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Protestant Church and Parish Centre
Rebbuckstrasse, Effretikon
1956 - 1961 / 1994 - 1995
The Church in Effretikon is the first and at the same time the most famous church desing by Ernst
Gisel.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.
The Church in Effretikon is the first and at the same time the most famous church desing by Ernst Gisel.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.
The Church in Effretikon is the first and at the same time the most famous church desing by Ernst Gisel.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.
It was implemented at a time when in the Catholic and in the Reformed Church was held a very lively discussion
about the building of churches. The advantages and disadvantages of central buildings or longitudinal buildings were discussed
in different medias. During the design process of the Church of Effretikon these issues were dealt with only marginally.
A rather unusual procedure resulted in the commissioning of Ernst Gisel for the design of the Reformed Church Effretikon. In 1956 a competition under ten invited architects
was carried out. Ernst Gisel had proposed a strict, box-like structure. This design was not awarded a prize. Unusually in this competition was the fact that the three
first ranked projects were commissioned for revised proposals, the other architects were admitted but without compensation for the next stage. In the guidelines for further development,
proposals for a church with a flat roof were ruled out - probably under the influence of the design of Ernst Gisel. The client wished a building with the character of a simple church.
Ernst Gisel, who had completely revised his project, was the winner of this second stage. In the new desing, he placed the church on a pedestal, in which a large,
expandable community hall was housed. A pitched roof with a transverse ridge rises above the church. The interior space of the church and the roof were aligned in a way
that the lowest point comes of the space corresponds to the altar. The space obtained by the pitched roof, the lighting and the axial organization result in a clear orientation
to the east, although the ground plan corresponds to a square.
The design which was destined for execution has been completely revised again. The requirements for the spaces had changed, and there was no more need for a large community hall.
At this stage, Ernst Gisel dropped the concept of the competition. The church and the hill are no longer separated by the base. Rather, the church can now be interpreted
as a continuation of the hill. The orientation of the church has been rotated by ninety degrees to the north. The staggered massing in exposed concrete with the tent-like roof
are modeled onto the northern slope. Togehter with the hill, the building creates a church square. By contrast, the bell tower remained at the originally proposed location,
but was transformed into a mighty concrete sculpture.
The interior of the church impresses with a simple yet sophisticated room and lighting concept. Here, the original square plan was abandoned.
The staggering of the west wall permits an interior zoning into liturgical areas. At the same time the skylights which drop the light from the south in the nave and onto the altar area
are a result of this staggering. The design motive of the staggering is again encountered in the entrance hall and on the altar wall. The use of red brick for the walls and floors
and the white varnished pine paneling of the roof soffit leave unite the apearance of the room. Parallel to the church nave and the side aisle a community hall was arranged,
which can be open towards the church by sliding walls.
The exterior of the church is characterized by the plasticity of the exposed concrete and by the big roof which is covered with fiber cement.
The already mentioned church tower is one of the most striking features of this design. This bell tower got recognition in international commentary
as one of the most powerful architectural sculptures ever. Originally this church tower has been heavily criticized.
Today the quality of the whole composition is widely recognized.
Due to the changed spatial needs in the late 1980s, it was considered to realize the originally planned large community hall as an annex.
In 1994/95 an extension of the church building was then carried out to the east by Ernst Gisel. The new dividable multipurpose hall
can be combined with the small hall of the original building. All three areas can be separated if necessary. When open, they make up a spatial continuum.