Aachen's Historical Buildings Tour (Self Guided), Aachen

The first records of a church on this site go back to 1005. It was dedicated to Nicholas of Myra.

Around 1222, brothers of the Franciscan order took over the chapel and built a new monastery. The brothers rebuilt the existing structure to suit their needs, building a gothic-style church. Unfortunately, the building was damaged by a fire in 1333, but the order was popular and expanded rapidly during the 14th century. They used the building until it came to be in disrepair in the early 17th century.

The foundation stones for the new building--the one you see today--were laid in 1630. Over the centuries, however, numerous fires and war damage have resulted in constant reconstructions. The last major construction was in 1951, repairing World War II damage.

Monasteries were dissolved during the secularization movement of the early 19th century. The French removed the altarpieces and sent them to the Louvre in Paris, and they used the building for wounded soldiers and horse stables. The other monastery buildings were turned into a prison. It was only because Saint Nicholas had been declared a parish church that it did not get completely destroyed.

Today, Saint Nicholas is the city church of Aachen. A Protestant and Catholic association was founded in 2001 to oversee the church's operation. Many cultural events are held in the building. The Aachen Symphony Orchestra and several choirs have performed and recorded here.

Nestled between Aachen’s two main squares—Market Square and Katschhof Square—the Town Hall is a magnificent reminder of the city’s imperial past. Dating back to the early 14th century, this storied building still serves as the headquarters for the mayor and city council. In its prime, it hosted the lavish coronation banquets for Holy Roman Emperors, who were crowned in Aachen Cathedral. From 936 to 1531, 31 emperors took their vows here, and the monumental Coronation Hall still echoes with that regal history. Step inside, and you’ll find faithful replicas of the imperial regalia—the crown, sword, and gospel book of medieval rulers.

But the Town Hall’s history goes even deeper. It’s built atop the remains of Charlemagne’s original palace, and elements of the Carolingian dynasty are woven into its very walls. Look closely at the south wall to spot the ancient masonry that survived centuries of change.

And change it did. Fires repeatedly damaged the building, prompting reconstructions that gave it a constantly evolving appearance. After the Great Fire of Aachen in 1656, the roof and towers were rebuilt in a baroque style. By the 18th century, gothic adornments were stripped away, and the baroque trend took hold. However, in the 19th century, a neo-gothic restoration project sought to revive the Town Hall’s medieval charm, adding frescoes that told Charlemagne’s legendary tales and statues of kings and symbolic figures along its facade.

Even World War II could not topple this resilient landmark. Bombing raids left the towers twisted and charred, but emergency beams prevented a total collapse. It wasn’t until the late 1960s that the towers were finally rebuilt, restoring the structure’s iconic skyline presence.

Today, the Town Hall not only stands as a monument to Aachen’s imperial past, but it also hosts the prestigious Charlemagne Prize ceremony, honoring those who have advanced the cause of European unity. Past recipients include Pope John Paul II, US President Bill Clinton, and German Chancellor Angela Merkel—proof that this historic hall remains at the heart of Europe’s ongoing story.

The Granusturm is a monument in Aachen and was originally built as part of Charlemagne 's imperial palace. The roughly 20 meter high tower, made of quarry stone, was completed in AD 788. The sides of the square building measure 8.85 meters. Today, the Granusturm is one of Aachen 's two town hall towers, along with the Marktturm. According to the current state of research, it was named after the Celtic god of healing Grannus (cf. also Aquae Granni ).

There is a vaulted room on each of three floors. Stairs between the interior walls and the exterior masonry connect the floors. A water-flushed latrine was installed in a vaulted room on the ground floor.

The function of the tower is so far unclear and is currently the subject of research. Previous assumptions that the building temporarily served as a residential tower for Charlemagne's family seem to have no substance. The building could not be heated, there were no sanitary facilities on the upper floors and the lighting conditions are insufficient, since the only small windows were covered with thinly scraped and greased animal skins in iron window frames to protect against rain or snow during the cold season.

The tower is currently assigned the function of a stairwell. This made it possible to climb to the upper floor of the porch of the King's Hall and thus the transition to an adjacent (late antique) fortification wall that ran in a circle around the market hill, and thus to possible other buildings attached to this ring wall. Corridors lead into the basement of the tower, some of which are now buried and walled up.

The pedestrian zone in the heart of Aachen houses the parish church of Saint Foillan. This is the only church in the German-speaking world that is dedicated to this Irish saint (also known as Faelan, Feuillien, Faolan, Foelan, Feuillen de Fosses, or Pholien), which in itself is an indication that the proselytization of the Aachen area came from the west.

At some point, the expansion of nearby Aachen Cathedral brought the two temples close together, separated only by a narrow alley. The first church on this site, bearing the same name, was built around 1180 (one of the oldest parish churches in the city). Erected in its place three-nave Gothic temple was consecrated in 1482; some parts of it have survived to this day.

The current church retains very little of its original appearance; only fragments of the choir, parts of the façade and few other features have survived. The rest of the façade, much as the church's tower, date from 1888 or later. A bomb attack in 1944 almost completely destroyed the building.

From 1956 to 1958, the church was reconstructed, during which the preserved Gothic parts were reassembled using the latest construction technology.

The main eye-catcher on the inside, found in the middle of the choir, is the altar from 1962, made of blue stone. The surrounding relief depicts 32 scenes from the story of Salvation. Above the altar is a large bronze crucifix with enamel coating (also from 1962) with the scenes of Crucifixion on the front and the Lamb of God on the back. Among the most notable sculptures at Saint Foillan is the Beautiful (or Soft-) style Madonna, made in 1410 and named so for its distinctively soft, elegant forms.

Aachen Cathedral, also known as the Imperial Cathedral, is a true heavyweight in Germany’s lineup of iconic landmarks. Built in the late 8th century at the behest of Charlemagne, this architectural gem earned the honor of becoming the first German site inscribed on UNESCO’s World Heritage list in 1978.

At its core is the magnificent Palatine Chapel, a crowning achievement of Carolingian design that proudly reflects Charlemagne’s lofty dream of crafting a “new Rome” right in the heart of Europe. Inspired by Byzantine influences, the chapel’s octagonal shape is rich with symbolic meaning: eight sides evoke the eighth day and the resurrection of Christ, while recurring multiples of ten embody medieval notions of architectural perfection. Case in point: the dome’s height and the building’s diameter each measure a perfect 100 Carolingian feet. Multiples of ten were considered perfect and complete, so the precise use of 100 feet emphasized divine order and the chapel’s role as a sacred space.

After Charlemagne’s passing, the chapel became his final resting place and soon cemented its status as a centerpiece of medieval power. Between 936 and 1531, no fewer than 31 German kings and 12 queens were crowned in the cathedral, leaving an indelible mark on its legacy as a cornerstone of royal tradition.

The cathedral’s Treasury ranks among Europe’s most revered church treasuries. Inside, you’ll find the Throne of Charlemagne, the four great Aachen relics—including a cloak attributed to the Virgin Mary—and the Pala d’Oro, a dazzling golden altar screen.

As the centuries rolled by, the structure expanded and evolved, blending the strength of Carolingian architecture with the soaring elegance of Gothic design and later additions. The awe-inspiring 13th-century choir hall, with its intricate stained-glass windows, serves as a spectacular counterpoint to the original 8th-century structure.

Today, Aachen Cathedral stands tall as a breathtaking reminder of Charlemagne’s visionary legacy, the unmatched craftsmanship of the Middle Ages, and the enduring beauty of a masterpiece shaped by history.

Grashaus is not only one of the oldest buildings in the city, but also historically significant as Aachen's first town hall. It was completed in 1267, but probably stands on even older foundations, possibly from the Carolingian period. The grass house owes its name to the grass, a medieval village green on which executions as well as public festivals and allegedly the burials of the executed took place.

The building came at a time of social change. From the 12th century, the aspiring citizens, who had become rich through trade and the manufacture of cloth, increasingly demanded a say in the affairs of the emperors and kings ruling in Aachen. On January 8, 1166, city rights were granted by Emperor Friedrich I, Barbarossa and, on the basis of the so-called Charlemagne privilege, all residents were freed from feudal servitude and exempted from customs duties in the Aachen Empire. From the year 1250, a city council headed by two mayors finally took over the administrative business of the royal lay judges, who from then on were mainly responsible for the jurisdiction.
The associated construction of a town hall, burgerhuys, also known as domus civium and burger grass, also had a symbolic character and at the same time was an expression of the self-confidence of an aspiring citizenry. This construction was also approved by King Richard of Cornwall, who was crowned in Aachen in 1257 and who shared in the costs with a generous financial donation.

The Theresienkirche is a Catholic church formerly affiliated to the Carmel of Saint Theresa of Avila. The church was built between 1739 and 1745 by Laurenz Mefferdatis; the Baroque architect Johann Joseph Couven designed the interior. As part of secularization, the building became municipal property in 1802.

In 1943 the Theresienkirche burned down. To avoid fire hazard in case of an attack during WWII, the altars, communion rails, pulpit and 18th-century wall paneling had been removed and dumped into a castle moat. In 1945 it was still possible to salvage them, but the weather elements had affected the wooden items so badly that they could only be used as a model for future reconstruction.

In the 1950s, the church was rebuilt to appear like it was back in the 18th century; the furnishings, however, were restored only in the 1970s.

The Neoclassical brick edifice has a three-axis structure divided by pilasters with an arched window and a segmented gable. The structure follows the course of the street that had already existed in the 18th century and was therefore not built in the typical east-west orientation.

By inserting a triangular staircase, Mefferdatis succeeded in realizing a rectangular interior floor plan. The single-nave hall is vaulted with three bays. The choir is located behind a high triumphal arch.

The columned main altar with gilded Corinthian capitals is made of oak. The Rococo carvings of two angels decorate the tabernacle. The entire interior decoration was donated by Johann von Wespien in 1754, whose sister was the reverend mother of the convent, Maria Anna van Wespien. Their coats of arms are seen above the paintings in the altar, between the two palm leaves, reminding of the donation made.

Presently, the church is used by the Romanian Orthodox congregation of the Holy Trinity.

The Pfarrkirche Heilig Kreuz (Holy Cross Church) on Aachen's Pontstraße, near the Ponttor gate, is the third church on this site, and was consecrated in 1902. Laying its foundation stone in 1898 was preceded by a lengthy dispute, as to where it should stand; so long in fact that the pastor had resigned and only the radical actions of his successor made it possible to “set the ball rolling”.

The very first chapel on the spot, rather modest in size, also took quite a long time to build, from 1363 to 1372. Later, the original structure was rebuilt several times. During the fire in 1656, it was destroyed down to the outer walls and was fully restored only in 1770, hampered by the wars and periods of unrest.

The architect Joseph Buchkremer planned the current church in the spirit of historicism, combining German and French High Gothic elements. The public accused him of arbitrariness in the choice of stylistic elements, yet today the Heilig-Kreuz-Kirche remains one of the few churches in Aachen with an almost authentic historic church interior.

The building is a cross-shaped, three-aisled basilica with a short nave, which creates the impression of a temple surrounded by chapels. Resorting to this construction form was dictated by the limited space available.

The single tower in the northern part of the church, a component of German High Gothic, is particularly striking. Another point of interest is the Sacrament Chapel, located on the site of the former Julian Chapel. The capitals of the round columns of the church, supporting the ribbed vault, are decorated with vine leaves and foliage.

The façade consists of a vestibule with three portals, surmounted by a large window with a stone crucifix and the statues of the Virgin Mary and John the Baptist. The text on the façade reads "Stat crux, dum volvitur orbis " (The cross stands firm while the world turns) which is originally the motto of the Carthusians. In the upper part of the façade is a statue of Saint Helena.

Inside, the church contains numerous art treasures spanning the 15th through 20th centuries. Among them the most noteworthy is a silver chalice with Gothic ornamentation (dating from the late 15th century), gilded and with small enamel decorations, including a Latin text engraved with the names of the donors.

The Ponttor (known in the 17th and 18th centuries as the Brückenpforte or Brückenthor) is one of the two remaining gates of the original medieval wall of Aachen (the other being the Marschiertor), and as such is a prominent landmark in the city. The westernmost of the north-facing gates, it was built in 1320, designed for defense purposes, and was originally manned by soldiers and militia throughout Aachen's Free Imperial City era.

The name Ponttor is assumed to be derived from the Latin word "pons", which means bridge. Although indeed, Aachen has several rivers and streams passing through, none of them is found nearby. Still, before the gate appeared, the area itself had already carried this appellation, so the gate must have been named after the neighborhood itself. The latter was named after a bridge that existed in Roman times on what is now known as the Annuntiaten stream. Beyond this area lay extensive swamps, and to exit the settlement, one would have to cross the bridge.

The Ponttor is a right-angled, three-storey gateway with two small towers and the main portal in between. In the main entrance, there is a Portcullis as well as a machicolation, through which things could be dropped onto the invading enemy. A bridge passage with crenelations spanned a moat and was strengthened in the foregate with two reinforced towers (barbicans). The building material was Devonian sandstone, with the framing made of light bluestone.

At the top of the main gate’s arch is the statue of the Virgin, protector of the city.

Today, the Ponttor is used by German Youth and Scout groups belonging to the German Scout Club (1945) and the German Scout Association of Saint George.