Close up of altar with minimal reference to table function.

Hermann Baur architect.

Architect: Hermann Baur.

Rudolph Schwarz wrote a seminal work on the liturgical nature and iconography of the church building. Architecture and liturgy had their primary focus in the centrality of Christ as exemplified in the Mass and its emphasis ...

Moving closer, left to right: the hymn board calls attention to itself, even more than the pulpit. Central in the composition is the altar with a pattern of circular windows bidding one to lower one's view to the altar/table.

Sant Antonius was the first reinforced concrete church in Switzerland. Karl Moser left all of his concrete exposed. The concrete ceiling copied the ancient romanesque barrel vault. The "east" wall was decorated with a ...

The "west" wall balcony was filled with a massive pipe organ, with space for organist and choir. In the foreground is the beautiful pulpit, adorned in a copper bas relief, surmounted by its sounding board. The sounding ...

Surrounded by vast fields of abstract stained glass, interior central panels communicate traditional religious iconography.

Here Jesus is teaching the multitudes as the Holy Spirit, in the shape of a dove, hovers above.

The interior shows the beginning influence of Rudolph Schwarz insofar as it is essentially circular, composed of elipses. The altar table here has a cut out reflecting a table influence. The bishop's chair is on the left.

By 1961 trees prevented a clear view of the exterior. Prior to concern for the handicapped, there was a flight of stairs, giving prominence to the main entries of the church.

Architect: Rudolph Schwarz. Reflecting the tenets of modern architecture the exterior is unadorned. The massing of the building with the fenestration gives dynamic to the exterior structure.

Architect: Dominikus Bohm. Carillon tower, with a corner of the church.

The pulpit is attached to a rib, where two of the elipses are joined. It is given height, as well as a sounding board to emphasize its prominence.

The great church room is enveloped by a curtain wall of colored glass, set in concrete frames. While the structure was revolutionary, the liturgical arrangement was quite traditional with the altar centrally placed on an ...

The third quarter of the 20th century was a period of marked liturgical and architectural change. A bibliography of publications is found in Christ and Architecture by Bruggink and Droppers. The photos found below much of ...

A closeup of the colored glass set in concrete frames. The light passing through the glass, especially in sunlight, diminishes the appearance of the frames while enlarging that of the glass.

The arched ceiling panels are supported by slim reinforced concrete pillars, minimally interrupting sight lines. The organ is in a small balcony in the rear.

Architect: Karl Moser. The massive concrete carillon dominates the street scene, as does the body of the church, flush with the line of the street.