International studio (15.1901/1902(1902))

The Darmstadt Artists Colony

BEDROOM

been erected for a creative artist, does not bear the
stamp of being intended to serve for a man of a
special turn of mind. In this essential difference
between Patriz Huber and Behrens and Olbrich,
as well as many other modern architects of interiors,

metier, but he is often very
successful in his employ-
ment of textiles. He
works his wood frequently
in the modern manner
by staining—at Darmstadt
much is done by colour-
ing and staining — and
polishing, but rarely by
intarsia work, and often—
far too often, in my idea
—by carving. This is his
favourite decoration. In
this respect—if I may use
a somewhat superficial ex-
pression—he is too “non-
modern.” Nothing can
be said against the oc-
casional employment of
carving for sumptuous
pieces of furniture, be-
cause otherwise a techni-
cal accomplishment of the
highest repute would decay through want of use;
but I should keep away artistic carving from
every-day furniture, bedsteads, or wardrobes.

The colour effects aimed at by Huber are very
chaste and sober. We find little glitter in his

CARPET

BY P. HUBER

lies a good deal of Huber’s special distinctiveness.
A further indication of what I have called the
“middle-class” and the “German” is the selec-
tion of the means with which Huber works. He
gets his effects almost exclusively from the wood
employed. The treatment of metals is not his

interiors, little of a strong tendency. The panel-
ling of the walls, as well as the ceiling and
hangings, display quiet tones, the whole impression
being that of somewhat heavy comfort. It is
unnecessary to give a detailed description of
Huber’s rooms. The illustrations convey a good

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