If you live in Münster and enjoy walking, jogging, or biking along the promenade, I'm sure you've seen this lovely old building at least once. It's known as the "Zwinger" or the kennel.
The most important part of it is the so-called "Zwinger," a bulwark used as a military bastion in the late Middle Ages and early 16th century. Since 1350, the city's fortification ring has been constantly expanded and reinforced. Another outer wall with outer ditches had been installed in front of the city wall with ditches. Around a century later, the city of Münster began to build so-called bulwarks. The "Zwinger" used to be a particularly vulnerable area of the city ramparts, as it was here that the Münster river "Aa" ran out of the city and cut through the fortification.
The "Zwinger" was 24 metres (75 feet) in diameter, with an outer wall measuring nearly 5 metres (= 15 feet). The interior of the "Zwinger" was divided into several floors that provided access to the embrasures. After the "Anabaptists" (Wieder täufer) were defeated in 1535, the "Zwinger" became a fortress. In doing so, prince-bishop Franz von Waldeck hoped to keep the city from revolting further. Only a few years later did Münster reclaim its right to military sovereignty. As a result, the "Zwinger" lost its former role as a fortress.
Little is known about what happened to the "Zwinger" over the centuries. The tower is said to have housed a gun powder factory among other things.
However, when Münster's famous architect Johann Conrad Schlaun converted the building into a "reformatory" in 1732, the "Zwinger" was no longer used as a prison for capital criminals. The "Zwinger" was most likely still used as a prison in the second half of the nineteenth century. However, in 1911, the city of Münster was able to purchase the building on the condition that it be designated as a historical monument.
However, when Münster's famous architect Johann Conrad Schlaun converted the building into a "reformatory" in 1732, the "Zwinger" was no longer used as a prison for capital criminals. The "Zwinger" was most likely still used as a prison in the second half of the nineteenth century. However, in 1911, the city of Münster was able to purchase the building on the condition that it be designated as a historical monument.
After the First World War, the artist Friedrich Wilhelm Lil lived in the "Zwinger," using it as both a residence and an atelier. The "Zwinger's" darkest period began after 1933, when the Nazis took power. After being used as an assembly room by the Hitler Youth since 1938, it was used for imprisonment and execution by the "Geheime Staatspolizei" (Gestapo) in 1944/1945.
Even after the "Zwinger" was partially destroyed by bomb raids in early 1945, it is very likely that the "Gestapo" continued to execute foreign prisoners of war and camp workers in the courtyard.
The Zwinger- a memorial
After the war, the "Zwinger" has been continually loosing its former shape.Its sinister past, however, has increased the interest to converse the runinto a monument. This idea soon became a matter of public interest as well; local newspapers invited the people of Münster to publish their ideas how this could be done, competitions of artists were carried out, and finally Hein-rich Böll, the famous author, was asked to formulate the text for a commemoration plaque.
Yet, all these efforts have not been enough neither to overcome chronical financial deficits, nor to present real good conceptions. Only when the artist Rebecca Horn in 1987,on the occasion of the exhibition of sculptures, showed her installation "Das gegenläufige Konzert" in the interior of the 'Zwinger", was the matter again rediscussed. In 1989, the City Council of Münster agreed upon using the "Zwinger" as memorial remembering the victims of the violence in Münster, the victims of violence of war, and the persecution of innocent people, (..), but especially the inhuman criminal justice, and the terror against political opponents, members of minorities, and prisoners of war of the Nazi regime. According to the resolution of the City Council, the art work of Rebecca Horn was to become a part of this conception and was rebuild to the "Skulptur Projecte 1997".
Restoration
Although it has been necessary to coordinate both technical necessities and requirements of the curators, not to forget the aesthetic needs of the work of art itself- given all that, the restoration of the "Zwinger" turned out to be an
uncommon example of interdisciplinary working.Today, Rebecca Horn's art work has become a part of the building.
It is in this location that the past and present collide and continue to inspire the observer's imagination.
After the war, the "Zwinger" has been continually loosing its former shape.Its sinister past, however, has increased the interest to converse the runinto a monument. This idea soon became a matter of public interest as well; local newspapers invited the people of Münster to publish their ideas how this could be done, competitions of artists were carried out, and finally Hein-rich Böll, the famous author, was asked to formulate the text for a commemoration plaque.
Yet, all these efforts have not been enough neither to overcome chronical financial deficits, nor to present real good conceptions. Only when the artist Rebecca Horn in 1987,on the occasion of the exhibition of sculptures, showed her installation "Das gegenläufige Konzert" in the interior of the 'Zwinger", was the matter again rediscussed. In 1989, the City Council of Münster agreed upon using the "Zwinger" as memorial remembering the victims of the violence in Münster, the victims of violence of war, and the persecution of innocent people, (..), but especially the inhuman criminal justice, and the terror against political opponents, members of minorities, and prisoners of war of the Nazi regime. According to the resolution of the City Council, the art work of Rebecca Horn was to become a part of this conception and was rebuild to the "Skulptur Projecte 1997".
Restoration
Although it has been necessary to coordinate both technical necessities and requirements of the curators, not to forget the aesthetic needs of the work of art itself- given all that, the restoration of the "Zwinger" turned out to be an
uncommon example of interdisciplinary working.Today, Rebecca Horn's art work has become a part of the building.
It is in this location that the past and present collide and continue to inspire the observer's imagination.
