The topic of this paper gravitates around the Versöhnungskirche (Reconciliation Church) in Berlin and its processes of signification in the landscape of its historical evolutions. In the first part of the article (§1), I will briefly describe the historical environment of the Church of Saint Sophie in the Mitte neighbourhood. The vicissitudes of the Church gain our interest during the second world war, because of its position right on the border in between East and West Berlin. As the wall was built, its community was separated from the Church, its bell tower converted to a watch tower. As the Cold War sprung, the Church was destroyed, being considered bulky and useless for the control practises of the two sectors of the City. The Wall, famously dismantled in 1989, left behind a lively debate about the possibility of building of a Berlin Wall Memorial, which naturally would have included the St. Sophie parish. The community was torn apart. Although it initially wanted to destroy what remains of the Wall, after some years, the community was to become one of the strongest voices advocating for the creation of a Wall Memorial in Bernauer Straße. The Chapel (the Versöhnungskapelle) was part of an intervention rebuilt in this trauma site rightfully regaining its space in the Berlin Wall Memorial. In this article I will summarize the debate about the re-semantization of this “difficult, uncomfortable and dissonant heritage” (§1.1). I will then proceed to, in the second part, investigate the role of the Chapel in the semiosphere and in the history of community living it. My analysis method will be based on cultural semiotics starting from a lotmanian imprinting. What the results of my work lead me to believe is that the building of the Wall has been felt by the St. Sophien community as the “explosion” of its culture, so much as the arrangement of its spaces has been seen as an “implosion” (§2). In the third section, I will examine the politics of memory subtended by this new building, focusing especially on some of its architectural choices, not forgetting the role of space: the parvis, the wall of the chapel, the facade, the ambulacrum, the nave, and the niche of the cross in the presbytery, all these elements gain their full meaning solely considered under the light of reconstruction. In this part I will use some conceptual instruments which come from the interpretative semiotics, taking the most out of its theory of signs (§3). In the fourth and last part of my contribution, I will underline the critical semiotic role of the sound. In fact, the “Reconciliation” effect would not be as powerful as it is without the intervention of the music dimension: to better understand this concept, I will be underlining the political elements recalled by the Church’s organ and its spatial articulation. Finally, I will analyse the solutions adopted regarding the construction of the bell tower, rich in historical meaning, which resulted in a new horizontal orientation of the outside of the Church.