Christus Koningkerk

In the picturesque Belgian city of Aarschot stands a remarkable testament to modernist architecture and spiritual devotion: the Christus Koningkerk. This striking church, dedicated to Christ the King, is not just a place of worship but a beacon of community and architectural innovation. Its second patron, Saint Rochus, the protector of the city, adds an additional layer of cultural significance to this already fascinating site.

The Birth of Christus Koning Parish

In the late interwar period and following World War II, the northern outskirts of Aarschot experienced a significant population increase. This growth led Father Verpoylt, the dean of Aarschot, to recognize the need for a local church to save the faithful from the long journey to the Onze-Lieve-Vrouwekerk. Initially, masses were held in the nearby chapel of the Sacred Hearts Fathers, known as the 'Picpussen'. In 1956, a chaplain was appointed to serve the spiritual needs of the neighborhood, and by 1957, the parishioners had built a provisional church with approximately 350 seats.

On December 22, 1957, the official establishment of the new parish 'Christus Koning' was announced, with Reverend Gustaaf Vermonden becoming its first pastor. The community quickly flourished, with over 3,200 faithful and numerous Catholic social, cultural, and religious associations emerging in a short period.

Construction of a New Church

Plans for the permanent Christus Koningkerk were drawn up in the early 1960s by architect Jos Gabriëls, who had already designed several notable churches in Belgium. Construction began on April 10, 1962, with the laying of the first stone on July 7, 1962. The church was consecrated on October 6, 1963, by Monsignor Descamps, the then-rector of the Catholic University of Leuven.

Architectural Design

Jos Gabriëls, influenced by the modernist spirit of the time, designed the Christus Koningkerk as a departure from traditional church architecture. Inspired by the Brüder Klauskirche in Birsfelden, Switzerland, Gabriëls opted for a hall church design, abandoning the conventional nave and side aisles in favor of a quarter-circle segment layout. This innovative approach created a fan-shaped structure centered around the choir and altar, emphasizing openness and community.

Exterior Features

The exterior of the Christus Koningkerk is a striking sight, with its shell-like architecture suggesting a sense of 'shelter'. The freestanding tower, once considered unconventional, now stands as a defining feature of the church's silhouette. The tower's openwork lantern houses three bells, with the two largest cast by the French bell founders Paccard and the smaller Angelus bell, added in 1995, cast by the Royal Bell Foundry Petit & Fritsen in the Netherlands.

The street-facing side of the church is particularly notable for its interplay of volumes. The square tower and curved lines of the nave are complemented by the deep canopy and nearly freestanding cubes framing the entrance doors. The use of white brick with a handcrafted appearance lightens the large wall surfaces, while decorative and pioneering glass-in-concrete constructions by artist Maurits Nevens break up the facade. The church also integrates seamlessly into the community with the addition of the multifunctional parish center 'Vinea'.

Interior Ambiance

Inside, the Christus Koningkerk exemplifies the post-World War II search for new forms and layouts in church design. The increased openness of the Roman Catholic Church is reflected in the large hall-like space, ensuring an unobstructed view of the central altar. The self-supporting gallery above the entrance enhances the sense of space, while the strategic use of light creates an intimate atmosphere. Light filters in from behind the congregation through glass tiles above the entrance and is concentrated on the round high choir. High windows in the curved side walls add to the intimate feel.

The altar, elevated and highlighted by a large, expressionist mural depicting the 'Apocalyptic Christ' by Maurits Nevens, serves as the focal point of the church. Nevens, who was gaining international fame at the time, also designed the glass-in-concrete windows. The church furnishings, characterized by a stylized, expressionist, and symbolic aesthetic, were designed by Willem De Backer and executed by stonecutters from the De Backer firm in Heist-op-den-Berg. The main altar features figures of the cross, ears of wheat, and grape clusters, partially engraved and partially chiseled.

The tabernacle, made of silver-plated brass and adorned with motifs in copper and enamel, was designed and executed by silversmith Frans Brans. The baptismal font, depicting the baptism of Christ in the Jordan, is a collaborative work by various artists. The design is by Willem De Backer, the execution in blue stone by the De Backer firm, and the silver-plated lid with fish figures and a dove by Frans Brans. The round ambo, made of polished travertine, and the communion benches, also of travertine, were installed in 1969 following the spirit of renewal after the Second Vatican Council.

Few other artworks or statues distract from the church's central themes. The two statues of Mary, Our Lady with Child in the church, and Our Lady Immaculate Conception in the weekday chapel, are also by Willem De Backer. Although contemporary in typology, these designs retain a classical figurative dimension, reflecting the enduring relationship between De Backer and architect Gabriëls.

The Christus Koningkerk in Aarschot is not just a place of worship but a symbol of modernist innovation and community spirit. Its unique architectural design, rich history, and cultural significance make it a must-visit for anyone interested in the confluence of faith, art, and architecture.