From a distance, St Nicholas’ Church in Hérémence looks like a jagged rock rising from the Alpine slopes. On closer inspection, what meets the eye is an irregular concrete structure reminiscent of a Cubist sculpture. The concrete church is intended to symbolise perseverance and determination, whilst its design draws inspiration from the nearby dam and the mountain landscapes. Interestingly, the interior conceals an illusory, even paradoxical, design.
The Church on the Rock
In 1946, the area around the Swiss village of Hérémence was struck by a powerful earthquake. The 18th-century brick church was damaged during the disaster, and after a dozen or so years, the authorities decided to demolish the historic building. In 1961, a competition was announced for a new church, which quickly produced a winner. The sculptor and architect Walter Maria Förderer from Basel presented a bold and symbolic design for a modern, brutalist church.
Sculpture was Förderer’s first love. In fact, one could say that the competition winner was more of a sculptor than an architect, but it was precisely for this reason that his design took on such an impressive form. The design work coincided with the rise of Brutalism, popularised by another famous Swiss figure – Le Corbusier. What is more, at that time Förderer was working on the Brutalist building for the University of St. Gallen, so the architect had already become familiar with raw concrete.
Another significant event taking place during the church’s design process was the Second Vatican Council. The Church opened up to new forms, focused on the community of the faithful and broke down some of the barriers between the clergy and the congregation. The architect applied these new principles to the layout and appearance of the church.
Which way is up, and which way is down?
The heavy reinforced concrete structure is situated on a mountainside. Its irregular geometric shape is full of various indentations and projections. Furthermore, its location on the slope allowed the architect to design several impressive terraces with alpine vegetation. The concrete cross jutting out from the tower also catches the eye, serving as a reminder of the sacred function of this unusual building. Although the cross is made of the same reinforced concrete as the rest of the façade, it does not blend into the background.
The church is intended to symbolise the perseverance, stability and determination of the local people. Alongside these qualities, there is also room to commemorate the demolished church. At the entrance are sculptures salvaged from the former church, whilst most of the rescued artefacts are housed inside. However, the interior of the church in Hérémence is not what one might expect, even from a Brutalist church.
Upon first entering, worshippers may feel as though they have stepped into an alternative reality, plucked straight from a lithograph by Maurits Cornelis Escher. The Dutch artist created prints featuring impossible and paradoxical structures or objects. In the church in Hérémence, however, geometric shapes wind their way across the ceiling, walls and floor. What’s more, this impression is heightened by the placement of wooden structures resembling pews or pulpits on the ceiling and walls. In short, if someone were to reverse gravity, the ceiling or wall would serve as a new floor.
Sculptor
The varied shapes of the ceiling and walls are accentuated by light streaming through irregular openings. The whole creates a mysterious, yet well-lit, cave. Returning to the floor, it is worth noting that the arrangement of the pews converges towards the actual pulpit. The wooden elements of the pulpit and the altar emphasise the place from which the Word is to be proclaimed. What is more, this arrangement actively encourages the preacher to face the congregation whilst delivering sermons, which is a post-Vatican II solution.
It is also worth noting a few details. The concrete crosses standing on pillars rise from the floor like totems, casting light on the pews. The cross itself is irregular in shape, just like the rest of the building. Meanwhile, the pulpits mentioned earlier – suspended from the ceiling and walls – conceal various preserved works of sacred art from the previous church. Unlike pre-Vatican II churches, art is merely a minor addition to the church’s décor.
St Nicholas’ Church in Hérémence is intended to bring everyone together. For this reason, the building also houses secular meeting rooms, a café and shops. The residents of Hérémence are proud of the church, which has become a recognisable symbol of their village. Construction of the church was completed in 1971, and Förderer went on to design several other buildings in this style. However, after the completion of the last of the 10 brutalist churches, the architect closed his practice and turned his attention to sculpture. The cost of building the brutalist churches had begun to exceed the profits. In such circumstances, Förderer would have had to curtail his artistic vision, so he chose a field where he would face no such barriers.
Although Förderer’s architectural career lasted just over 20 years, the Swiss architect managed to design some of the most outstanding Brutalist churches in the world. However, for Förderer, this was merely one stage in his career as a sculptor. You can read about other impressive Brutalist churches HERE and HERE.
Source: Heremence
See also: Architecture | Switzerland | Brutalism | Sacred architecture | whiteMAD on Instagram
