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The ground plan of the pavilion reveals simple geometrical forms, taking the square as the basic shape. The framework is softened by curves and ornaments.

The building is quite sober and only uses two colours, white and gold. Due to its massive, unbroken walls, the construction has the appearance of being constructed from a series of solid cubes.

The most prominent feature of the otherwise clean design is the dome, made of 3,000 gilt laurel leaves. The laurel symbolizes victory, dignity and purity.

Above the entrance of the pavilion is the motto of the Secessionist movement “Der Zeit ihre Kunst. Der Kunst ihre Freiheit ” – “To every age its art, to art its freedom”.

The entire building is decorated with gilt laurel garlands, floral patterns and plants along the sides of the walls. But most striking is the tree above the main door which is entirely laid out in gold. These details contrast strikingly with the simplistic façade.

The entrance area is decorated with the heads of the three Gorgons, which represent architecture, sculpture and painting. The sides also feature owls, formed by Olbrich himself, and together with the Gorgons they are attributes of Pallas Athena, the Greek goddess of wisdom, victory and the crafts.

The blue mosaic flower pots on the left and the right of the entrance door are carried by four turtles. Small trees add a touch of nature to smooth the building’s hard lines.

The exhibition hall, in the shape of a basilica with a lofty nave and two lower aisles, can be easily adapted for each show staged here. It is almost completely covered by a vaulted glass roof that by day bathes the interior in a constant and even light.

Created by Gustav Klimt in 1902 for an exhibition paying homage to Ludwig van Beethoven, the 34-m (110-ft) long fresco tells a narrative revolving around the composer’s Ninth symphony, Ode to Joy . Today the frieze is regarded as one of the masterpieces of Viennese Art Nouveau.

The bronze sculpture of the Roman emperor Mark Antony in a chariot drawn by lions was created by Arthur Strasser in 1898. It was displayed at the fourth exhibition in the Secession and was then placed outside, to the right of the building.