For two weeks in the summer of 1995, Berlin witnessed something truly extraordinary. The Reichstag building, a symbol laden with Germany’s tumultuous history, vanished beneath shimmering folds of silvery fabric. This wasn’t an act of erasure, but one of transformation, orchestrated by the artistic duo Christo and Jeanne-Claude. Their project, Wrapped Reichstag, Berlin, 1971–95, became one of the most talked-about public art installations of the 20th century, a fleeting spectacle that captured the imagination of millions.
The Visionaries: Christo and Jeanne-Claude
Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009) were partners in life and art, renowned for their monumental environmental artworks. Born on the same day, they forged a unique collaborative path, creating temporary works that altered landscapes and urban environments. Their projects often involved wrapping large structures or vast natural areas in fabric, interventions that were always temporary and entirely self-funded through the sale of preparatory drawings, collages, scale models, and early works. They weren’t just about the final, stunning visual; the entire process – the planning, the negotiations, the engineering, the public debate – was integral to the artwork itself. They saw their creations as existing in a space between architecture, sculpture, and urban planning, generating new ways of seeing familiar places.
A Long Gestation Period
The idea to wrap the Reichstag wasn’t a sudden impulse. It began percolating in Christo’s mind as early as 1971. The building, scarred by fire in 1933, damaged during World War II, and left sitting near the Berlin Wall during the Cold War, was a potent symbol of German history, democracy, division, and ultimately, reunification. Wrapping it was an ambitious, almost audacious proposal. Getting permission proved to be an epic undertaking in itself, a testament to the artists’ perseverance.
They began lobbying German politicians in 1971. What followed was over two decades of relentless effort: countless meetings, presentations, letters, and negotiations. They faced resistance, skepticism, and political hurdles. The project was debated in the German Parliament, the Bundestag, multiple times. Supporters saw it as a powerful symbol of a new, unified, and democratic Germany looking towards the future. Opponents viewed it as disrespectful to a national monument or simply a waste of resources (though the artists always stressed the project was self-funded).
The political climate shifted dramatically with the fall of the Berlin Wall in 1989 and German reunification in 1990. The Reichstag was chosen as the seat of the reunified German parliament. This renewed significance added layers of meaning to the wrapping proposal. Finally, on February 25, 1994, after a lengthy and passionate debate, the Bundestag voted in favour of allowing Christo and Jeanne-Claude to proceed. The artists had finally secured the permission they had sought for 24 years.
Executing the Monumental Task
With permission granted, the logistical challenge began. This was art on an industrial scale. The project required meticulous planning and engineering. Over 100,000 square meters (more than one million square feet) of thick, woven polypropylene fabric with an aluminum surface were needed. This specific fabric was chosen for its durability and its ability to reflect light, creating shifting visual effects depending on the time of day and weather.
Holding the vast swathes of fabric in place required an equally impressive amount of rope: 15,600 meters (over 9 miles) of blue polypropylene rope, with a diameter of 3.2 centimeters. The wrapping itself was a carefully choreographed operation involving hundreds of professional climbers and installation workers. Teams worked day and night for several weeks leading up to the unveiling on June 24, 1995. They unfurled the massive fabric panels from the roof downwards, carefully pleating and securing them with the distinctive blue ropes, ensuring the architectural details beneath were suggested rather than entirely obscured.
Project Facts: The wrapping of the Reichstag was completed in June 1995 and remained on view for 14 days, until July 7th. It utilized 107,600 square meters of silver-grey polypropylene fabric and 15.6 kilometers of blue rope. During its brief existence, the installation attracted an estimated five million visitors, transforming the area into a temporary pedestrian zone and public celebration.
The Spectacle and Public Reaction
The result was breathtaking. The familiar, imposing structure of the Reichstag dissolved into a series of flowing, dynamic folds. The silvery fabric shimmered, changing colour with the light – appearing bright white in direct sun, leaden grey under clouds, and glowing softly at dawn and dusk. It softened the building’s hard lines, making it seem almost fluid, organic. The blue ropes acted like drawn lines, defining the contours and adding a contrasting graphic element.
For two weeks, the area around the Reichstag became a focal point for Berliners and tourists alike. People picnicked on the surrounding lawns, touched the fabric, walked around the building, and simply gazed at the transformation. It became a massive public event, a shared experience that transcended language and background. The atmosphere was often described as joyous and celebratory. The temporary nature of the work was crucial; its fleeting presence made the experience more poignant and memorable. Knowing it would soon disappear encouraged people to engage with it immediately.
The installation generated immense discussion and debate, just as the process of gaining permission had. It prompted people to think about the Reichstag’s history, its architectural form, and its symbolism in new ways. By concealing the building, Christo and Jeanne-Claude paradoxically drew unprecedented attention to it. The fabric acted like a veil, highlighting the form beneath while simultaneously creating something entirely new.
Funding and Philosophy
It’s essential to reiterate that Christo and Jeanne-Claude financed this massive undertaking, estimated to cost around $15 million USD at the time, entirely themselves. They accepted no public funds, grants, or sponsorships. Revenue came solely from selling Christo’s preparatory studies, drawings, collages, scale models, and earlier works. This financial independence was a cornerstone of their artistic practice, ensuring they retained complete creative control and freedom from external pressures or obligations. They often referred to their projects as works of “total freedom,” funded by their own efforts.
Their philosophy centred on the idea of experiencing art outside the traditional confines of galleries and museums. They wanted their work to be encountered by everyone, free of charge, in public spaces. The temporary nature was also key; they believed it endowed the projects with a sense of urgency and preciousness, mirroring the ephemeral quality of life itself. They weren’t creating permanent monuments but unforgettable, temporary experiences.
Legacy of the Wrapped Reichstag
The Wrapped Reichstag is often cited as one of Christo and Jeanne-Claude’s most significant and successful projects. It occurred at a pivotal moment in German history, becoming intertwined with the narrative of reunification and the country’s hopeful look towards the future. The project demonstrated the power of art to transform public space, engage vast audiences, and provoke thought and conversation on a massive scale.
Even though the fabric came down on July 7, 1995, and the Reichstag was subsequently renovated by Norman Foster (incorporating the famous glass dome), the memory of the wrapped building persists. It lives on in photographs, films, drawings, and the recollections of the millions who saw it. It serves as a powerful example of how temporary art can leave a permanent impression, changing perceptions of place and possibility.
The project encapsulated the core elements of Christo and Jeanne-Claude’s work: audacious vision, dogged persistence, complex negotiation, large-scale collaboration, temporary transformation, and complete artistic and financial independence. It redefined what public art could be, demonstrating its potential to captivate, unite, and inspire on an international stage. The shimmering ghost of the Wrapped Reichstag remains a potent symbol of artistic freedom and historical reflection.
