Leonberger Strasse 17 (Ludwigsburg)
The house at Leonberger Straße 17 in Ludwigsburg is a listed residential building from the 19th century.
History and description
The core of the building dates from 1864. At that time, a two-storey plastered building in half-timbered construction was built for the master carpenter Carl Seemüller. The house is one of the first buildings in the western section of Leonberger Straße, which was laid out in the baroque avenue system from the time of Duke Carl Eugen .
As early as 1869, the building became the property of foreman Wilhelm Friedrich Hoffmann. He lived there until around 1900. Under Hoffmann, verandas were added in 1891 on the courtyard side of the house . In 1893/94, an elaborately designed gate was added over the entrance to the courtyard. This extension, kept in the neo-baroque style, was structured with sand and stone decorations, an aedicule-like window frame and balustrades . The previous residential wing was decorated in a similar way. The facade, which has been simulating a brick building since this redesign, was clad with facade bricks and mosaic panels in different colors.
In addition, the loft was extended, which brought about a change in the roof design: the dormers were provided with arched windows under multi-sided pyramid roofs. The roof was covered with red-brown glazed interlocking tiles. This redesign of the building was carried out according to plans by the architect and drawing teacher Albert Bauder . Bauder's buildings were distinguished by their artistic and handcrafted interior design, which has been preserved in several examples. This also includes the house at Leonberger Strasse 17.
In 1908 the property changed hands again. It was sold to Christian Marbach, who owned a coach shop and had stable buildings built on the open space north of the house. When the car driver Friedrich Marbach took over the house in 1922, garages and a car wash were set up. Marbach advertised to own the first "car bath" in Ludwigsburg. Later, the Kirchhausen family, of Jewish origin, bought the house and the property and sold it - voluntarily, as was determined after the Second World War - in 1938. The courtyard was now used as a car rental company; A gas pump was set up in the gate entrance . When the Third Reich came to an end, the house was occupied by US troops until it could be proven that the Kirchhausen family had not sold the property under duress. After that, a car repair shop was set up in the courtyard that existed until 2008. When the new owners began to renovate the house afterwards, they discovered traces of wall paintings in the stairwell as well as in the corridor of the upper floor when they were removing the wallpaper and notified the monument protection and monument protection authorities as well as a restorer.
The staircase paintings that came to light show the imitation of board cladding in the approximately 80 centimeter high plinth area and above wall panels that are framed by olive-green volutes and scrollwork elements. They are adorned with acanthus leaves and floral ornaments. The stairwell of Villa Franck , which Bauder redesigned around the same time as Hoffmann's house , is designed in a similar way . However, the lamperie there is made of real wood instead of illusionistic painting. Since the paintings in the stairwell were done in oil paint and were later covered by wallpaper, they were preserved quite well, whereas the remains of paintings on the ceilings of the living rooms were largely removed by washing. The walls of the living rooms were wallpapered in the course of the redesign under Bauder after 1893; The term post quem was provided by newspaper scraps that appeared as waste under the old wallpaper. At that time, the rooms were also furnished with wood furnishings in dark brown and ocher.
Wall paintings in the upper hall
These remnants of bourgeois living culture from the late 19th century could be regarded as typical of the time. Surprisingly was a discovery in the upstairs hall: There appeared murals, opposite each other, in Grisailletechnik the Ulm Cathedral and the Cologne Cathedral in the style of view painting showed. These paintings are also located above a base zone with illusionistically painted cassettes. These are decorated with meanders and vases. The image of the Ulm Minster is flanked by two pillars in the form of candelabra , and an arch each, of which the right one has been largely destroyed by the relocation of a door. The framing of the cathedral picture, however, is still completely in place. It depicts a flat, explosive gable adorned with foreman attributes such as compasses , angles and plumb bobs, as well as sheet masks. This frame should create the illusion of an opening to a loggia or a window bay. The rest of the corridor is also divided by similar paintings, some of which were created with stencils .
The signature of the artist - possibly Bauder himself - could no longer be read when the pictures were discovered; the date seemed to point to the year 1889. The tower of Ulm Minster was completed the following year. While the representation of the Ulm Minster appears more successful in perspective, the image of the Cologne Cathedral is better preserved.
Wilhelm Heinrich Hoffmann may have originally worked as a stonemason . At the time when the paintings were created, he probably lived on the upper floor where these paintings were. The architect and town builder Julius Mößner probably lived under him as a tenant. It can therefore be assumed that Hoffmann was the commissioner for the paintings. Towards the end of the 19th century, numerous cathedral and minster building associations as well as building huts had been founded according to medieval tradition, since the completion of Gothic sacred buildings was a concern of both aristocratic and bourgeois circles . For the completion of the Ulm Minster Tower, the crack by Matthäus Böblinger , which came from the late 15th century, was used. Munster architect August von Beyer but did not stick exactly to this plan, but reached the spire in the so-called "towers contest" so that the Ulmer Münster finally higher than was the Cologne Cathedral. In 1886 Beyer published a revised elevation of the main tower. In order to win sponsors in particular, the plans for the completion of the Ulm Minster were repeatedly circulated in illustrated publications in the second half of the 19th century, of which one or the other Hoffmann, Mößner and Bauder was certainly known. However, it is not possible to determine which model the artist used who painted the minster in Hoffmann's hallway. The only thing that is certain is that his depiction shows the minster after it was cleared by the demolition of the barefoot monastery, which took place in 1875. In the picture, however, the old Münsterbauhütte, which stood north of the west facade of the minster until 1900, and the sacristan's house, which was located to the right of the tower vestibule and was later also demolished. The rest of the surrounding buildings are also shown as they were in the 1880s. It cannot be ruled out that the painter knew the circumstances from his own experience.
The depiction of the surroundings of the Cologne Cathedral, however, does not correspond to the conditions at the time the painting was created. Rather, the mural shows an idealized, medieval cityscape. In the case of details such as the poplar that closes the scene to the right and a building southeast of the choir, the artist may have resorted to engravings that documented the state of the cathedral before the construction was continued; the rest of the area seems to have sprung from his imagination.
Redevelopment
The paintings on the wall mount could be exposed without further damage. They were then restored by replacing imperfections in the wall plaster with lime mortar and leveling them with lime plaster. After applying a primer, the retouching was carried out in oil paint, but only the wall mount was reconstructed without the interior drawing. Then the surfaces were covered with natural resin varnish.
While the condition of the paintings and some parts of the interior fittings fixed to the wall on the upper floor and in the stairwell was largely able to match the appearance at the time of the restoration, other parts of the building could no longer be faithfully reconstructed. The gate, which was originally built flush with the facade, was moved back in 1938 and around 1970 the ground floor was partially gutted and the original windows in the main building were replaced by single-wing windows.
The courtyard development with workshop halls and garages from the 1930s to 1960s is not considered a cultural monument, but was preserved after the change of ownership in 2011, as it was planned to accommodate sales rooms for works of art in these halls, whereas the main building will be converted into a boarding house and will continue to be used as a residential building should be. The former room layout was to be restored on the ground floor of the residential building. On the upper floor, the end of the apartment between the stairwell foyer and the corridor was restored. The rooms there were originally enfilade one behind the other; But since a closed small apartment consisting of a bay room and two other rooms was to be created, one of the doors was removed. In the attic, the old floor plans were heavily modified. The wall-mounted equipment was largely preserved, the windows were renewed according to the pattern from around 1894. Moisture damage in the framework, especially on the veranda side, was the biggest problem during the renovation. The balusters on the gate construction , which could no longer be preserved, had to be replaced. A modern flat steel structure was chosen here. Below the bay is a sheet metal cladding that imitates natural stone. She had suffered badly, but could be saved. Thermal insulation measures were partly taken inside the building instead of on the outside so as not to disturb the image of the building.
The renovation of the plant took around two years.
Individual evidence
- ↑ Karsten Preßler, The Ulm Minster in Ludwigsburg , in: Denkmalpflege in Baden-Württemberg 1, 2015, pp. 18-25 ( online ( Memento of the original from 23 September 2015 in the Internet Archive ) Info: The archive link was automatically inserted and still not checked. Please check the original and archive link according to the instructions and then remove this note. )
Coordinates: 48 ° 53 '27 " N , 9 ° 11' 22.4" E