International studio (15.1901/1902(1902))

Professor J. M. Olbrich

of course, he is sometimes betrayed into
impossible forms.

A small flight of steps leads up to
Olbrich’s house. We find ourselves on
the piazetta, which, in accordance with
Italian custom, is half room, half open
space. To the right a door leads into
the dining-room, and on the left into the
hall, the living room of the house. The
dining-room is bright throughout, the
walls white, with delicate golden orna-
ments—well-modelled blossoms crowded
together in pyramidal form. The furniture
is of cherry wood, highly polished, and of
plain design. The sideboard, the principal
piece in the room, is adorned with intarsia
work and small plaquettes boldly modelled
in tinned iron. The light — candles
throughout—comes from the walls. The

ARMCHAIR

96

ROOM designed by j. m. olbrich

From '■'■Olbrich Architektur” (Berlin: Ernst Wasmnth).

room gains its principal character trom a marble
fountain, whence issues a continuous stream of
water.

The great hall to the left of the entrance serves
for the social intercourse of the household. The
room is intended also to produce effect by its
height, extending as it does through two storeys.
It is but sparsely furnished. The stove in the
centre—bronze-green oak forming the border for
a powerful structure in stone, ornamented with
cornelian—is the most attractive feature, and is
altogether highly effective. Another bright feature
of the hall is a richly-worked curtain, concealing
the entrance to the adjoining studio, the walls of
which, covered in grey moire, impart a quiet tone
to the room, the large window throwing a full
light upon the rich colouring which enlivens the
interior. The other colours used are very simple
—a green tone for walls and ceiling and a warm
lilac for the carpet, the purely geometrical decora-
tion of which is interesting. One observes that
Olbrich now frequently employs the simplest linear
decorations for wall hangings and tapestries—sym-

BY J. M. OLBRICH