Ruhlmann threw on paper the object that intended to realize through perspective squirts remembering it by every point of view. He showed it in reduced form and then passed it to a graphic study that, under his unquestionable direction proceeded to the fulfilment of the executives. His furniture were moulded with the use of appreciated materials, close to the ebony they were abandoned the wood of pterocarpus, the parchment, the galuchat, while the ivory, the horn, the turtle were devoted to the inlays. He answered that justly the development of a contemporary style in the architecture of insides would be one imposed only when the persons with a middle income would also have had the possibility to interest about it. However before being able to reach a real rebirth of the architecture of insides the expensive attempts they were necessary done with the furniture of luxury since a similar art owed to develop with the patronage of the rich ones necessarily, as in past it happened with the patronage of court.
Spatial presences dress again of unusual materials, rare, expensive.
A careful furnishing to the particular one, to preciousness that emanated his principles investing completely the insides up to reach the whole architecture. This way you had seen with the years take life many D co many furnish created for bankers, magnates of the industry, rich aristocrats, characters of the show, creative of fashion from Poiret to Coco Chanel up to the eccentric Sonia Delaunay that let the rigid conformists go mad with his abstract suits . A Belgian friend had written you declaiming the grandeur of transatlantic French of their refined saloons furnished in the new style. Jeannne Lanvin had sent the sketches of the projects to you that Eug ne Printz, a new dawning star between the Parisian decorators, had done them. Proper Printz, snobbed initially by the Expo of 1925, an eccentric designer had revealed.