Photographing The Neue Nationalgalerie by Mies Van Der Rohe
The Neue Nationalgalerie Berlin 2025
Have you ever found yourself drawn to a particular architect's work with such intensity that you'd plan entire trips around their buildings? That's precisely what happened when I realised the opportunity to photograph Mies Van Der Rohe's Neue Nationalgalerie in Berlin.
The other year, after a winter and spring of persistent rain in the UK, I decided to pack my cameras and head to Barcelona to photograph some of the plethora of architectural marvels the city has to offer. You might expect my first port of call to be somewhere like the Sagrada Família, or Casa Gaudí, but no, my absolute must-capture for the trip was the German Pavilion by Mies Van Der Rohe. I'm a fan of modernism, minimalism and mid-century design, and so it would appear are many of you who read my blog, as it remains one of my most visited pages.
So when I was putting together my 2025 road trip across Europe to capture some new and classic architecture, the opportunity to drive to Berlin raised its head, and with it, the chance to capture Mies Van Der Rohe's Neue Nationalgalerie.
From Shrine to Temple
To steal a quote I saw, “If the German Pavilion in Barcelona is the shrine to Van Der Rohe that all disciples of mid-century modern should visit, the Neue Nationalgalerie must surely be the temple at which to lay your offerings of thanks”. There's something almost spiritual about standing before this masterpiece of modernist architecture, feeling the weight of its significance in the history of design.
Completed in 1968, one year before his passing, Van Der Rohe's Neue Nationalgalerie was his only building constructed in Europe after his emigration to the USA and his only design in Germany built after the Second World War. The poignancy of this fact isn't lost on me, this was the master's final European statement, a culmination of everything he'd learnt during his years in architecture, brought home to German soil.
Defying Physics with Steel and Glass
The gallery is almost a scaled representation of the Barcelona Pavilion, yet somehow even more audacious in its ambition. Cruciform columns appear to defy the laws of physics by holding up the immense 64-metre roof span, leaving the internal space impossibly open and clean. This feeling of openness is only enhanced by the completely glazed exterior 'walls' of the upper gallery – it's as if Van Der Rohe has created a glass box floating in the sky.
Walking around the perimeter of the building, you begin to appreciate the sheer engineering marvel of what you're witnessing. The roof seems to hover effortlessly above the glass cube, supported by those elegant steel columns that look almost too slender for the job they're performing. It's this apparent impossibility that makes the building so compelling to photograph.
Materials that Speak of Eternity
Reflecting the German Pavilion in Barcelona, the interior of the glass cube is fitted out with mainly granite and marble – materials that speak of permanence and gravitas. This is only the public-facing top floor; below lies a more contemporary white cube gallery space and an outdoor sculpture garden. The interplay between these different levels creates a fascinating hierarchy of spaces, each serving its own purpose whilst contributing to the overall architectural narrative.
A Sympathetic Renaissance
The building was shut in 2015 for renovation by David Chipperfield Architects and reopened in April 2021. The refurbishment was mainly a technical exercise, bringing the gallery back to modern safety and building standards. Stylistically, remarkably little has changed since 1968, an incredibly important feat considering the architectural and historical significance of the building.
The renovation involved the removal of hazardous building materials, replacing corroded components, and replacing the glass of the façade with laminated safety glass, twice as thick as the original. The renovation can only be described as sympathetic – a testament to both Chipperfield's sensitivity and the timeless quality of Van Der Rohe's original vision.
The Golden Hour Pilgrimage
For me, photographing the Neue Nationalgalerie was everything I hoped it would be, and more. Getting on site at 5am before the harsh summer sun would bleach the scene, I had the whole plot to myself and freely wandered around, framing the shots as I'd seen them in my head during months of planning.
There's something magical about having a building of this calibre entirely to yourself. The early morning light caught the steel columns perfectly, casting long shadows across the granite paving. The glass façade reflected the surrounding cityscape whilst simultaneously revealing the gallery's interior – that perfect balance between transparency and reflection that only comes at certain times of day.
I visited inside the museum too when it opened, both to see how the internal space worked and to experience what exhibits were on display. The way the natural light floods the upper gallery space is breathtaking – Van Der Rohe understood better than perhaps any architect how to harness daylight as a design element.
A Master's Final European Statement
It's safe to say I wasn't disappointed by my visit. Van Der Rohe remains a favourite of mine, and if I happen upon another opportunity to photograph a design of his, I'll jump at it. There's something about his work that speaks to the essence of what architecture can be – not just shelter, but poetry in steel and glass.
Standing before the Neue Nationalgalerie, camera in hand, I couldn't help but reflect on the journey that had brought me here. From that rain-soaked spring in the UK to the sun-drenched streets of Barcelona, and now to this moment in Berlin – sometimes the best architectural photography comes not just from technical skill, but from genuine passion for the buildings we're privileged to capture.
The Neue Nationalgalerie isn't just a building; it's a statement about the power of modernist architecture to transcend time and place. Nearly sixty years after its completion, it remains as relevant and inspiring as ever – a fitting testament to one of the twentieth century's greatest architects.
If you're planning your own architectural photography journey, remember that the best shots often come from the most dedicated preparation. Those 5am starts might be tough, but they're worth it when you're standing alone with a masterpiece, waiting for the perfect light.
The Neue Nationalgalerie - 50, Potsdamer Strasse · 10785 Berlin. Open Tuesday - Sunday 10am - 6pm (late opening to 8pm Thursdays)
