Leopold Forstner’s ceramics for decorating buildings can be considered exemplary of the “new fresco in material” (as Berta Zuckerkandl termed it) developed by this student of Karl Kager and Kolo Moser at the Vienna School of Arts and Crafts. Based on models from the world of Byzantine mosaics and on his training at Innsbruck’s Glasmalerei und Mosaikwerkstatt [Glass Painting and Mosaic Workshop], Forstner developed a new style of mosaic that he successfully employed in monumental Viennese Modernist projects from 1906 onwards with the Wiener Mosaikwerkstätte [Vienna Mosaic Workshop], which he founded. “The concrete building, this ideal, modern type of construction, is particularly well suited to the employment of mosaics,” he wrote in 1910, and he went on to emphasize the mosaic’s surface effect, which was amenable to the intentions of modern designers. His mosaics integrate relief-like ceramics, marble slabs, metal, and fired ceramic elements in order to achieve the desired effect. Forstner also applied this composite mosaic technique—inspired by Otto Wagner—to the design of the dining room at Palais Stoclet.