With her appealing installation in the original dimensions of the first Amber Room, which reflects the Prussian love of proper scale, and the use of such a common material as soap, Ingeborg Lüscher avoids all reference to historical or contemporary pomp, discretely but unmistakebly. With her minimalist architectural concept and the sunny yellow light, she has created a contemporary Amber Room in which the distant beauty and the sad histories of the lost Amber Room appear to be captured – in a setting of meditative serenity and immediate aesthetic presence.  


Konstanze Crüwell 2004



Ingeborg Lüscher’s Amber Room belongs to the category of strokes of luck, because as long as one looks at it, as long as one stands before and in it and contemplates it, it remains unconstrained, pleasurable in all the earnetnesse, all the conceptualisation and all the work that has gone into it. It is an example of Ars pulchre cogitandi, the art of fine thinking, the aesthetic of which grasps all perception, sensory as well as spiritual, ordinary as well as sublime, worldly as well as artistic. Never before has ordinary soap been used to explore the aesthetic question of the difference between simulation and original. … Today there are four Amber Rooms: Friedrich’s first version as initial gesture, the lost expanded original from Elisabetta for mythos, the real room in Tsarkoe Selo for pride and the ideal of Ingeborg Lüscher for aesthetic experience.


Juri Steiner 2004




The Amber Room, 2001-2004

Das Bernsteinzimmer, 2001-2004


Room installation

9000 pieces of SOLE soap

(6.5 x 11 x 3.8 cm, each)

Neon tubes, aluminium, steel, painted acrylic glass, wood, cloth

450 x 580 x 580 cm (outside)

350 x 400 x 400 cm (inside)

Entrance area with historical informations (different dimensions)

Two existing copies


Concept and direction:

Ingeborg Lüscher

Technical realization:

Dimitri Westermann

General Management:

Aufdi Aufdermauer

With the support of Reckitt Benckiser, Milano

One copy:

Stiftung Situation Kunst, Ruhr-Universität Bochum, 2021



Svarovski Kristallwelten, Wattens 2004

MART Rovereto 2004

Svarovski Kristallwelten, Wattens 2005

Museum Wiesbaden 2006

Ausstellungshalle Kraft, Basel 2008

Kunstmuseum Solothurn 2016

Kunstmuseum Bochum 2021-2022


Rovereto 2004, pp 196-199 (ill)  

Wiesbaden 2006, pp 7-11 (ill)

Solothurn 2016, pp 192-201 (ill)



Braun 2004 . Crüwell 2004. Steiner 2004. Huther 2006. Müller 2016, pp 155, 162, 163. Vögele 2016, pp 20, 34



Wattens 2004



Rudolf Steiner

Ed Restle (installation shots Museum Wiesbaden)