International studio (15.1901/1902(1902))

Professor J.

all built by Olbrich, and all white and well lighted.
Some roofs are sloping, others flat and verandah-
like, in the style of southern Italy. Opposite to
the Ernst Ludwig House is an exhibition building
for paintings, and to the right the theatre. Behind
the Ernst Ludwig House there is a large refresh-
ment building, and distributed about the grounds
are various small pavilions for flowers, catalogues,
&c. All this is the work of Olbrich, whose dwel-
ling-houses are light, cheerful and graceful, and
harmonise admirably with the mountainous land-
scape scenery around. But they are houses which
would not be very desirable in winter; storms and
snow would deprive them of all their charm. The
custom of building in brick and covering the fagade
with white plaster, no doubt excellent for country
houses, has, as may be seen, its disadvantages.
Moreover, in a house one likes the impression of
solidity, of durability.

Plain brick or stone buildings are often very
effective. There is hardly ever any outward
ornamentation on Olbrich’s houses. This gives

M. Olbrich

them the charm of simplicity and uniformity, and
renders them greatly attractive.

Olbrich has used frontal ornament only for his
own house, this consisting of glazed tiles in the
fagade up to the first storey. Probably this is his
special fancy; at least, I know of no constructive
authority for this decoration.

New architecture, such as that of Olbrich,
demands close consideration. In many ways it
is open to criticism, but we should not forget how
much of positive excellence, how much that is
capable of development, is to be found in each of
those houses. How finely, for instance, has the
chimney stack, which usually protrudes stiff and
immovable, been joined to the face of each house,
and never twice in the same manner ! How much,
too, has been effected by changes in the level, and
how much has been done in the interior for comfort!
Olbrich’s aim is all in this direction. He desires
that men artistically disposed should feel comfort-
able in rooms which correspond to their indi-
viduality, and that others should become more
cultivated by living in
artistic interiors. Educa-
tion by means of art-handi-
craft, not by dilettantism,
but by the daily use of
artistic household furniture
and utensils, is the special
desire of those who, in
Germany and Austria, are
fighting for the new
art.

The greatest scope for
the free exercise of his
plans was, of course,
afforded to Olbrich in his
own house. Here every
room has its own special
note. Here every detail
is harmonious, every trifle
ingenious and suggestive.
The endeavour to stamp
perceptibly upon the
exterior of each object a
plain relation to its purpose
is one of Olbrich’s chief
characteristics. There is
something of the poet in
him in his effort to produce
harmony. In this way he
often (by his colour
schemes, for instance) ob-
tains excellent effects, but,

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FIREPLACE DESIGNED BY J. M. OLBRICII

From “ Olbrich Architektur” (Berlin: Ernst Wasmvthj.