When the art historian and diplomat Gustav Schneeli was looking for a location for his own museum in 1942, he found the perfect place in Glarus. The Glarus Art Association, which had been considering the idea of its own museum for decades, recognised the opportunity for collaboration. Schneeli made his Symbolist and Impressionist-influenced works available and promised 250,000 francs for a foundation. The foundation stone for today’s Kunsthaus.
Architectural clarity with vision
After Schneeli’s death in 1944, the architect Hans Leuzinger developed a project of remarkable consistency. The path led from classical approaches through numerous variations to a finely tuned lighting design. Scandinavian influences, careful site inspections and creative foresight formed a building that consciously distanced itself from monumental representational intentions and blended sensitively into the Glarus valley basin.
Political hurdles, patient negotiations
The realisation was anything but straightforward. Disputes over the location, delays caused by the war, critical voices from the administration and the community of heirs as well as the threat of the foundation’s withdrawal jeopardised the project on several occasions. It was only through diplomatic skill, architectural persuasion and tireless commitment that construction could begin on the last possible day, 15 July 1950.
Art and architecture as a sign of the times
The opening in 1952 was not only an architectural success, but also a strong signal for Glarus as a cultural centre. A cultural attitude manifested itself in a simple but expressive building that continues to have an impact today. Architect Reto Fuchs’ research reveals this masterpiece and its eventful construction history. The Kunsthaus Glarus stands for masterful architecture, the courage to take a stand and the idea of thinking big about culture in rural areas.
