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Vienna Steinhof Church: city- & Wagner-landmark

Above/featured: East side of the church, in afternoon light. Photo on 28 May 2023, X70 with wide-field WCL-X70 lens attachment, image corrected for geometric distortion.

Building: Steinhof church, also St. Leopold Church, 1907 // Kirche am Steinhof, Kirche zum heiligen Leopold.
Address: Baumgartner Höhe 1, in Penzing, the city’s 14th district.

Up on the city’s Baumgartner Heights is an example of Europe’s first modernist church at Steinhof. Dedicated to St. Leopold, the structure is one of the city’s finest examples of turn-of-the-century architecture, and one of the world’s most important churches in the Jugendstil or Art Nouveau architectural style. The church was designed and built by architect Otto Wagner, inaugurated in 1907 for patients and staff within the surrounding hospital complex the Lower Austria state, sanatorium, and nursing home for the mentally ill (Niederösterreichische Landes-, Heil-, und Pflegeanstalt für Geistes- und Nervenkranke) which included over 30 buildings and room for over 2000 beds. The bright, airy, and spacious modern design was met at that time with skepticism and criticism by local church officials. Of utmost importance on Wagner’s mind were the hospital patients: his church design was about gentle solitude, not fire and damnation.

The church was a collaborative effort with other Viennese artists, including mosaics and stained glass by Koloman Moser, angel sculptures by Othmar Schimkowitz, and exterior tower sculptures by Richard Luksch. The church roof is topped with a dome covered in gold-plated copper plates, whose bright yellow appearance in daylight merits the nickname “Limoniberg” (lemon hill) that’s visible in different parts of the city. The Steinhof church is an example of a “Gesamtkunstwerk“, where every detail and fixture contributed to a “total and functional work of art”; an architectural masterpiece of the period; and one of Otto Wagner’s most important creations.

I included this building as part of my description of Otto Wagner’s architectural legacy in Vienna and of the recent centenary celebration in Vienna of the city’s 19th- to 20th-century architectural transition from historicism to modernism.

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25 for 25: fotoeins fotos in 2025

Above/featured: “Göttin” (goddess), by AlfAlfA, also known as Nicolás Sánchez, for One Wall 2017. Photo, 17 Jun 2025 (P15).

In continuation of high spirits and enthusiastic support of leading choices, I’m very grateful to significant time spent:

in the Bay Area, to visit mum’s family in Sacramento and long-time friends in the South Bay;
in Vienna for the 4th consecutive summer; and
in Berlin for the 1st time in 4 years, as set up for a repeat in the new year.

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Berlin U5-Museumsinsel: Mozart, Schinkel, & Dudler

Above: Museumsinsel U-Bahn station entry-exit ‘A’. Photo, 17 May 2025 (P15).

The Berlin U-Bahn metro station Museumsinsel adjacent to the world renowned Museum Island is located on the U5 line which connects the city’s central station (Hauptbahnhof) with Alexanderplatz and the city’s eastern neighbourhoods. Construction for the station began in 2012 and lasted over 8 years. For the station interior at track level, architect Max Dudler was inspired by Karl Friedrich Schinkel’s 1815–1816 design of the stage for the Mozart opera “Die Sauberflöte” (The Magic Flute). For the appearance of the Queen of the Night, Schinkel imagined a large dome-like space like the overhead starry night sky. Over each of the two tracks in the U-Bahn station, Dudler designed a dark blue barrel-shaped vault embedded with thousands of white point-sources of light.

The fully-completed U5 extension from Hauptbahnhof to Alexanderplatz opened to the public on 4 December 2020, which at long last connected the Hauptbahnhof with Berlin’s U-Bahn city transport system. The Museumsinsel station on the U5 line opened on 9 July 2021. In addition to the city’s bus network, the station now allowed visitors to use the U-Bahn metro to reach the Museum Island complex, inscribed by UNESCO as World Heritage Site in 1999.

Artist and architect Karl Friedrich Schinkel (1781–1841) has his “fingerprints” on many of the city’s early- to middle 19th-century architecture, including in the immediate vicinity of the station the Neue Wache (New Guard House), Schlossbrücke (Castle Bridge), Friedrichswerder Church, Bauakademie (Building Academy), and the Altes Museum (Old Museum).

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My Berlin: Wrapped Reichstag at night, 30 years on

Above: “Wrapped Reichstag 1995–2025” light show.

In 1995, the artist duo Christo & Jeanne-Claude carried out a bold but contentious project by covering Berlin’s landmark Reichstag parliament building. Plans for the project had taken over 20 years, even though the artwork had always meant to be temporary and all expenses had been covered without corporate sponsors. Over 5 million visited in a period of 12 days in the summer of 1995 to look at the undulating “silver dream” in the German capital city. The timing was ideal. After reunification of the two Germanys in 1990, the new home of the federal parliament would be Berlin’s Reichstag. Renovations to the building began in the autumn of 1995 with the federal parliament opening in the spring of 1999.

From 9 to 22 June 2025, the Reichstag building was illuminated nightly with a light show in a 30-year anniversary tribute to the famous 1995 artwork. In a 20- to 30-minute cycle, the light-show appeared to first envelop the building in silver fabric. The fabric cover flapped in artificial breeze, before the cover lost its shape and fell onto the ground at the base of the building. The free-of-charge light show began shortly after sunset at about 930pm and continued until 1am. Whatever Christo and Jeanne-Claude chose to cover and transform, their art works posed questions of perception, origins, shape, functionality, and permanence.

• DW: Germany Arts
• Visit Berlin

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25T80 Vienna: her name was Evelyn

E79, V27.

It’s one thing to mourn the loss of family, and to know where they are laid to rest, all in the city where I was born. Echoes of the extended double-stage grief have lessened in frequency and intensity over the years. It’s another thing to mourn the loss of a friend, one whom I had just begun to know and one whose final resting place is on the other side of the world. This grief is renewed when I return again to Vienna’s Central Cemetery.

Section 26 of the cemetery is a not only a place to pay respects to all who rest here, but also to recognize their sacrifice as all in this section made their wish to donate their bodies to science after their last breath.

Evelyn Brezina (1977-2024) was a disability rights advocate, saw the world from a unique perspective, and lived her life with purpose and with joy. Having seen her online presence, I met her in person briefly in the summer of 2023. She died unexpectedly in January 2024.

Fast forward to the present on a breezy cloudy day, I walked across the length of the cemetery towards its eastern wall. Rows of graves and trees clear with an open field and the appearance of an octagonal structure. I look for wall board number 110, and locate the name plate. As the only one person present on this afternoon, I’m sat on a bench for some time, with only the wind and rustling of trees for company.

“See you next time.”

*Section number 26, Vienna central cemetery.*

Dem Andenken jener Menschen, die ihren Körper nach dem Tode in den Dienst der Wissenschaft und medizinischen Aus- und Weiterbildung gestellt haben. // In memory of those people who, after death, placed their bodies at the service of science and medical education and training.

*There are several boards and walls, each with several hundreds of names.*

*At centre here is the nameplate for Evelyn Brezina.*

I made all images above with an iPhone15 on 14 July 2025. This post composed within Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.