Hotel Kaiserworth in Goslar 1868 - 1890

Editor: This stereoscopic photograph, "Hotel Kaiserworth in Goslar" by Hermann Selle, taken sometime between 1868 and 1890, is fascinating! I'm struck by the symmetry and the repetitive architectural elements. What aspects of the image capture your attention? Curator: The rigorous architectural documentation is compelling. Consider the precise rendering of the Kaiserworth's facade: the articulation of each window, the repetition of the arched openings, and the almost mathematical distribution of light and shadow. This isn't simply a record; it's an investigation into form and texture. Editor: Yes, the textural contrast between the stone and the seemingly softer, tiled roof is very compelling. Is there anything in particular that those formal relationships communicate to you? Curator: The tension arising from the convergence of lines and planes is essential. The steeply pitched roof, a dominant shape, creates a powerful vertical thrust that contrasts with the horizontal emphasis of the arcade. It creates a dynamic visual relationship which supersedes any symbolic representation of the hotel. The image uses geometrical language alone to explore spatial relations. The semiotics of the architectural facade, thus, becomes irrelevant, in favor of a dialogue of purely visual relations. Editor: I see what you mean about the tension now. So, you’re less interested in what the building represents and more focused on how the photographer composed these contrasting visual elements? Curator: Precisely. Selle uses the subject of the Kaiserworth to present an almost abstract study in form, line, and light, reducing the building's essence to its fundamental visual components. Editor: I hadn't considered that interpretation. Now I realize how much attention Selle paid to composing those structural shapes, regardless of architectural accuracy, for an aesthetic, planar effect. Curator: By concentrating our observations in that fashion, the artwork opens up new avenues for understanding not only the image before us, but the photographer's aesthetic considerations when documenting it.