GERMAN ARCHITECTURE AND DECORATION
missing ; even two who are gone from us—Eckmann and Olbrich—
will be represented by memorial exhibitions in the group of the
“ Twelve Apostles ” of German applied art, the rest of the contin-
gent being Hermann Obrist, August Ended, Henry van de Velde,
Bernhard Pankok, Bruno Paul, Richard Riemerschmid, Adelbert
Niemeyer, Peter Behrens, and the two Viennese, Josef Hoffmann
and Koloman Moser.
The official exhibition buildings are being constructed from the
designs of our best architects ; thus Theodor Fischer of Munich is
architect for the Great Hall ; Peter Behrens of Berlin, for the Hall
of Industry ; Hugo Eberhardt of Offenbach, for the Hall of Commerce ;
Bruno Paul of Berlin, for the principal restaurant ; Adelbert Niemeyer,
for the Cafe ; while the Tea-house, which will include a wing of the
Munich Marionette Theatre, is being built by Wilhelm Kreis of
Diisseldorf, and a “ Kiinstler-Theater ” by Henry van de Velde of
Weimar, who will have an opportunity to carry out and practically
test the ideas he has long been pursuing for the artistic arrangement
of the stage and its scenery. A “ Ladenstrasse,” consisting of a group
of shops, in which diverse articles of good quality and taste are to be
displayed in exemplary style and offered for sale, is being built from
the designs of Oswin Hempel of Dresden ; a “ Saxon House ” by
Max Hans Kiihne, also of Dresden ; and a Rhenish Village, as a
model of rural domestic architecture, by Georg Metzendorf of Essen.
A “ Haus der Frau,” designed by a lady architect, is intended to
demonstrate how in Germany, as in other countries, women’s activities
are extending and embrace divers branches of applied art. The
exhibition gardens are being laid out partly by Fritz Encke of
Cologne, who has the supervision of this department, and partly by
other garden-architects of proved ability, and even the art of the
cemetery will be represented. Thus there is every reason to expect
that the exhibition, which will open its doors in the first days of
May, will furnish an excellent view of present-day German work in
all spheres of cultural activity, and at the same time show what a large
share technical accomplishment and industry have had in the artistic
progress of Germany during the last decade.
How greatly such economic considerations are capable of influ-
encing the productiveness of industrial art may also be divined from the
illustrations of furnished interiors by Karl Bertsch, Adelbert Niemeyer,
and Richard Riemerschmid on pages ioi, 103,117,123 and 125. They
have been executed by the Deutsche Werkstatten fur Handwerkskunst,
and are called by that firm “ Typenmobel,” or model furniture, not
because they are typical of the style of furniture now in use, but because
in their constructive details they constitute well thought-out and care-
fully tested “ types.” Their constituent parts are made in many
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