Holy Trinity (Zollikon)

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View of the church from the south
View from the north
Fountain in the church square
Steeple

The Church of the Holy Trinity is the Roman Catholic parish church in the municipality of Zollikon in the canton of Zurich . The parish of Zollikon-Zumikon includes three churches, in addition to the parish church of the Holy Trinity in Zollikon, the parish church of St. Michael in Zollikerberg and the Brother Klaus chapel in Zumikon. The two parishes of the Holy Trinity Zollikon and St. Michael Zollikerberg-Zumikon have formed the pastoral care room Zollikon, Zollikerberg-Zumikon since 2013.

history

History and naming

Presumably in the 9th century, a chapel dedicated to St. Peter was built in the Chirchhof district . This chapel was first mentioned in a document in 1223. From 1419 onwards, Zollikon had its own chaplain . As part of the Reformation , the church of Zollikon was used for Reformed church services from 1528 and is now the Reformed Church of Zollikon . Since the Reformation, Catholic worship was banned in Zurich and its subject areas for almost 300 years, until the Zurich Government Council's edict of tolerance of September 10, 1807 allowed a Catholic community in Zurich for the first time.

Until the beginning of the 19th century, Zollikon was a tranquil village. The legal equality of the rural and urban populations in the canton of Zurich and the introduction of the freedom of settlement after the establishment of the federal state in 1848 resulted in an initial economic upturn in Zollikon. The construction of new streets and the opening of the right bank Zurichseebahn in 1894 then made Zollikon a preferred residential area for wealthy Zurich residents. As part of all these developments, Catholics again moved to Zollikon in the 19th century.

Although the church of St. Georg was built in neighboring Küsnacht in 1899 , Zollikon initially stayed with the Church of Our Lady Zurich when the parish boundaries were reorganized in 1898 . In 1903 Zollikon was assigned to the parish of St. Georg Küsnacht. On April 14, 1926, the Catholics living in Zollikon submitted a petition to the Episcopal Ordinariate in Chur, demanding the introduction of Catholic religious instruction and worship in Zollikon. At the same time, the Catholics of Zollikon wanted their parish area to be detached from Küsnacht and allocated to St. Anton Zurich , as the parish of Küsnacht was not in a position to build a Catholic church in Zollikon for financial reasons for the next 20 years . The Bishop of Chur responded to this petition with a decree that released Zollikon from Küsnacht on July 8, 1926 and assigned it to the parish of St. Anton Zurich. At the same time, Zollikon was raised by the bishop to a parish vicariate and on December 22, 1931, was appointed an independent parish.

Development and construction history

On October 2, 1927, a Catholic service took place in Zollikon in what was then the Hotel Bellevue on Dufourplatz for the first time since the Reformation; beforehand, the Zolliker Catholics had attended the service in Zurich or in Küsnacht. Already at the first mass in the hall of the Hotel Bellevue it became clear that the hall was much too small. On June 16, 1929, after initial resistance, the parish council and the Reformed parish decided to make their parish hall available to Catholics for their services.

As early as 1927 the Catholic Kultusverein von St. Anton in Zollikon was able to acquire building land on Riethofstrasse , on which the groundbreaking ceremony for the first Catholic church in Zollikon and its rectory took place on June 30, 1930. The church was consecrated on Easter Monday, April 6, 1931 and dedicated to the Most Holy Trinity . In 1952, Pastor Dr. Ambros Zurfluh built a military barracks in the Euthal , which was then placed on a foundation made by forced labor in Zollikon and served as a parish home for the next few decades. On January 7, 1965, the parish decided to add a larger sacristy to the church . In 1977 the parish replaced the old barrack with the current parish center.

In June 1982 the parish assembly decided to build a new church. In the following years, project after project was presented and rejected, so that the dilapidated church could only be replaced by a new building in the mid-1990s. On May 30, 1994, the parish assembly approved the project by the architects Caretta & Kupferschmid, Küsnacht for CHF 4.9 million. At the Swiss Confederation. Thanks, Buss and Prayer Day , September 15, 1996 the foundation stone for the new church was laid. On May 24th 1997 the bells were raised on the new church tower and on June 29th the church was consecrated by Auxiliary Bishop Peter Henrici .

To expand and renovate the parish center, a public competition was announced in 2011, which the architects Hull Inouwe Radlinsky, Zurich, won. The existing parish center was essentially left in place, but the hall was enlarged to 180 seats and the usability of the upper floor was increased by installing two dormer windows . On June 26, 2016, the expanded and renovated parish center was inaugurated.

With 4,476 members (as of 2017), the Zollikon-Zumikon parish is one of the medium-sized Catholic parishes in the canton of Zurich.

Building description

Paradigm shift in church building

Over a hundred Catholic churches have been built in the canton of Zurich in a good 150 years. This brisk construction activity was necessary because Zurich has traditionally been reformed and the Catholics had to rebuild their churches as immigrants . Based on the three churches of the Zollikon-Zollikerberg-Zumikon parish, a paradigm shift in Catholic church construction within 30 years can be seen, which can also be demonstrated using other churches that were built in the canton of Zurich during this period. Against the background of the diaspora situation and the culture war , the Catholics in the canton of Zurich built monumental churches from the 1890s as soon as this was possible for financial reasons. This strengthened self-confidence of the Catholics in the canton of Zurich can be evidenced by church buildings such as the Church of Our Lady Zurich (built 1892-1894), the Guthirt Church Zurich-Wipkingen (built 1922-1923) or the Church of St. Michael Zollikerberg (built 1964-1966) .

From the 1960s, however, the churches came under increasing pressure. This gave rise to the idea of ​​exercising design restraint in new buildings. Newly built church buildings from the 1970s onwards prove this. B. the Church of St. Michael in Dietlikon (built 1969–1970) and the Church of the Holy Spirit in Zurich-Höngg (built 1972–1973), both of which, despite their size, were designed in a noticeably restrained manner and without a monumental church tower. The Brother Klaus chapel in Zumikon (built in 1982) also belongs to this phase of church construction in the canton of Zurich.

A further change in the design concept can be seen in the new building of the Dreifaltigkeitskirche Zollikon. Similar to the Church of the Resurrection of St. Mary Magdalene in Rafz (built in 1993–1994) or the Church of St. Catherine of Siena in Fällanden (built in 1990–1992) from the 1990s, this new church has bell towers again and looks like it a new design accent in each district. Josef Mächler legitimizes the self-confident external appearance of the Dreifaltigkeitskirche Zollikon with a reference to the Pastoral Planning Commission of the Swiss Bishops' Conference , which advised a rethink in relation to church buildings as early as the 1970s: “Contrary to the then in the air tendency towards self-construction to renounce, it is stated: 'The Christian community does not belong to the economically weak groups, is numerically so large that self-construction ... is imposing, considers its activities to be so important that it should make itself known to the public through its own buildings and wants a feeling of identity strengthen their members through their own constructions. ' "

Church tower and exterior

The appearance of the Dreifaltigkeitskirche Zollikon follows this paradigm shift in church construction in the 1990s. Located on Gustav-Maurer-Strasse is the round building of the church including the steeple. Church, bell tower and the parish center, which was built in the 1970s, are grouped around a rectangular inner courtyard covered with stone slabs. The square is covered with Indian sandstone and has a fountain, the square shape of which suggests a cross and a round basin in the middle. An arcade between the parish center and the church enables the worshipers to get from one building to the other, protected from the weather. The church tower stands on two broad concrete pillars and hides the bells in a square bell chamber. The four square cladding elements of the bell chamber together form an isosceles cross, which refers to the Christian character of the building ensemble. The church tower is crowned by a simple metal cross. The bells were cast in 1997 by the H. Rüetschi foundry , Aarau and sound in the tone sequence es, a flat, b, c. The church itself consists of a round building. Small square windows are embedded in the church walls, behind which the stations of the cross are located inside the church. The copper cladding of the concrete structure gives the church a simple yet striking design. On the side of the inner courtyard, the church has a window front which, together with the skylights in the roof, enables targeted lighting inside the church.

Interior and artistic equipment

inside view
Altar island
Altar area
altar
Lady Chapel
organ

Josef Mächler writes about the sheltering character of the Dreifaltigkeitskirche: “Today's people who have become terminated need a space in which the hustle and bustle can be switched off.” The interior of the Dreifaltigkeitskirche is characterized by simplicity and simplicity, which the church visitors to rest and invite you to reflect. The artist Anton Egloff , Lucerne and the architects Marco Caretta and René Kupferschmid, Küsnacht, created a total work of art that represents a unity of body, light and color. The interior is deliberately designed to be simple and focuses the view of the church visitor through the lighting, the conciseness of the materials and the artistic concept on "the central secret, for which the Lord's table stands in the middle." The floor plan of the church consists of two circular segments . The congregation gathers in a semicircle on wooden chairs around the elliptical altar island. This is how the communion idea of ​​the Second Vatican Council , the cooperation between the congregation and pastor, is taken up. The altar island is raised from the rest of the church not only by raising it by one step, but also by the different floor material: the church is covered with dark gray slate , the panels of which run towards the altar, while the chancel is made of lighter cristallina stone. On the altar island, in addition to the altar designed as a table of bread , there is also an ambo designed as a table of the word and the tabernacle , which rests on a stone column. This tabernacle column, like the plate of the altar and the anvil, the sideboard and the baptismal font to the right of the altar island, is made of lighter Crema Levante . This stone in particular establishes the connection between the table of words and the table of bread . In the floor under the altar there is an inlay , which with its symbol indicates the patronage of the church, the Holy Trinity. To the left of the altar island is a large, yet simple cross made of steel profiles. The cross does not have a corpus and is instead hung with a cross cloth in the respective liturgical color. This cross is an expression of the Paschal concept, which the whole design of the church follows. The tabernacle housing contains honey-colored glass plates and, depending on the light mood in the church, allows the ciborium in the tabernacle to shine through more discreetly or more clearly. A second sign that points to transcendence is the choir wall erected behind the altar island. The southern and northern starry skies are visible on her mural , so that the worshiper behind the altar can see the universe , the sky.

  • Ambo

  • cross

  • Baptismal font

  • tabernacle

  • Holy water font

  • Altar Lady Chapel

Way of the Cross

A third artistic element of the church, which refers to the transcendence, is the way of the cross, which is arranged in front of the small rectangular windows of the church wall, which, depending on the time of day, begins to glow due to the light penetrating from outside. The individual stations of the Way of the Cross are made of etched glass and not only invite modern people to follow Christ's Way of the Cross, but also create a connection between Christ's Way of the Cross and personal life through their contemporary motifs. Under the stations of the cross there are steel plates on which changing texts can be attached.

The Way of the Cross begins at the back left in the church with the first station Jesus is condemned to death. A black head with a white crossbar at eye level can be seen on a gray background. This refers to the blindness and lack of insight in humans, which lead to wanting to judge someone prematurely. In the second station, Jesus takes the cross on his shoulders , a yellow cross can be seen against a dark background, next to it a white bar. Dorothee Eggenberger writes: "Human life not only knows happiness and success, but also suffering, which should not lead to resignation, but rather - despite everything - to saying yes to life." In the third station, Jesus falls to the first times under the cross a dark, falling to the ground body is shown with an oblique white bar. In the fourth station, Jesus meets his mother , two black bars, which are directed towards one another and are represented in front of a heart, express the love of this encounter between mother and son. In the fifth station, Simon of Cyrene helps Jesus carry the cross , the carrying of the burden and suffering is symbolically shown by a black head in profile and the cross standing next to it against a gray background. In the sixth station, Veronika hands Jesus the handkerchief , a woman's head can be seen in profile. Like Simon of Cyrene, Veronica shares in the suffering of Christ through her service. The seventh station Jesus falls the second time under the cross reveals a dark body on the ground. The white crossbar symbolizes human weakness and falling. The eighth station follows in the back right of the church . Jesus speaks to the mourners . The facial profile of a woman and the vertical bar indicate the existence of Jesus for others, even in the situation of their own need. The ninth station Jesus falls under the cross for the third time shows a white head lying on the ground with a black crossbar at eye level. In the tenth station, a white robe symbolizes the scene "Jesus is stripped of his dress". Like Jesus, we humans are sometimes exposed and humiliated. Conversely, we find ourselves again and again in the active role and inflict evil on our fellow human beings. The eleventh station Jesus is nailed to the cross shows beams as images of the nails. Dorothee Eggenberger writes: “We also tend to nail down our fellow human beings, not physically, but with words.” A violet window shows the twelfth station Jesus dies on the cross . A white cross with a hint of the body of Jesus is shown, next to it a white column, an expression of the worldly power that Jesus condemned to death on the cross. The thirteenth station Jesus is taken from the cross contains flowing and angular shapes that stand for the cross and the tortured body. That the love of God and man is stronger than death is indicated in the fourteenth station Jesus is laid in the grave , with a white bar pointing upwards, to heaven and anticipating the resurrection at Easter. The coexistence of Good Friday and Easter is illustrated by the spatial proximity of the fourteenth station of the Cross to the Easter candle by the baptismal font. The letters of the four cardinal points in the fourteenth station of the cross indicate the universality of this Christian salvation event.

Prayer room

A chapel with 20 seats was designed for weekday services and personal devotion. The French doors that close the prayer room give an unobstructed view of the church's chancel. A Madonna invites you to pray in the prayer room. The cloths for the cross kept in the chapel in the church chancel underscore the connection between the Marienkapelle and the church.

organ

The organ was built in 1999 by the company Gebr. Späth from Rapperswil . It has 15 registers, which are divided between two manuals and a pedal. The disposition and advice was provided by Father Ambros Koch, Fischingen Abbey . The organ was inaugurated on January 30, 2000.

I main work C – a 3
Principal 8th'
Coupling flute 4 ′
Octabe 4 ′
Pointed flute 4 '
octave 2 ′
Mixture III-IV 1 1 ⁄ 3  ′
II Swell C – a 3
Dumped 8th'
Reed flute 4 ′
Principal 2 ′
Fifth
( early print from sesquialter )		 2 2 ⁄ 3  ′
Sesquialter 2 2 ⁄ 3  ′ + 1 3 ⁄ 5  ′
Zimbel II-III 1'
shawm 8th'
Tremulant
Pedal C – f 1
Sub bass 16 ′
Octave bass 8th'
Flute bass 8th'

literature

  • Episcopal Ordinariate Chur (ed.): Schematism of the Diocese of Chur. Chur 1980.
  • Josef Mächler: The new Trinity Church in Zollikon , in: Municipality of Zollikon (ed.): Zolliker year booklet 1998 , pp. 58–63.
  • Catholic Parish Zollikon (Ed.): Dreifaltigkeitskirche Zollikon. Image space, image path. Zollikon 2000.
  • Markus Weber: Zollikon, Zollikerberg, Zumikon. Three catholic houses of worship. Ruswil 2016

Web links

Commons : Dreifaltigkeitskirche Zollikon  - collection of images, videos and audio files

Individual evidence

  1. ^ Website of the parish
  2. ↑ a b Bischöfliches Ordinariat Chur (Ed.): Schematismus. P. 269.
  3. ^ Henri Truffer: Association of Roman Catholic Parishes of the City of Zurich. Zurich 1989, p. 192.
  4. ^ Sandro Guzzi-Heeb: Freedom of establishment. In: Historical Lexicon of Switzerland . May 28, 2009 , accessed January 1, 2014 .
  5. ↑ a b c d website of the parish, section History of our parish. Retrieved January 1, 2014.
  6. ^ Albert Heer: Our Zollikon. Zollikon 1968.
  7. ↑ Zolliker Bote: What takes a long time will finally be good from June 24, 2016. Retrieved on August 5, 2016.
  8. ↑ Catholic Church in the Canton of Zurich (Ed.): Annual Report 2017. p. 84.
  9. ^ Fabrizio Brentini: The Catholic Church of St. Martin in Zurich-Fluntern. Bern 2013, p. 36.
  10. ^ Josef Mächler: The new Trinity Church in Zollikon. in: Zolliker yearbook. P. 58.
  11. ↑ Josef Mächler: The new Dreifaltigkeitskirche in Zollikon , in: Zolliker Jahrheft 1998. P. 59.
  12. ^ Josef Mächler: The new Trinity Church in Zollikon. in: Zolliker yearbook 1998. p. 60.
  13. ^ Website of the parish, section History of the Trinity Church. Retrieved January 1, 2014.
  14. ↑ Catholic Parish Zollikon (ed.): Dreifaltigkeitskirche Zollikon. Image space, image path. P. 7.
  15. ^ Markus Weber: Zollikon, Zollikerberg, Zumikon. Three catholic houses of worship. Pp. 21-26.
  16. ↑ See website of the parish, section Kreuzweg. Retrieved on January 1, 2014, and Josef Mächler: Die neue Dreifaltigkeitskirche in Zollikon. in: Zolliker Jahrheft 1998. pp. 62–63.
  17. ↑ a b Dorothee Eggenberger in: Kath. Pfarrei Zollikon (ed.): Dreifaltigkeitskirche Zollikon. Bildraum, Bilderweg p. 27.
  18. ^ Markus Weber: Zollikon, Zollikerberg, Zumikon. Three catholic houses of worship. Pp. 28-31.
  19. ↑ Josef Mächler: The new Dreifaltigkeitskirche in Zollikon , in: Zolliker Jahrheft 1998. P. 63 and Kath. Pfarrei Zollikon (Hrsg.): Dreifaltigkeitskirche Zollikon. Image space, image path. P. 7.
  20. ^ Markus Weber: Zollikon, Zollikerberg, Zumikon. Three catholic houses of worship. P. 31.
  21. ^ Organ directory Switzerland and Liechtenstein, section: Katholische Dreifaltigkeitskirche Zollikon ZH. Retrieved September 25, 2016.

Coordinates: 47 ° 20 '32.8 "  N , 8 ° 34' 28.6"  E ; CH1903:  685 845  /  244130