Karl Moser

Moser later taught at ETH Zurich and served as the inaugural president of the Congrès Internationaux d’Architecture Moderne from 1928 to 1930.

• Name — Karl Moser • Birth Name — Karl Coelestin Moser • Born — 10 August 1860 • Birthplace — Baden, Switzerland • Died — 28 February 1936 • Place of death — Zurich, Switzerland • Occupation — Architect, university professor • Education — Zurich Polytechnic, École des Beaux-Arts • Spouse — Euphemie Lorenz • Children — 5, including Werner M. Moser • Illustration — The Moser family grave at Fluntern Cemetery in Zurich

Karl Coelestin Moser was born in Baden, Switzerland, on 10 August 1860. His father, Robert Moser, was an architect. He studied architecture at the Zurich Polytechnic from 1878 to 1882 under Alfred Friedrich Bluntschli. After graduating, he briefly worked in Bluntschli’s architectural practice. He continued his studies at the École des Beaux-Arts in Paris with Jean-Louis Pascal and also worked in the office of Jules-Aubert-Clément Reboul. While working in Wiesbaden, Moser met Robert Curjel. He travelled to Italy in 1887. During his travels, Moser also made architectural sketches, including numerous drawings from his journeys in Italy. In 1887, he married Euphemie Lorenz. They had five children, including the architect Werner M. Moser. Moser and Curjel founded Curjel & Moser in Karlsruhe in 1888. Moser declined an appointment at ETH Zurich in 1899. From 1907 to 1912, he worked for the Baden state railways as an architectural adviser. The University of Zurich awarded Moser an honorary doctorate in 1914. In 1915, he left the partnership and became a professor of architecture at ETH Zurich, where he taught until 1928. He also established an architectural practice in Zurich, which he maintained until 1936. Moser served as the first president of the Congrès Internationaux d’Architecture Moderne from 1928 to 1930. He died in Zurich on 28 February 1936.

Moser's architectural work included nearly 600 buildings and projects across a wide range of building types, including housing and urban planning.

• Illustration — Cultural heritage monument in Lichtental, Baden-Baden • Illustration — Illustration of work by Curjel & Moser in Moderne Bauformen (1906) Within Curjel & Moser, Karl Moser generally directed the firm’s Swiss projects, while Robert Curjel concentrated more heavily on residential and commercial work in Karlsruhe. Moser also took the leading role in the firm’s architectural design. Curjel & Moser became one of Baden’s foremost architectural practices and completed both public and private commissions. Around 1900, the partnership and Hermann Billing were associated with the progressive Jung-Karlsruher Schule. Its work included churches, schools, houses, commercial buildings and industrial projects. Curjel & Moser won the competition for Basel's Pauluskirche from a field of 56 entries. The church combined a Romanesque-influenced central plan with extensive figurative sculpture and contemporary Jugendstil elements. Max Laeuger designed its stained-glass windows. This kind of collaboration with other artists was a recurring feature of Moser's architectural practice, with painters, sculptors and decorative artists often involved in his projects from an early stage. During a journey to England with Laeuger in 1896, he encountered the Arts and Crafts movement and the work of the American architect Henry Hobson Richardson. Richardson's influence can be seen in the round-arched forms of some of Moser's early work with Curjel, including the Pauluskirche in Basel. International exchange remained important throughout Moser's career, and he drew on contemporary developments in architecture in shaping his own work. From around 1900, Moser often contrasted compact exteriors with more expansive interiors featuring curved staircases and large halls. Between 1899 to 1901, he designed Villa Langmatt in Baden. The villa combined elements of the English country-house tradition and German Jugendstil with a modern internal layout. Its original interiors were designed by Moser together with Max Laeuger. Among the firm's principal works were the Kunsthaus Zürich, the University of Zurich’s main building and Basel Badischer Bahnhof. At Basel Badischer Bahnhof, the reception hall was a tall, semi-circular vaulted space within the station's elongated plan. The design of the Kunsthaus treated its artworks and architectural setting as parts of a unified composition. For the Kunsthaus façade, Moser worked with the sculptor Carl Burckhardt, whose reliefs were incorporated into the architectural composition. The Kunsthaus presented a relatively austere exterior, while its interior made greater use of ornament and elements associated with the Secession style. The interior also incorporated work by Ferdinand Hodler, whose monumental mural was intended for the main staircase and formed part of Moser's effort to integrate art and architecture. In 1908, Moser and Robert Curjel won the competition to design the new University of Zurich building, which became one of Moser's major works. He adapted the university complex to its sloping site, placing the main building further back towards the Zürichberg and the biology building closer to the city. The canton sought a monumental building, but Moser developed an individual design shaped by the site and contemporary architectural concerns. The University of Zurich building combined round-arched forms with references to Greek Doric architecture, illustrating Moser's use of varied historical influences. Its central courtyard incorporated references to different historical periods while maintaining a unified architectural design. He also gave contemporary artists considerable freedom in the building's decoration, engaging several artists, including the young painter Paul Bodmer. The tower was not a dominant feature of the original competition design but became increasingly prominent as the project was revised. The completed ten-storey, 65-metre tower was Zurich's first high-rise building.

Moser’s architecture changed substantially over the course of his career. Throughout his career, he incorporated new construction methods and materials as his architectural approach continued to evolve. His earlier work drew on historical styles, while designs produced around 1910 adopted a more restrained classical character. His Fluntern Church, completed in 1920, reflected his turn towards Neoclassicism. In the early 1920s, Moser and the architect Paul Ulrich developed a small group of houses on Rainstrasse in Wollishofen. Their restrained forms and uniform design marked a departure from the Jugendstil villas built there earlier. His interest in contemporary Dutch architecture and exchanges with younger architects at ETH Zurich contributed to his subsequent move towards modernism. St. Anton Church in Basel was among the principal works of Moser's independent career. It represented the culmination of his church architecture. Switzerland’s first church built with exposed concrete, the building left its concrete exposed on both the interior and exterior. The interior is a high three-aisled hall, with the central nave supported by slender concrete piers. The stained-glass windows were designed by Hans Stocker and Otto Staiger. Completed in 1927, it became an internationally recognised early landmark of modern concrete architecture. Its exposed concrete attracted both admiration and criticism when the church opened. The church was placed under monument protection in 1987. Moser continued to develop the Kunsthaus after the end of the Curjel & Moser partnership. A rear addition incorporating a reading room was completed, while later expansion proposals remained unrealised. During the 1930s, Moser increasingly aligned his work with the New Building movement, and his later Kunsthaus proposals incorporated ideas associated with contemporary modernist architecture. Beyond St. Anton Church, his Zurich practice designed housing estates with social facilities for Swiss industrial companies, as well as commercial buildings in Baden and Schaffhausen. His post office in Baden, opened in 1931, was later altered and expanded several times by Haefeli Moser Steiger, whose members included his son Werner M. Moser. In a 1933 redevelopment plan for Zurich’s Niederdorf, Moser proposed replacing most of the historic buildings with simple cubic structures, while keeping only a small number of monuments. The proposal would have transformed the wider old town into a district of roughly 30 high-rise buildings, with the Grossmünster, Rathaus and Kunsthaus among the few existing buildings left in place. The plan drew on ideas associated with Le Corbusier’s Plan Voisin and reflected the increasingly radical character of Moser’s approach to modern urban planning.

Moser's candidacy for the ETH professorship drew objections over his age, architectural outlook and continuing private practice. He was nevertheless appointed after his professional experience and body of work were judged favourably. At ETH Zurich, he reorganised the architectural curriculum, giving construction a more prominent place alongside the teaching of architectural history and design. Moser gradually adopted a more interactive approach to teaching. In later years, some of his seminars centred on the joint discussion of architectural problems rather than formal lectures. Over time, he became increasingly receptive to modern architecture and encouraged younger architects working in new directions. As a competition juror, he also supported modern architecture, notably in the 1927 competition for the League of Nations headquarters in Geneva, where he supported a first prize for Le Corbusier. By the 1920s, he had become a mentor to architects associated with the architectural avant-garde. His students included architects who later became prominent representatives of the New Building movement. Among them were Werner Moser, Max Ernst Haefeli and Rudolf Steiger, who later formed the architectural partnership Haefeli Moser Steiger.

A selection of Moser's architectural works includes: • Villa Boveri, Baden (1896–1897) • Pauluskirche, Basel (1897–1901) • Bankhaus Veit L. Homburger, Karlsruhe (1898–1901) • Villa Langmatt, Baden (1899–1901) • Kunsthaus Zürich (1904–1910) • Lutherkirche, Karlsruhe (1905–1907) • Main building of the University of Zurich (1908–1914) • Basel Badischer Bahnhof (1908–1913) • Fluntern Church, Zurich (1914–1920) • Kosthaus Bally, Schönenwerd (1917–1920) • St. Anton Church, Basel (1923–1927) • Post office, Baden (1926–1931) • Georg Fischer AG extension, Schaffhausen (1929–1932)

• Illustration — Pauluskirche in Basel (1897–1901), designed by Curjel & Moser • Illustration — Bankhaus Veit L. Homburger in Karlsruhe (1898–1901), designed by Curjel & Moser • Illustration — Kunsthaus Zürich (1904–1910), designed by Curjel & Moser • Illustration — Lutherkirche in Karlsruhe (1905–1907), designed by Curjel & Moser • Illustration — Basel Badischer Bahnhof (1908–1913), designed by Curjel & Moser • Illustration — Fluntern Church in Zurich (1914–1920), designed by Moser • Illustration — St. Anton Church in Basel (completed 1927), designed by Moser in the modernist style • Illustration — Interior of St. Anton Church in Basel

The authorities additionally record the heading Carl Moser. His recorded languages were Swiss German and Standard High German. His recorded confession was Catholicism. He was the child of Robert Moser. One child is recorded: Werner M.