DOI Artikel:
Lasser, Moritz Otto von: A German architect: Prof. Emanuel Seidl
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0032
A German A rchitect
Seidl bestows much thought on his ground plan,
and solves the problem of space in a way at once
practical and artistic. The question of aspect is
one which he solves to the best advantage. The
needs of the case have to be met, not evaded. In
the adjustment of his lines he exhibits a masterful
skill which defies comparison. The tout ensemble
of one of his creations arrests the attention of
the observer not only by its choice architectural
qualities, but also by the symmetry of the whole,
which usually gives the impression of having been,
as it were, cast in a mould, or as being the product
of growth, while a striking characteristic of his
country houses and mansions is that, though he
makes his individuality manifest, there is always
perfect harmony with the surrounding landscape.
Seidl excels in interiors. Diversity of taste,
great skill in decoration, a sense of proportion in
the application of ornament, are the qualities which
serve him in good stead.
In his treat m en t of
interiors two leading
traits are conspicuous—a
consummate skill in uti-
lising his materia], and
simplicity of design. The
latter trait gives an im-
posing aspect to his work,
while the former produces
most charming effects. The
white ceilings of the Heine-
mann Gallery may be named
as examples of fine decora
tive effect, while the use
of mahogany introduces
the element of colour just
where it is wanted. Opales-
cent glass is employed
to much advantage, while
great architectonic power
is produced by the broad
wall spaces.
We must now glance at
Seidl’s work at Mainz—
the Haus Karl Bembe.
Taking first the street
fagade, which cannot fail
to impress the observer,
we need only remark
here on the happy effect
produced by the intro-
duction of animal forms,
such as snails, lizards,
and fishes. The garden
i4
faqade has a beauty of its own apart from
the proximity of nature’s beauties. Pretty in
design and excellent in composition, there is
much that is homely about it. The hall presents
that nobility of design which in a still greater
degree distinguishes the suite of apartments
leading from it. The staircase is well conceived.
The billiard-room, with its diversity of taste, dis-
closes fine decorative skill. Its principal decora-
tive effect is derived from the artist’s employment
of simple lines, as will be seen by a glance at the
doors, the wall decoration, the seating accommoda-
tion, and the cabinet in front of the gobelin. The
dining-room strikes one at once as being a perfect
gem in design and decoration. The delicate, one
might almost say exquisite, treatment of detail gives
just the right tone to its festive harmony. As a
whole it presents a striking contrast to some of those
restless and often laboured displays which are
ENTRANCE HALL OF THE HOUSE EMANUEL SEIDL, ARCHITECT
OF MR. KARL BEMBE AT MAINZ
Seidl bestows much thought on his ground plan,
and solves the problem of space in a way at once
practical and artistic. The question of aspect is
one which he solves to the best advantage. The
needs of the case have to be met, not evaded. In
the adjustment of his lines he exhibits a masterful
skill which defies comparison. The tout ensemble
of one of his creations arrests the attention of
the observer not only by its choice architectural
qualities, but also by the symmetry of the whole,
which usually gives the impression of having been,
as it were, cast in a mould, or as being the product
of growth, while a striking characteristic of his
country houses and mansions is that, though he
makes his individuality manifest, there is always
perfect harmony with the surrounding landscape.
Seidl excels in interiors. Diversity of taste,
great skill in decoration, a sense of proportion in
the application of ornament, are the qualities which
serve him in good stead.
In his treat m en t of
interiors two leading
traits are conspicuous—a
consummate skill in uti-
lising his materia], and
simplicity of design. The
latter trait gives an im-
posing aspect to his work,
while the former produces
most charming effects. The
white ceilings of the Heine-
mann Gallery may be named
as examples of fine decora
tive effect, while the use
of mahogany introduces
the element of colour just
where it is wanted. Opales-
cent glass is employed
to much advantage, while
great architectonic power
is produced by the broad
wall spaces.
We must now glance at
Seidl’s work at Mainz—
the Haus Karl Bembe.
Taking first the street
fagade, which cannot fail
to impress the observer,
we need only remark
here on the happy effect
produced by the intro-
duction of animal forms,
such as snails, lizards,
and fishes. The garden
i4
faqade has a beauty of its own apart from
the proximity of nature’s beauties. Pretty in
design and excellent in composition, there is
much that is homely about it. The hall presents
that nobility of design which in a still greater
degree distinguishes the suite of apartments
leading from it. The staircase is well conceived.
The billiard-room, with its diversity of taste, dis-
closes fine decorative skill. Its principal decora-
tive effect is derived from the artist’s employment
of simple lines, as will be seen by a glance at the
doors, the wall decoration, the seating accommoda-
tion, and the cabinet in front of the gobelin. The
dining-room strikes one at once as being a perfect
gem in design and decoration. The delicate, one
might almost say exquisite, treatment of detail gives
just the right tone to its festive harmony. As a
whole it presents a striking contrast to some of those
restless and often laboured displays which are
ENTRANCE HALL OF THE HOUSE EMANUEL SEIDL, ARCHITECT
OF MR. KARL BEMBE AT MAINZ