Villa Riedel

The original owner of the mansion was Paul Richard Riedel (1838–1916), who commissioned its construction in 1896/97. Together with the engineer Kemnitz, the Berlin-born Riedel designed machinery for the sugar industry. Thanks to their entrepreneurial success, they were able to build a machine factory and buy an iron foundry, thereby enlarging the production substantially. The company was converted into a stock corporation in 1872 and the number of employees increased to over 900 at the turn of the century. Richard Riedel became a well-known and respected industrialist in the city of Halle, which is reflected in the grand, imposing style of the villa in the Advokatenweg that is one of three buildings of the MPI today. ■ Foto: Max-Planck-Institut für ethnologische Forschung/Thomas Meinicke

The original owner of the mansion was Paul Richard Riedel (1838–1916), who commissioned its construction in 1896/97. Together with the engineer Kemnitz, the Berlin-born Riedel designed machinery for the sugar industry. Thanks to their entrepreneurial success, they were able to build a machine factory and buy an iron foundry, thereby enlarging the production substantially. The company was converted into a stock corporation in 1872 and the number of employees increased to over 900 at the turn of the century. Richard Riedel became a well-known and respected industrialist in the city of Halle, which is reflected in the grand, imposing style of the villa in the Advokatenweg that is one of three buildings of the MPI today. ■ Foto: Max-Planck-Institut für ethnologische Forschung/Thomas Meinicke
The villa is among the most magnificent buildings in the area and was designed by the two well-known Berlin architects Hans Grisebach and August Dinklage in a Neo-Renaissance style. ■ Photo: Max Planck Institute for Social Anthropologie/Thomas Meinicke
The owner, Paul Richard Riedel, was involved in contributing ideas for the building design ■ Photo: Max Planck Institute for Social Anthropology. ■ Photo: Max Planck Institute for Social Anthropologie/Thomas Meinicke
Originally, visitors entered the mansion through the ostentatious portal on the western side. ■ Photo: Max Planck Institute for Social Anthropology
After stepping through the doors, one found oneself in the vaulted main hallway with an imposing grand staircase that still impresses visitors today. In the present-day building, all floors can also be accessed via the back stairs. ■ Photo: Max Planck Institute for Social Anthropologie/Thomas Meinicke
Adjoining the foyer is the conference room; this originally consisted of three rooms: the dining room, the parlour, and the winter garden through which the patio and garden could be accessed. ■ Photo: Max Planck Institute for Social Anthropologie
The back staircase was originally used by the servants and connected the housekeeping rooms, such as the kitchen, in the basement, with the reception rooms on the ground floor and the private chambers on first floor, as well as the servants’ quarters in the attic. ■ Photo: Max Planck Institute for Social Anthropology
August 02, 2019

The large internal staircase links the foyer with the upper floor, where the private rooms and guest rooms of the Riedel family were located. ■ Photo: Max Planck Institute for Social Anthropology
The leadlight windows, which are about three metres wide and four metres high, ensure that both floors are bright and sunlit. ■ Photo: Max Planck Institute for Social Anthropology
The windows include figures that probably represent Riedel and his wife. ■ Photo: Max Planck Institute for Social Anthropology
The windows include figures that probably represent Riedel and his wife. ■ Photo: Max Planck Institute for Social Anthropology
The northern annex originally housed the stables as well as apartments for the gardener and the carter. Its function is reflected in the building’s visual contrast to the main villa. ■ Photo: Max Planck Institute for Social Anthropology/Thomas Meinicke
Although the half-timbered construction gives the annex a more rustic appearance, it blends in with the villa through the use of red sandstone for the foundations and a similar colour selection, creating a harmonious whole. ■ Photo: Max Planck Institute for Social Anthropology
As is characteristic of architecture designed by Grisebach, the mansion’s elaborate façade is composed of forms that recall the style of the German Renaissance. ■ Photo: Max Planck Institute for Social Anthropology
The location of the property on a corner lot provided a large canvas for displaying many decorative details. ■ Photo: Max Planck Institute for Social Anthropology
The polygonal dormer windows in the south and the back staircase are reminiscent of turrets and confer the villa a castle-like character. ■ Photo: Max Planck Institute for Social Anthropology
In contrast to the rectangular windows of the upper floor, the windows on the ground floor have an arched form and are decorated with a keystone in the form of a lion’s head. ■ Photo: Max Planck Institute for Social Anthropology
Next to the entry is a crest framed by a curved pediment which displays three stars that symbolize Halle’s saltworks, as well as a lion and an eagle-winged knight’s helmet. ■ Photo: Max Planck Institute for Social Anthropology
The roof is decorated with dormer windows and chimneys of various sizes that lend the villa a fanciful air. ■ Photo: Max Planck Institute for Social Anthropology