Leonardo da Vinci’s Mona Lisa and another a mountain scene. Bruno Paul
worked in a similar way at that time, developing what he called his
Typenmöbelprogrämmeand, like Riemerschmid, numbering his series of
replicated furniture pieces. One of his model interiors from 1908 / 9 was
illustrated in Die Kunst magazine (see below). The utilitarian appear-
ance of the items of mass-produced furniture it contained was offset, as
in Riemerschmid’s earlier interior, by a patterned wallpaper, cushions,
flowers and paintings hung on the wall.
As we have already seen 1914 saw the eruption of a heated debate
about the merits or otherwise of standardization in design between the
Belgian architect designer, Henry Van de Velde, and the German cham -
p ion of modern industrial design, Hermann Muthesius. While the former
defended the nineteenth-century ideal of individualism in designed
environments, the latter supported an approach towards the manufac-
ture of objects that aligned itself with factory production systems. Within
the Modernist architectural model, which dominated progressive ideas
149A living room with ‘standardized furniture’ designed by Bruno Paul, 1908 – 9 , illustrated
in Die Kunst, 1909.