Villa Moser (Stuttgart)
The Villa Moser was a country house villa in Stuttgart, built in 1875 by Johann Wendelin Braunwald for the chocolate manufacturer Eduard Otto Moser in the park of the Leibfried Garden . In 1944 the villa was destroyed to the ground in an air raid.
For the International Horticultural Exhibition 1993 (IGA '93), the architect Hans Dieter Schaal designed the Villa Moser art station , which makes the remains of the villa and its overgrown park accessible to the public through catwalks.
Note:
- After the later owner Karl Ernst Leibfried , the villa is also called Villa Moser-Leibfried or Villa Leibfried .
- Numbers in brackets, e.g. B. (12), refer to the corresponding numbers in Plan 1 or Plan 2 (see figures).
Plan 1: Leibfried's Garden.
Plan 2: Villa Moser art station. Remains of the Villa Moser in red.
Brief description
| Surname | Villa Moser, also: Villa Moser-Leibfried |
| Location | Stuttgart , Leibfriedscher Garden |
| Building | Country villa |
| Construction year | 1875 |
| Architectural style | New Renaissance , in the style of the Italian High Renaissance |
| Client | Eduard Otto Moser |
| architect | Johann Wendelin Braunwald |
| Size of the park | Leibfriedscher Garden: approx. 4 ha |
| Height above sea level | approx. 290 m |
| Length Width | Ground floor: west-east approx. 18.5 m, north-south approx. 17.5 m, basement: west-east approx. 20.5 cm, north-south approx. 26 m |
| height | Ground floor / upper floor to upper edge of the attic: approx. 6 m, lower floor: approx. 1.7 m |
| Status | Destroyed except for a few remains in 1944 |
location
The remains of the Villa Moser are located in the park of the Leibfried Gardens on the Pragsattel in the Stuttgart-Nord district . The park is bounded by four streets:
- in the west: Heilbronner Straße = B 27 (1)
- in the northeast the Pragstraße = B 10 (2)
- in the east a small section of Nordbahnhofstrasse (3)
- and in the southeast the western end of Löwentorstraße (4).
With the exception of Löwentorstraße, the busy streets have been expanded to four lanes and trams run through them. The noise that surrounds the park is broken by the rich planting of the area, so that the Leibfriedsche Garten appears to the visitor as an oasis of silence.
The Leibfriedsche Garten forms an equilateral triangle with one point facing east and the other two facing north-west and south-west. In the center of the triangle was the Villa Moser or its current remains are.
The three entrances to the villa can be reached via the Lodzweg (7), which runs south and begins at the end of the Lodz footbridge (6). The "official" entrances to Villa Moser at the time of the International Horticultural Exhibition 1993 (IGA '93) were the west entrance (19) and the south entrance (14), which are currently (2013) closed. The Villa Moser can also be reached via the somewhat more difficult east entrance (13).
history
Client
After completing his apprenticeship, 18-year-old Stuttgart confectioner Eduard Otto Moser set out for Paris in 1836, where he learned the art of chocolate and candy production from scratch. After ten years he returned to Stuttgart and founded a candy store in 1846, in which he made and sold chocolate products and sweets in the Parisian style.
Chocolate production was just getting started in Württemberg, and Moser became one of the pioneers in this new branch of the economy. His business grew rapidly, and he soon set up a factory to manufacture chocolate, which was growing rapidly and, when he died in 1879, already had 250 employees on a sizable factory site.
timeline
Like many other successful industrialists and businessmen of his time, Moser also endeavors to crown his economic success with the construction of a "befitting" domicile. In 1875 he had an extensive English park laid out on the extensive property of what later became known as the Leibfried Garden and a splendid villa built in the style of the High Renaissance . Moser "left the villa in 1875 as a counterpart to the approximately 20 years earlier built Villa Mountain build" a high standard, considering that the villa mountain in the country residence of the Württemberg Crown Prince and later King Charles I was. In any case, Moser's villa looked down at Villa Berg, 2 km south-east and approx. 20 m below.
After Moser and his wife died in 1903 in 1879, the property of the childless couple passed to the privateer Karl Ernst Leibfried (1864–1942) around 1904 . The villa is named after him as Villa Moser-Leibfried or Villa Leibfried and the park as Leibfriedscher Garten. In 1943, Robert Bosch GmbH rents the building and converts it so that seven two-room apartments for "married employees with their families" are being built. On February 21, 1944, the villa was destroyed to the ground in a bomb attack.
After that, the ruins and the park will turn into a "Sleeping Beauty Garden" over time. "In the areas of the kitchen garden and orchard a little further away from the house, a small nursery and some allotment gardeners settled down." In 1955 the city of Stuttgart acquired the area, leased some of it as grave land and left the rest of the area and the ruins of the villa to their own devices. In 1983 the property was included in the draft of the list of cultural monuments in Stuttgart and received monumental status. However, the Villa Moser is no longer included in the list of cultural monuments of the city of Stuttgart from 2008.
For the International Horticultural Exhibition 1993 (IGA '93), the art station Villa Moser was built according to the designs of the architect Hans Dieter Schaal , which made the villa and park accessible to the public again through catwalks.
building
Note: The description of the building is based on the floor plans and the two views of the east facade shown here. Nothing more is known about the west facade, and knowledge of the north and south sides is limited to the side view, as far as it can be seen in the views of the east facade.
In September 1944, the villa was destroyed to the ground in a bomb attack. Only a few parts remained:
- almost the entire facade wall of the eastern basement with the two outside staircases, the grotto and the inscription stone (65),
- the stairs (62) that lead up to the grotto, including two pedestals at the start of the stairs (61),
- the southern facade wall (64) with the cellar entrance (63)
- as well as large parts of the foundation, which include the two basement rooms (67, 68).
Layout
The floor plan of the Villa Moser obeyed a simple scheme. The base (without risalites ) formed approximately a square with a side length of approx. 18 m, which was divided vertically and horizontally into three strips.
The median strips were drawn outwards in the east, south and north, so that there were two central risalites and a semicircular exedra on the ground floor and corresponding balconies on the upper floor. The basement protruded from the upper floors by approx. 4 m in the north and south and by approx. 5.5 m in the east, so that a correspondingly wide terrace was created. The exedra on the ground floor corresponded to a semicircular, much larger porch in the basement. The west facade deviated from this structure. In front of the western basement there was a partially covered access ramp that could be approached from two sides.
According to Christine Breig, the symmetry of the facade also appears “in the plan, because a line of sight extends from the entrance through the vestibule into the salon onto the garden. A second axis runs across it. Both visual axes halve the floor plan and appear on the facades as window axes. "
Structure
The cube- shaped structure consisted of three floors: the basement, which contained the basement, and the living quarters on the ground floor and the upper floor. In the north, the basement expanded into a semicircular porch, which was repeated on the ground floor in a smaller exedra .
A coffered attic wall , which was partially interrupted by a wrought-iron railing, bordered the roof terrace and hid the low hipped roof .
The basement stood on a rectangular area of 20 × 26 meters, the narrow sides of which were facing north-south. Except in the west, the basement protruded across from the two apartment floors, so that there were more or less wide terraces at ground level.
In the west of the basement there was a partially roofed access ramp that could be approached from two sides. From here you got to the entrance: “The entrance situation is designed to be representative. From a small vestibule it goes over a few steps into a wide, centrally located vestibule. ”The vestibule extended over two floors. On the upper floor it was designed as a gallery with an artistic coffered ceiling so that one could look down into the ground floor. All other rooms could be reached from the vestibule, including the salon facing the garden and the dining room, which ended with the exedra.
In front of the three-axis central building in the east was a column portico, to which a wide staircase led up. The central projection of the south facade had an open balcony designed as an arbor, the ceiling of which was supported by two caryatids . The portico column also had an open balcony, while the exedra was covered by a closed balcony. The balconies jumped back towards the rear of the facade and thus reached a greater depth than the ceilings of their substructures.
Left staircase and sequoia tree (66).
Eastern basement facade with grotto (65).
Inscription stone and grimacing head.
Masonry
The facade of the basement consisted of Flachrustika -masonry, its square with rough faces and rim shot, were provided that created the impression of joints between the blocks.
Part of the eastern facade of the basement was preserved along with the two outside staircases and the grotto . The masonry of the central building is highlighted here by diamond blocks compared to the rest of the facade. A stalactite-like grotto is set into the wall between the outside stairs. It is bordered by an arch made of diamond blocks, the keystone of which is a grimaceous head that served as a gargoyle to feed the semicircular fountain basin under the grotto. The preserved inscription stone above the grotto bears the inscription: "Built by Eduard Otto Moser / MDCCCLXXV". Above it was a coat of arms cartridge flanked by two putti .
The facades of the upper floors were mainly characterized by window and door openings. The remaining wall surfaces (plinth, framing of the central window on the upper floor and corner pilasters of the lateral backsplashes ) stood out from the coarser rustics of the lower floor with their smooth, flat rusticated masonry.
Entrance to the south basement (63), from the outside.
Entrance to the south basement (63), from the inside.
Floor of a toilet.
Facade structure
The building was structured horizontally by surrounding balustrades and cornices . The balustrades lined the terrace above the basement, the upper floor including balconies and the attic, where they were partially interrupted by a wrought iron railing. A base cornice separated the basement and the first floor, a belt cornice separated the two upper floors, and below the parapet the cornice closed off the building from above.
In the vertical, the building was divided mainly by the numerous window and door axes, along with the rusticated corner pilasters of the lateral reserves , partially coupled , Ionic and Corinthian columns on the ground floor or first floor and attic statues on the corners of the lateral reserves.
Plastic jewelry
Only the grimacing head above the grotto remained of the villa's rich sculptural decoration , which served as a gargoyle for the semicircular fountain basin under the grotto. Part of the plastic ornament is shown in the views of the garden facade. The grotto contained a trident-armored figure of the water god Neptune (view from 1870), which, judging by the photo # D9167 , was later replaced by another figure. The parapet was crowned by four statues on the east facade, which probably corresponded to another four on the west facade. The sculptural decoration also included the two caryatids on the south balcony, the heraldic cartouche above the grotto, the keystones and gusset medallions of the window arcades and two lions at the top of the staircase that led up to the portico.
The obituary for Eduard Otto Moser in the Swabian Merkur contains a sentence that is difficult to interpret: “Moser, an eager pupil of Professor Weitbrecht, who was different too early, deserves to be named as a true art patron.” The sculptor Conrad Weitbrecht died in 1836 when Moser was 18 years old old was. It is not known how Moser was in contact with Weitbrecht. According to the author of the obituary, Weitbrecht's influence seems to have asserted itself posthumously in the design of the sculptural program of the villa.
park
The Leibfriedsche Garten forms an equilateral triangle with one point facing east and the other two facing north-west and south-west. In the center of the triangle was the Villa Moser or its current remains are. The park of the Villa Moser consisted of an English park in the immediate vicinity of the villa and an orchard and kitchen garden in the western and northern part of today's Leibfried Garden, of which numerous fruit trees are still evidence. The terrain rises from 274 m above sea level at Löwentor to Villa Moser to approx. 290 m and to the north-western tip of the triangle to approx. 300 m. So there is a difference in altitude of around 20-25 m.
Nothing is known about the original appearance of the English park. Today's jungle thicket, two well basins, scattered pedestals and stone rubble, two stairs that led up from the lower garden terraces to the villa, and in the northeastern garden a retaining wall and the base of a hexagonal pavilion allow only limited conclusions to be drawn about the original design of the park. Nothing is known about the plastic jewelry in the park.
Sequoia (66)
Two mighty chestnuts flank the arbor (51)
One of the two beech solitaires in the Rondell (17)
It is also not known whether the Leibfriedsche Garten in its current size belonged to the Villa Moser or only part of it. The magnificent old trees around the Villa Moser resemble a dense jungle. a. made of chestnuts, beeches, trees of gods , plane trees, maples, oaks and ash trees. Underneath are sprawling solitary trees, above all the large sequoia tree near the remains of the Villa Moser, which survived the air raid in 1944 unscathed. The trees document the extent of the former English park, which stretched from the Gate of Hope (12) in the east to the west entrance (19) and is now bordered by Pragstrasse (2) in the north and Lodzweg (7) to the south.
The area was surrounded by high walls "and only accessible to a select few or servants". Today the garden is open to everyone, only on Pragstraße the area rising towards the Pragsattel is bordered by a retaining wall, which at first hardly rises up to the height of a man up to the Samara walkways (8) to double man height. Opposite the substation on the other side of Pragstraße, the retaining wall is interrupted by the former gate (10) to Villa Moser (former address: Pragstraße 187). The simple wrought-iron two-wing gate is probably a later replacement for the original gate.
Gate entrance on Pragstraße (10)
Retaining wall of the Leibfried Garden
Partial view of the rondel (17) from the outside
Rondell (17) with the two beech solitaires from the inside
To the east of the garden facade of the villa, of which a remnant of the basement facade, the grotto and the two outside staircases (65) are evidence, the area descends in two terraces to the east entrance (13). A staircase (62) leads from the garden facade down to the first terrace, where you come across a round fountain basin. This terrace is immediately followed by the second terrace, where a long oval, eight-shaped fountain basin has been preserved. The villa's fountains were fed from a reservoir on the Leibfried Bastion (21).
If you turn right from the Gate of Hope (12) on the path at the east entrance, you come to the remains of a retaining wall and the base of a hexagonal pavilion in the northeast park.
The southern cellar wall (64) is preceded by a semicircular roundabout (17). It is shielded by a high, architectural yew hedge, into which jagged peaks and battlements are cut. It is not known whether the hedge pruning reflects the presumed original condition or is the work of a modern horticulturist. The piece of lawn inside the roundabout is overshadowed by two mighty beech solitaires. At the arbor (19), at the right end of the west footbridge, an old narrow staircase leads down to the roundabout. In the middle of the yew hedge, a breakthrough leads straight ahead to a narrow door (63) which opens into the southern cellar (68).
East entrance
The east entrance (13) is at the east end of the Villa Moser park. Opposite the Löwentor (5), the western entrance to Rosensteinpark , a staircase (11) leads up to the Gate of Hope by Dan Graham in the east of the Leibfriedschen Garten at the corner of Pragstraße / Nordbahnhofstraße ( Löwentor stop of the U13 light rail) , which was built at the time of the International Horticultural Exhibition 1993 (IGA '93) was an art station like the Villa Moser art station . The Gate of Hope can also be reached via the Lodzer Steg (6), which begins behind the Löwentor in the Rosenstein Park and winds in a few turns like a treetop path through a small piece of tree.
If you go through the Gate of Hope, you get to the east entrance of the park of the Villa Moser on a paved path that runs across the asphalted Lodzweg (7), which is marked by two pedestals , between which a garden gate used to open . A long oval, figure eight-shaped fountain basin overgrown by plants is reached via a staircase and a narrow path, and after a small embankment another round fountain basin. Here you can see the east footbridge (15) and the remains of the Villa Moser (16) behind it. The east footbridge is covered with cross-laid wooden planks and is secured on both sides by a steel railing.
Lion Gate (5).
Gate of Hope (12).
Pedestals at the east entrance (13).
Stairway (11).
Stairs at the east entrance (13).
reception
Unlike other private villas in Stuttgart, Villa Moser was almost ignored in literary terms. The villa is only briefly mentioned in the obituary for Eduard Otto Moser in the Swabian Merkur : “Moser, an eager pupil of Professor Weitbrecht, who was too early, deserves to be named as a true art patron: whoever had the opportunity to see the magnificent villa that belonged to him was surprised by the delicate, artistic harmony of which the entire proud building down to the smallest detail is produced under his direction. "
It is not known whether the Villa Moser was included in one of the architectural panels from the late 19th and early 20th centuries. In Gebhard Blanks book on the Stuttgart villas in the 19th century , Villa Moser does not occur, although less significant or also war-ravaged villas have been added. Only Christine Breig goes into more detail about the Villa Moser in her standard work The Villa and Country House Construction in Stuttgart 1830–1930 .
In connection with the art station Villa Moser , some authors express themselves slightly derogatory about the wishes and intentions of the owner of the Villa Moser and the upper-class villa builders of the second half of the 19th century. Heiner Luz z. B. considers the Villa Moser to be “a villa that met the need for recognition of a very rich citizen, but which also reflected the dreams of this social class”.
literature
The references are sorted by the author and, if the author is unknown, by the journal title or a keyword in the title.
- Ralf Arbogast: Stuttgart, the green experience. Recreational landscapes, parks and garden shows in the past and present , Tübingen 1993, pages 85, 88.
- Architectural studies. Published by the Architects' Association at the Kgl. Polytechnikum in Stuttgart , Volume 3, Stuttgart [1870–1891], Issue 61, Sheet 1 (outline), Sheet 2 (floor plans).
- Gebhard Blank: Stuttgart villas in the 19th century. A brochure accompanying the exhibition in the Wilhelms-Palais from March 18 to August 16, 1987 , Stuttgart 1987.
- Christine Breig: The construction of villas and country houses in Stuttgart 1830–1930. An overview of the different implementations and changes in the villa building type in Stuttgart , Stuttgart 2004, pages 496–497.
- Klaus-Jürgen Evert (editor): The permanent systems. IGA Stuttgart 1993 , Munich 1993, page 15, 29.
- (fac): To the “Iga” wine cellar in the ruined vault? Two city councilors advertise an idea on Leibfried's premises . In: Stuttgarter Nachrichten No. 272 of November 25, 1987, page 25.
- Christoph Gunßer: The international horticultural exhibition Iga Expo '93 in Stuttgart . in: Deutsche Bauzeitung db. Journal for architects and civil engineers 127.1993, issue 6, pages 14–28, here: 23–25.
- "Villa Moser-Leibfried" and "Stangenwald" for the "International Horticultural Exhibition", Stuttgart, 1993 . In: Claus-Wilhelm Hoffmann (editor); Frank R. Werner (editor): Hans Dieter Schaal. Work in Progress , Stuttgart 2013, pages 424-435, Villa Moser-Leibfried: pages 424-431, Stangenwald: 432-435.
- Knitz (= Hermann Freudenberger): Stuttgart's old villas . In: Stuttgarter Nachrichten No. 147 of June 28, 1984, page 19.
- Knitz (= Hermann Freudenberger): villas and foundation stones . In: Stuttgarter Nachrichten No. 162 of July 4, 1984, page 18.
- The IGA is changing the north . In: Jörg Kurz; Edgar Dambacher (contributions): Northern history (s). On the home and life of people in the north of Stuttgart , [Stuttgart] 2005, page 113 (photo Gärtnerei Weisser).
- August Lämmle: Review of the 100th anniversary of the Moser-Roth company, dedicated to its business friends , 1841–1941 , Stuttgart 1941, new edition Stuttgart 2004, especially: pages 12–16 [2] .
- Rüdiger Lutz among others: IGA current. IGA Stuttgart 93rd V. International Horticultural Exhibition in the Federal Republic of Germany , Stuttgart 1993, pages 8–9.
- Christof Luz; Hans Luz: overall planning time systems: The Green U . In: Garten + Landschaft 103.1993, issue 7, pages 18–28, here: 26–27.
- Christof Luz; Hans Luz: Planning concept. Landscaping . In: Klaus-Jürgen Evert (editor): The permanent systems. IGA Stuttgart 1993 , Munich 1993, pages 12-17, here: 15.
- Hans Luz: Wartberg / Steinberg and Leibfriedscher Garden . In: Elisabeth Szymczyk-Eggert: Gardens and Parks in Stuttgart , Stuttgart 1993, pages 100-105.
- Villa Moser, Hans Dieter Schaal. Stangenwald, Hans Dieter Schaal. At the crossroads, Claus Bury . In: Md: interior, design, architecture 40.1994, issue 2, pages 62–65, here: 62.
- Stuttgart, February 10th [obituary] . In: Schwäbischer Merkur / Schwäbische Kronik No. 36 of February 11, 1879, page 281.
- Stuttgart, August 2nd [sale of Moser's factory to his employees] . In: Schwäbischer Merkur / Schwäbische Kronik No. 183 of August 3, 1879, page 1417.
- Joachim Ramlow (editor): IGA Stuttgart Expo 93.Accompanying booklet with a program for the IGA and the World Athletics Championships, special exhibitions in museums, cultural and leisure tips, gastronomy , Stuttgart 1993, page 12.
- Georg Schiel: planning competition . In: Klaus-Jürgen Evert (editor): The permanent systems. IGA Stuttgart 1993 , Munich 1993, pages 8-12.
- Werner Skrentny (editor); Ralf Arbogast: Stuttgart on foot. 20 district forays through history and the present , Tübingen 2011, pages 275, 388, 400–401.
- State capital Stuttgart, Office for Urban Planning and Urban Renewal, Lower Monument Protection Authority (publisher): List of cultural monuments. Immovable architectural and art monuments , Stuttgart 2008 [3] (PDF; 501 kB).
- Rolf Ulbrich : Eduard Otto Moser, the aristocrat of German chocolate . In: Jürgen Hagel: Stuttgart Archive , 8 deliveries, [Braunschweig] 1989–1996, 04.021.
- Udo Weilacher: Between Landscape Architecture and Land Art. With prefaces by John Dixon Hunt and Stephen Bann , Basel 1999.
- Frank R. Werner: The art concept: Art-Nature-Drama . In: Garten + Landschaft 103.1993, issue 7, pages 36–39, here: 37, 39.
- Frank R. Werner: Landscape and Art . In: Klaus-Jürgen Evert (editor): The permanent systems. IGA Stuttgart 1993 , Munich 1993, pages 26-30, here: 26, 29.
Archives
- Building Law Office D9167 , Stuttgart City Archives .
- Photos, Villa Moser, F45066 , Stuttgart City Archives .
Individual evidence
- ↑ See e.g. B: #Hoffmann 2013 , page 424.
- ↑ # D9167 .
- ↑ The map is based on an OpenStreetMap map, supplemented by the key figures 1–22, the dashed route at no. 10 and the symbols for the Villa Moser (16) and the sanctuary (22). The route and the two symbols are only approximately true to scale and position.
- ↑ Scheme drawing, approximately true to scale and position.
- ↑ The approximate dimensions are based on the dimensions of the floor plan (see illustration).
- ↑ The heights were determined by transferring the floor plan to the cover picture.
- ↑ Quoting in #Knitz 1984.1 according to an unnamed source.
- ↑ #Skrentny 2011 , page 400. - In an undated newspaper article by Knitz in the Stuttgarter Nachrichten under the heading Lebendige Nachrichten (probably from 1984) it is rumored that Leibfried married a Rose Moser who brought Villa Moser into the marriage have.
- ↑ # D9167 / 13; #Knitz 1984.2 .
- ↑ #Knitz 1984.2 .
- ↑ #Knitz 1984.1 .
- ↑ #Luz, Hans 1993.3 , page 100; #Short 2005 .
- ↑ Source: notice board on the arbor.
- ↑ #Arbogast 1993 , page 85.
- ↑ #Stuttgart 2008 .
- ↑ #Breig 2004 , page 496.
- ↑ #Breig 2004 , page 496.
- ↑ #Breig 2004 , page 496.
- ↑ #Merkur 1879.1 .
- ^ Official map of the city of Stuttgart 1:15 000 with contour lines from 2011, Nordblatt.
- ↑ #Luz, Heiner 1993.3 , page 100.
- ↑ #Merkur 1879.1 .
- ↑ #Blank 1987 .
- ↑ #Breig 2004 .
- ↑ #Luz, Heiner 1993.3 , page 100. Similar: #Arbogast 1993 , pages 85 and 88; #Luz, Christof 1993.1 , page 27; #Luz, Heiner 1993.3 , pages 103-104.
- ↑ According to the SWB online catalog [1] , the first issue appeared in 1870 and the last issue No. 68 in 1891.
Web links
- Villa Moser on the website Kabisa Gise [4] .
- Leibfriedscher Garten on the website of the city of Stuttgart [5] .
- Video clip by Sandro Paech about the Villa Moser [6] .
Coordinates: 48 ° 48 ′ 26.7 " N , 9 ° 11 ′ 12.5" E