DOI Heft:
No.141 (November, 1908)
DOI Artikel:Deubner, L.: Decorative art at the Munich exhibition
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28256#0075
<7/ 3*/3^ 7^/33333^ ZfA/3 3 <^3733733
is felt in his dining-room ; but here again many
good qualities are disclosed in the details, and
the arrangement of the windows, which in the
upper part have twice the breadth of the lower
part, in order that more iight may be admitted
from above and wall-space economised below, is,
at any rate, an interesting experiment. A simple
smoking-room or study carried out in elm, with
which Robert Engels, the painter, approaches the
probiem of interior equipment, aiso belongs to
the series of rooms fitted up by the Deutsche
Werkstatten.
A very successful example of interior arrange-
ment is the dining-room designed by Wiiheim
von Debschitz, the leader of the " Ateiiers und
Werkstatten fur angewandte und freie Kunst; " but
it is to be greatly regretted that no better place
couid be found for it than the one it occupies.
There is not sufiicient room for the furniture, which
is admirabiy designed, at once practical and yet
temptingly comfortable. Hans Schmithats' iady's
boudoir has good qualities; but the room which
Hermann Lochners has intended for a gentieman's
study or office is scarcely true to its purpose ; there
are too many disturbing elements for a room which
is meant for serious work; nor, on the other hand,
is there in it quite that concession to comfort
which is essential for a room devoted to sociai
intcrcourse.
Two artists who go their own way and have
nothing to do with any groups are Peter Birkenholz
and Paul L. Troost, and the four interiors ex-
hibited by them are alt the more interesting because
they proclaim a complete departure from the
purely objective, matter-of-fact style so much in
vogue hitherto. Birkenholz never has, indeed,
been reahy a modern, and a certain archaic
character has rarety been absent from his designs,
whereas Troost has aii aiong been one of the most
strenuous exponents of the straight line and the
"square box" styie, without at the same time
renouncing iuxury and comfort. Ail the more
surprising, therefore, is the impression produced
by his iady's boudoir, in which every trace of
angularity has disappeared and given piace to
gracefully rounded surfaces and lines, accompanied
by bright and cheerfui coiour schemes and a pro-
fusion of carving on cabinets, tabies and mirror
frames. The assthetic vaiues of the oid Frencb
styie of furniture are herp revived.
L!VtNG AND RECEI'T!ON ROOM DESIGNED BY ARCHITECT CARL REHM AND EXECUTED BY THE VEREINtGTE
WERKSTATTEN FUR KUNST [M HANDWERK A.G.
47
is felt in his dining-room ; but here again many
good qualities are disclosed in the details, and
the arrangement of the windows, which in the
upper part have twice the breadth of the lower
part, in order that more iight may be admitted
from above and wall-space economised below, is,
at any rate, an interesting experiment. A simple
smoking-room or study carried out in elm, with
which Robert Engels, the painter, approaches the
probiem of interior equipment, aiso belongs to
the series of rooms fitted up by the Deutsche
Werkstatten.
A very successful example of interior arrange-
ment is the dining-room designed by Wiiheim
von Debschitz, the leader of the " Ateiiers und
Werkstatten fur angewandte und freie Kunst; " but
it is to be greatly regretted that no better place
couid be found for it than the one it occupies.
There is not sufiicient room for the furniture, which
is admirabiy designed, at once practical and yet
temptingly comfortable. Hans Schmithats' iady's
boudoir has good qualities; but the room which
Hermann Lochners has intended for a gentieman's
study or office is scarcely true to its purpose ; there
are too many disturbing elements for a room which
is meant for serious work; nor, on the other hand,
is there in it quite that concession to comfort
which is essential for a room devoted to sociai
intcrcourse.
Two artists who go their own way and have
nothing to do with any groups are Peter Birkenholz
and Paul L. Troost, and the four interiors ex-
hibited by them are alt the more interesting because
they proclaim a complete departure from the
purely objective, matter-of-fact style so much in
vogue hitherto. Birkenholz never has, indeed,
been reahy a modern, and a certain archaic
character has rarety been absent from his designs,
whereas Troost has aii aiong been one of the most
strenuous exponents of the straight line and the
"square box" styie, without at the same time
renouncing iuxury and comfort. Ail the more
surprising, therefore, is the impression produced
by his iady's boudoir, in which every trace of
angularity has disappeared and given piace to
gracefully rounded surfaces and lines, accompanied
by bright and cheerfui coiour schemes and a pro-
fusion of carving on cabinets, tabies and mirror
frames. The assthetic vaiues of the oid Frencb
styie of furniture are herp revived.
L!VtNG AND RECEI'T!ON ROOM DESIGNED BY ARCHITECT CARL REHM AND EXECUTED BY THE VEREINtGTE
WERKSTATTEN FUR KUNST [M HANDWERK A.G.
47