic monument and summoned the fire brigade. This act became one of the rare gestures of civic courage in the dark days of anti-semitism. The building, however, was heavily damaged during the bombings of the Second World War. Restoration of the facade, dome, and adjoining spaces began in 1988 and was completed in 1995. That same year, the Centrum Judeaum, a center of Jewish culture and remembrance, was inaugurated here. Today, the restored sections house a museum and exhibition halls. The synagogue has also once again become a place of worship, serving Berlin’s largest Msorti congregation. The new synagogue stands as an architectural symbol of the integration and self-respect of the 19th century Jewish community. It is both a memorial and a lesson of history. Its preserved facade and museum reflect grandeur, tragedy, and renewal. And above all, it is a living spiritual space once again fulfilling its role as a religious center, bridging past and present. In Berlin, as in much of northern Germany, many historic buildings are made of red brick. The reasons are mostly practical. Unlike southern Germany or the Alps, the region has little highquality natural stone, but an abundance of clay. As early as the Middle Ages, brick became the primary building material. From the 13th to the 16th centuries, a distinctive architectural style flourished in northern Germany. brick Gothic churches, town halls, fortresses, and monasteries were built of fired red brick and this style spread throughout the Baltic region and the Hanziatic League. When Berlin rose to prominence as the capital of Prussia and later of the German Empire, schools, railway stations, factories, and post offices were built at a rapid pace. At the time, brick was the most affordable and durable material for large-scale construction. Many of the city’s brick neo gothic and brick neo- romanesque buildings date from this era. Red brick came to emphasize the distinctly northgerman character of the architecture. Austere and practical yet strikingly expressive. Beyond its strength, brick also offered decorative possibilities. Patterned masonry could be varied in countless ways, adding beauty without excessive cost. The magnificent former Royal Post Office building located at the corner of Iranianburgger Strasa and Tokulski Strasa is a striking example of construction using various types of brick. Designed in the historicist style of the North Italian Neo Renaissance, its facade combines yellow brick with decorative elements in blue and red. Above the main entrance rises an octagonal tower bay crowned with a dome flanked by two smaller dome turrets that echo the architecture of the nearby new synagogue. Along the arches of the ground floor are 25 terracotta medallions portraying notable figures in the history of postal services and communication from Darius I and Herodotus to Capernicus, Benjamin Franklin, George Stevenson and Gustav Kirchoff. Today the building belongs to Biotronic, a German manufacturer of medical technology. After careful restoration, the company now uses it as a conference and education center. In the Oran Ber Strasa district, hidden behind the facades of the main street lie Berlin’s courtyards. Just to the left of the new synagogue, we find the entrance to the Hecman Hua. These Berlin courtyards are a unique phenomenon in the city’s architecture and culture, reflecting its history and social changes. They are not merely inner courtyards, but entire systems of interconnected spaces concealed behind the street fronts, each holding countless stories. The history of the courtyards is closely tied to the population boom of the 19th century when Berlin grew into a major industrial center. To house the influx of workers, tenement buildings were constructed with multiple successive courtyards. The further from the street, the smaller and cheaper the housing became. In the deepest courtyards, workingclass families lived in very cramped apartments. Each courtyard had a specific function. The first brighter spaces were often planted with greenery. The second and third were utilitarian, serving as locations for warehouses, workshops, and stables. After the Second World War, many of these courtyards fell into disrepair. But in the 1990s, after German reunification, a new chapter began. Artists, creatives, and restaurant tours moved in, breathing new life into these spaces. Abandoned stables, workshops and warehouses were transformed into galleries and art spaces, cozy cafes and restaurants, creative studios and shops. Some of Berlin’s courtyards have since become true tourist attractions. The Hecman Hufa located near the new synagogue are especially renowned for their picturesque atmosphere and eclectic mix of venues. The Hakasha Hofa are the most famous of Berlin’s courtyards, a complex of eight interlin courtyards. Today, they are a listed architectural monument, home to historic buildings, galleries, theaters, shops, and restaurants. From the new synagogue, it is just a 10-minute walk to reach them, or a 3minut ride on tram lines M1 or M5. [Music] The facade of the main building of the Hakasha Hofa, also serving as a commercial center, faces Hakasher marked Square. Built between 1905 and 1907, the complex is now a protected architectural monument. The first courtyard designed by architect August Endel in the Yugensteel art nuvo style holds particular artistic and historical significance. While the courtyard itself has been well preserved, Enel’s interiors were largely destroyed. During the GDR era, the building stood in a state of neglect. A highly complex renovation carried out between 1994 and 1997 involved extensive reconstruction and expansion, heritage conservation measures, and the complete installation of modern building systems. It is well worth strolling through the eight courtyards of the Hakasha Hofa and the adjoining Rosenhofa. Stepping into the many shops, studios, and galleries or enjoying a film, a play, a cafe, or a restaurant. The complex forms a beautiful ensemble of our nuvo facade, blending historical and modern elements. In the very heart of Berlin, these charming courtyards pulse with creative and cultural life. Established entrepreneurs and young artists alike design, craft, and sell their artworks and fashionable creations here. Whether high fashion paintings, photography, jewelry, or unique gift ideas, these courtyards are the perfect place for a leisurely walk in a welcoming and inspiring atmosphere. Dear friends, today we have journeyed together from the grandeur of antiquity and the austere harmony of Museum Island, the very heart of Berlin’s cultural memory, to the vibrant, pulsating Haka Hufa, where the past intertwines with the present. We have seen how this city holds within itself contradictions, monumental facades and narrow courtyards, memories of difficult times and the bold breath of freedom. Berlin seems to teach us that history is not a museum sealed behind glass, but a living fabric woven of people, ideas, and dreams. And perhaps the city’s greatest secret is that it is never a finished picture. Berlin is constantly changing. Yet in every corner there remains a place for you, for your gaze, your story, your footsteps upon its cobblestones. Thank you for walking this path with us. May a piece of Berlin remain with you as inspiration, as memory, and as an invitation to return. [Music]

This video with maps shows the main sights of Berlin that you can see while walking along the Museum Island to the New Synagogue and the Hackesche Höfe.
Overview map of the sights on this route:
https://www.google.com/maps/d/edit?mid=1V2WuYDT7UTsYNeL_QAxvZ6c0qffkW2I&ll=52.52321066096894%2C13.399709964900758&z=16
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Timecodes:
00:00 Introduction, general content
00:59 Which public transport can you use to get to Museum Island?
01:20 Palace Bridge, or Schlossbrücke
04:42 City Palace, today Humboldt Forum
09:10 Berlin Cathedral
10:47 Garden of Pleasure, Lustgarten
12:34 Museum Island — a UNESCO World Heritage Site
14:19 The Altes Museum
16:21 Friedrichsbrücke
16:56 Alois Moser’s Alpine Cuisine, Alois Moser Alpenküche
17:35 “Three Girls and a Boy”
18:27 AMPELMANN Shop am Berliner Dom
20:42 The Colonnade
25:11 The Neues Museum
26:31 The Alte Nationalgalerie
30:05 James Simon Galerie
31:27 Pergamonmuseum
34:03 Pergamonmuseum. Das Panorama
34:36 Bode-Museum
37:58 The sculpture Head of Hector by Markus Lüpertz
39:30 The Monbijou Bridge
40:08 Imperial Main Telegraph Office
40:50 The New Synagogue of Berlin
43:17 Historic red brick buildings in northern Germany
44:49 The Royal Post Office building
45:47 Berlin’s courtyards Heckmann-Höfe
47:40 The Hackesche Höfe
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