Decades before this church stood here, Bockelsberg was rapidly growing. The need for a dedicated church became clear. Today, we stand before the Kreuzkirche Lüneburg. It is more than just a building. It’s a testament to a community’s vision.
The Kreuzkirche Lüneburg’s story began in 1959. A meeting was held to discuss building a church in Lüneburg-Süd. “Neuer Stadtteil – neue Kirche” became the motto. A “Kirchbauverein St. Johannis-Süd” was founded. This registered association actively sought donations for the church’s construction. This association was active until the Kreuzkirche’s organ was acquired around 1970. It had roughly 300 members. The association contributed nearly DM 100,000 to the Kreuzkirche’s construction.
The name of the new church was debated. Several suggestions were considered. “Melanchthonkirche” was one proposal. It honored the reformer Philip Melanchthon. Landessuperintendent Dornblüth favored reviving the name “Lambertikirche”. Kirchenvorsteher Hans Meyer advocated for “Jakobuskirche”. Ultimately, “Kreuzkirche” was chosen. It was a clear reference to the central Christian message.
The location of the Kreuzkirche Lüneburg was also carefully considered. Initially, land between Blücherstraße and Gneisenaustraße was considered. The Kirchenvorstand rejected this location. It was deemed too close to the city center. A site on Wichernstraße was proposed. This was also rejected, because it was on the edge of the community. Finally, the present site on Röntgenstraße was chosen. The city of Lüneburg donated the land.
The Kreuzkirche Lüneburg was built in the classic modern style. It was consecrated in 1964. Over the years, the church’s interior has been modified. The striking altar wall was installed in 1999. It replaced a simple crucifix. In 2014, a steel Christ candleholder, an ambo, and a new altar candleholder were added. These were created by the artist Gerd Winner.
Since 2015, the Kreuzkirche Lüneburg has been known as the “PianoKirche”. Its excellent acoustics make it a popular venue for concerts. A Steinway grand piano graces the space. Art plays a significant role here. Besides rotating exhibits, the modern altar dominates the room.
The altar wall is the last joint work of artists Ingema Reuter and Gerd Winner. It features Christ’s heads and crosses arranged as a triptych. The altar wall is square. It is divided into three vertical picture surfaces. These are separated by chromium-nickel crosses. Each picture surface depicts three square paintings of the head of the crucified Jesus Christ. The nine Christ heads are based on a painting by Jacopo Tintoretto. They differ only in color. The outer Christ heads can be folded in. This allows the altar wall to assume different forms. The lower register symbolizes the Last Supper. The middle symbolizes the Passion. The upper symbolizes the Resurrection.
The Kreuzkirche Lüneburg stands as a testament to faith. It embodies artistic expression. It also represents community collaboration. Its doors are open. It welcomes all to experience its beauty and participate in its vibrant life. As you leave, remember the Kreuzkirche Lüneburg. Think of its journey from a vision to a reality.