Part of a larger complex including the parish house and Protestant students’ residence, the church is within a semi-enclosed grouping around a central court. Despite his close ties to traditional and historicist design, Harminc planned the complex within the spirit of fin-de-siecle Modernism. While the profane sections of the complex are simple rectangles with flat roofs, plain stucco and ceramic tiling along the ground level, the sacred space of the church is entirely covered with ceramic tiles except in the lower section, reserved for Harminc’s favourite stone cladding of rough-cut travertine. The church itself is a raised hall-space with a simple flat ceiling; a gallery lines the sides of the upper level and the organ loft is in the rear, above the entrance. Lighting the interior space are high windows along the sides of the nave and in the rear (actually the facade); beside the main entrance is a massive rectangular tower. Most noticeable about the church is the brick-red exterior covering and the Constructivist grouping of prismatic masses – a highly unique instance in the predominantly Historicist context of the architect’s sacred buildings.
Bibliography:
Kostol, internát a 3. posch. budova evanj. cirkvi v Bratislave (obrázky z návrhu, bez textu). Slovenský staviteľ 1, 1931, s. 7 – 9.
Nový slovenský evanjelický a. v. kostol Bratislave. Slovenský staviteľ 4, 1934, s. 117 – 124.
TORAN, Eduard: Architekt Milan Michal Harminc. In: Z novších výtvarných dejín Slovenska. Súbor štúdií a materiálov. Ed. Ladislav Saučin. Bratislava, Vydavateľstvo SAV 1962. s. 327 – 406, tu s. 342.
Milan Michal Harminc. Katalóg výstavy. Ed. Klára Kubičková a Anna Zajková. Bratislava, GAUUDI – SNG 1991, nestránkované, 41 s. (tu s. 29 a 33).
KRIVOŠOVÁ, Janka et al.: Evanjelické kostoly na Slovensku. Liptovský MIkuláš, Tranoscius 2001, 287 s.
DULLA, Matúš – MORAVČÍKOVÁ, Henrieta: Architektúra Slovenska v 20. storočí. Bratislava, Slovart 2002. 512 s., tu s. 81, 365.
