Architectural Marvel: Saint John’s Abbey Church
Located just off Interstate 94 in Collegeville, Minnesota, the Saint John’s Abbey Church stands as a notable example of modernist architecture. Designed by the esteemed architect Marcel Breuer, this striking structure has garnered attention not only for its aesthetic appeal but also for its rich historical context.
About the Architect
Marcel Breuer, originally from Hungary, began his architectural education at the Bauhaus in Germany during the 1920s and 30s. Following the rise of the Nazi regime, he fled to London before ultimately relocating to the United States. According to Brother Alan Reed, a monk at Saint John’s Abbey, Breuer’s journey significantly influenced his design philosophy:
“He was from Hungary, originally studied at the Bauhaus in Germany in the 1920s and 30s, and then when Hitler took over the Bauhaus, he moved to London. Eventually, he moved to the United States.”
Cultural Impact
The Abbey Church’s design has extended its influence to the world of cinema. The Oscar-winning film “The Brutalist”, which revolves around a Holocaust survivor and an immigrant architect, draws inspiration from the church. Brother Reed elaborates on this connection:
“The link is that the director of the film had read a small book when he was thinking about this project.”
This book contains the monk’s reflections on his interactions with Breuer, making the church a pivotal element in the narrative.
Construction and Vision
Constructed between 1958 and 1961, Saint John’s Abbey Church is part of a broader initiative to expand the monastery in response to post-World War II growth. Brother Reed explains the impetus behind engaging Breuer as the architect:
“It was conceived after the Second World War, so both the university and the abbey grew quite, quite a bit in those years. Finally, it was decided we need an architect to help us plan that.”
Breuer’s Legacy and Film Interpretation
The film loosely presents Breuer’s story, taking creative liberties that differ from his actual experiences—most notably, he was not in Germany during the Holocaust, nor did he practice Judaism at that time. Despite these differences, the relationship between the architect and the abbey monks remains a source of pride.
Brother Reed expresses hope that the attention brought by the film enhances appreciation for the church:
“I would love it if it helps people to appreciate that this is a sacred space.”
Conclusion
Saint John’s Abbey Church is not only a masterpiece of architectural design but also a testament to the enduring impact of its creator. Its connection to film and literature highlights its significance beyond the physical structure, inviting visitors and viewers alike to explore the rich history that it embodies.
