Thomas Church

Thomas Church, known locally as Thomaskirche, in Köniz, Switzerland, stands as a beacon of modernist architectural achievement and community spirit. Constructed in response to the burgeoning population of the Bern metropolitan area, this remarkable edifice was inaugurated on March 3, 1967, and has since become a cherished landmark for both locals and visitors.

The History of Thomas Church

The roots of Thomas Church stretch back to the mid-20th century when the need for a dedicated place of worship for the growing community of Liebefeld became evident. Before the church was built, services were held in the assembly hall of the Hessgut schoolhouse. The church was not only envisioned as a religious sanctuary but also as a community hub, fostering connections among residents.

The planning for the church began in earnest in the 1950s. The church council secured the rights to the land between 1954 and 1956, eventually purchasing the area in 1958 and an adjacent parcel in 1959. This acquisition allowed for the creation of a comprehensive church center with multiple access points, seamlessly integrating into the surrounding neighborhood.

In 1961, a design competition was held among five local architects, and the project Calvin by Franz Meister was unanimously chosen for its innovative and harmonious design. Meister's vision included a church with cubic forms and a flat roof, blending effortlessly with the sloping terrain without requiring extensive land modifications. The construction began with the laying of the foundation stone on May 26, 1965, and the church was consecrated less than two years later, on March 5, 1967.

Architectural Marvel

Approaching Thomas Church from Könizstrasse, visitors ascend a broad staircase leading to the forecourt of the large community hall, above which the church itself is elevated. The main entrance is accessed via a portal-like passage beneath the freestanding bell tower, creating a dramatic and inviting entryway. Alternatively, the primary access route from Könizbergstrasse takes visitors along a plane-tree-lined path to the church forecourt.

The church's exterior is clad in a striking copper skin that extends down to a continuous band of windows, resting on a solid concrete base. This distinctive design, featuring prefabricated concrete beams sheathed in copper outside and wood inside, imparts a unique character to the building. The slightly varying angles of the roof and walls further enhance its modernist appeal.

Inside, visitors are welcomed through double doors beneath a wide gallery. The high-ceilinged space is lined with brownish pinewood slats, creating a warm and acoustically pleasing environment. Natural light filters through colorful, thematically painted glass windows, illuminating the sacred space. Additional light streams in through ceiling apertures, highlighting the altar area. The altar, baptismal font, and pulpit are all crafted from cubic concrete, emphasizing the minimalist aesthetic. The seating arrangement is flexible, allowing for various configurations to suit different services and events.

Artistic Treasures

Despite the prevailing sentiment in the 1960s that visual or symbolic representations might distract worshippers, Thomas Church embraced artistic contributions to enhance its spaces. The colorful stained glass windows by Max Rudolf von Mühlenen depict religious symbols such as Christ, the dove, the fish, and a chalice. Hans Jegerlehner’s mural above the passage to Buchenweg captures the transformative moment of Apostle Thomas’s journey from doubt to faith.

Werner Schmutz’s frieze in the former meeting room portrays the church's seasonal celebrations, drawing inspiration from traditional Appenzell pastoral paintings. Hermann Plattner’s calligraphic mural in the small hall uses rhythmic Greek letters to convey multiple descriptions of Christ. Elsbeth Gysi’s mural in the youth room, Garden of Paradise, depicts the expulsion of Adam and Eve with her characteristic sketch-like style.

In the large community hall, Rudolf Mumprecht's abstract wooden sculptures add an element of contemplation, while a ceramic relief by Walter Loosli adorns the west wall of the Thomas room. The communion vessels designed by Bernese goldsmith Othmar Zschaler are another noteworthy addition. Outside, the Spiral of Life on the church square, created by the 2016 confirmation class, features colorful ground paintings with meaningful quotes and symbols.

The Organ and Bell Tower

The grand organ, crafted by Kuhn AG, occupies a prominent position on the gallery. Completed in the summer of 1967, it boasts 45 registers across three manuals and a pedal, making it one of the largest organs in the Bern metropolitan area. The organ's design complements the church's architectural style, integrating seamlessly into the modern space while adhering to the classical Werkprinzip with distinct tonal structures for each manual and pedal.

The freestanding bell tower, crowned with a weather vane, houses five bells cast by Rüetschi AG in Aarau. These bells, received with great celebration by the local schoolchildren, were installed in October 1966. The tower's clock, with its simple, recessed dials, was supplied by Baer from Sumiswald. A concrete relief by Rudolf Mumprecht featuring a cross within a circle and the Christ monogram Alpha and Omega adorns the passage beneath the tower, further enriching the church's artistic and spiritual ambiance.

Thomas Church in Köniz is not just a place of worship; it is a testament to modernist architecture, community spirit, and artistic collaboration. Its unique design, rich history, and vibrant community activities make it a must-visit destination for anyone exploring the region.