1

ADOLF
LOOS

THE LIFE - THE THEORIES - ANALYSIS OF THE

VILLA MUELLER

Joern Besser, Stephan Liebscher

Exchange students at:
University of Bath
from:
Technical University of Dresden
Bath 2005

 the highest blossom of mental

perversity
The crap box at the
Michaeler place.
This monster of a
house.

Reactions in the newspapers

(Czech;Mistelbauer,1984)

to

Loos`s

house

at

the

Michaelerplatz

Table of Content
1. The Person Overcoming the Ancient Man
1.1 Loos early years
7
1.2 Visiting the USA and Great Britain
1.3 The essence of the Journey
9

2. The Writer turning- away from the ornament

2.1 Speaking into the void
11
2.2 Anyway the important happens anyway 13
2.3. Raumplan (Spatial Plan)
14

3. The Villa Mller

16

3.1 Introduction
16
3.2 Analysis
21
3.2.1. The Site
21
3.2.2 Cubature & Facade
22
3.2.3 Proportions / Rela- tions / Symmetry / Axes 22
3.2.4 Window- Faade- Correlation 28
3.2.5 Windows & Room Correlation 30
3.2.6 Floor Plan
32
3.2.7 Spatial Plan
34

4. Illustrations

45

11

Adolf
Loos
ffd8ffe0001
04a4649460
0010201009
600960000ff
e20c584943
435f50524f4
6494c45000
10100000c4
1. The Person
84c696e6f02
Overcoming the Ancient
Man
1000006d6e
1.1
Loos early years
7472524742
2058595a20
07ce000200
0900060031

To breed a visionary like Adolf InLoos

addition
timethe
haslong
to lasting
reach effects
a
of the bourgeois revolution
special historic configuration. Forofthe
1848
understanding
mould the society
one has
of the Danube Monarchy. Despite
to bring the situation of his homeland,
anti-bourgeois
Austro- Hungary,
repressions
at thisthe bourgeoisie emerges in the
time in his mind, one also has tocities
envision
as the
theleading
stealthy
class,
decay
less political but definitely cultural
of a multi-national state and to realise
and intellectual.
the chancesInfor
contrast
large- to that the fall of the gentry
scale changes created by that. seems to be unstoppable.

While Prussia defeats France

in the War of 1870/ 1871
and humiliates it with the
coronation of the German
Emperor in Versailles the
Danube
Monarchy
is
paralysed by its losing of the
former leading role in the
Deutschen Bund (German
Confederation) to Prussia in
the German War of 1866.
As well the contrast between
the two parts of the Dual
Monarchy
increases
and
opens the door for eruptions
of the smoulding conflicts
with the slavonian regions of
the empire. Due to this
Austro- Hungary is bound by
its internal affairs.

The emancipation of the

bourgeoisie is strongly linked
to the search for a bourgeois
self and its expression, but
already/ yet in 1870 a loss of
orientation dominates this
search for a up- to- date self
expression. The art of the
emancipation
of
the
bourgeoisie got caught in
copying ancient aristocratic
forms
of
expression

creating
the
so
called
Historism.
Therefore
the
hope for a modern bourgeois
expression illustrating the
breakup into a new era was
not satisfied.
Adolf Loos was born in
Dezember 1870 into a lower
middle class but
academically
educated family. As shown
before, the time of his birth
alone could have triggered
Loos provocative way of live
and thinking by its general

Changes and
confusions,
geopolitical
breaks also mould the youth of Adolf Loos: The
early
death social
of hischanges
father in 1879 forced his mother to deal
alterations,
with
the
family
business
a stonemasons workshop. Due to
and
dualism
the
less
time
the
mother
could spend
with
child
and the
s.
As well,
histhe
next
stations
of
mothers permanent pressure to life
assume
the
business
aer
are also moulded by
leaving school, the now defective unsteadiness
family ties cause an odyssey
and
of the young Adolf Loos troughinconsequence:
several residential schools
neither
(Brnn, Iglau, Melk, Reichenberg)Loos
1. Despite
inadequate
study
at the school
Royalachievements Loos completes the
royal-imperial
Saxon Technical vocational
University
school of Brno with the Matura. in Dresden will be completed
nor the planned exchange to
the Academy of Fine Arts
Vienna will be carried out.
Lusterberger marks Adolf
Loos decision of visiting the
USA and also respectively
the World Exhibition 1893 in
Chicago as the only way out
of a situation without future
prospect and the final
waiving of an academic
education.

1.2 Visiting the USA

and Great Britain
Loos time in America can be
easily described as a phase
of emancipation in which
he developed himself from a
minor,
student
without
prospects to a modern and
complete human being and
gentleman.
But not only his human
qualities changed in years
between 1893 and 1896,
also his aesthetical ideals
succumb
to
this
metamorphosis.
The
meeting
with
the
simplicity of items of the
American
applied
arts
movement, which was be
also published later in his
writings, and the plain
elegance of the American
rural population caused a
step- by- step dissociation
from
the
(former)
habits/practice of aesthetical
vision (moulded by the
aendance at an European
The
first pitiful
vocational
school)4. 5for the
American
smile and English Artsand-Cras Movement turns
soon into admiration and leads
to the realisation/awareness,

that simplicity, plainness are the

Important for Loos individual development were the

real
expressions ofmonths
a modern
unseled
of the year 1894, in which he
occidental
culture.
became
familiar with the hard and poor living
conditions of the European immigrants in New York.
Here he had to waive knowingly the material safety of
his former life. Due to the fact that a economical crisis
caused a high unemployment rate in the USA also Loos
got no salaried position and hat to work as dishwasher,
floor- and bricklayer 6. His tramping around the USA, the
simple jobs he did and the meetings with normal (new-)
american people, who were changed by a some vital force in
this country7 and found themselves in the special process of
clearing out which frees them from the historic prejudices
which made their blood thick and poisoned them while being
in their old outdated political geography 8 - that all was like a
liberation from the European traditions. The Modern Man
now overcomes the Ancient Man
thinking
Not and
untilfreed
the Loos
end of
1894
from the ballast of the outdated forms
of
culture.
Loos
writes:
when Loos found a salaried
The biting American and English
air antook
all my
position as
architectural
preoccupation () away. Unprincipled
men tried
to malign
drasman
in New
York, our
he
time. Always we had to look back,
always
we
had
to
be
could think about saving
modelled on another time. But my
nightmare
yields.
Yes,back
our
money
for the
journey
time is beautiful. So beautiful, that
I
dont
want
to
live
in
home. But the incapacitation
another. 9
by his Mother, forced him to
leave the USA and marks the
end of this period of cuing
the cord.

1.3 The essence

of the Journey
The
important
the
impressions of America are
for Loos, the less there are
proved facts about the exact
route and received tangible,
especially
architectural,
influences.
That
there
existed
buildings
which
influenced Loos work is
visible. For example the
comparison of the rounded
window corners of his Uncle
Fredricks house which he
saw in 1893 with the similar
door design of the 1897 built
Ebenstein
Fashion
Store
shows that there are obvious
parallels. But Loos himself
never
tofor
that.
But wereferred
can take
sure,
that
the architecture of the
Chicago
School has carried weight
on Adolf Loos. Astonishing
similarities (three-pieced
horizontal structuring, forms
of cornices etc.) of not only
one
Loosian project with
buildings
of Louis Sullivan and the
occurrence of typical
elements
of other representatives of
the
Chicago School mark this as
a plausible conclusion. As a

important example for that

the
Loos- literature points out to
the
comparison of the
combination
of bay-windows and coloums
at
the Fine Arts Building
Chicago
(Solon Spencer Beman,
1885)
and The Rookery Chicago
(Daniel Burnham &John
Wellborn Root, 1888) with
the
windows of the mezzanine
storey of the MichaelerplatzHouse 1 Also Loos pride
of
. Sullivans
0 salutation my
dear brother in spirit
1 seems
to support the theory of the
1
Chicago School influence.

Beside the more uncertain influences of the American

architecture of that time we can say more about Americas
effect on his way of thinking. In America we can find the origin
of his evolutionary theory of culture. In his writings he oen
refers to the American natives as a symbol of a lower cultural
developed nation due to their opulent use of ornaments on
their items of usage 12. In contrast to that the simple American
farmer, in person of Uncle Ben and Aunt Anna, with his plain,
elegant style emerges as the symbol of the modern human
being far away in the future from the (for Loos) outdated
ornaments and playfulness of the How
European
style.
far Loos
later writings
on
his American experiences
refer
to the true events of his
journey
will never be completely
proved. But more important
as the absolute truth of his
experience and conclusions

is the very existence of them

as the essential argument
against his opponents, the
representatives of the
outdated
moral, art and society in
Europe. Loos prominence in
knowing America and
England
- the new world - and his
ability to overcome the still
existing European traditions
lead to his criticising point of
view from the position of a

Loos returned
culturally
higher
back to Austria, to it`s capital Vienna, in 1896.
developed
At
this time
Vienna
was tothe blatant contradiction of the
observer
with the
demand
modern
America.
It
was
affected by the backwards orienteted
educate the
governance
of
the
emperor
Franz Joseph I. The society looked
people.
back to the previous era and was not able to deal with the
problems and possibilties of the new civil society. This was
alsoThe
to observe
in architecutre
and the dominant architectural
2.
Writer

point of view. The architectural mainstream was the historism.

turningaway from
In the historism it was common to use and to imitate the
the
designornament
mediums of the ancient eras, like the renaissance, for
environment
Loos
building houses. There was With
also this
another
architectural
was
confronted
when
he
movement in Vienna the so called Viennese Secession. This
arrived. ItArt
was
not possible
movement was part of the European
Noveau.
Their
for
Loos
to
establish
himself
ambition was to improve the basic commodity by art.
The
as an architect
protagonists of this movement immediately
were Oo Wagner,
Joseph
Maria Olbrichs and Josef Hoffman.in Vienna. Due to this, he
started to write essays for
Viennese newspapers like
the Neue Freie Presse, Die
Zeit and Die Waage. In these
essays
he
dealt
with
problems from all social
spheres, like How long
should the hair of women
be, fashion or architecture.
Thinking
in
this
wide
spectrum he developed his
theory of an unornamental
way
of
design.
His
theoretical work culminated
in his main work Ornament
and
Crime
(1908).
Simultaneously to his first
essay he got the possibility
to realise some interior
designs for flats and shops.

All his essays, some of them

were published in his own
journal Das Andere ein
Bla zur Einfhrung der
Abendlndischen Kultur in
sterreich (The Other A
journal for the introduction
of the western culture into
Austria),
was
published
1921 in his book Ins leere
gesprochen (Speaking into
the void) and 1931 in the
extension
Trotzdem
(Anyway). On the basis of
these books it is possible to
observe the development of
his theoretical work.

2.1 Speaking
into the void
Starting with the essay
Lederwaren und GoldSilberschmied
(Leath
und
goods
and the art
ekunst
erof
silversmith),
from
the t
gold
and
of May 1898 where he, based
h
15
on his American experience,
critised that the Austrian
applied arts copied the ancient
arts. He aacks the applied art
academies and accuses them of
doing

1
3

reissbrediletantismus.

In his opinion they botched

the design process of the

With the essay Die potemkinsche

TheStadt
walls (The
of a building
potemkin
belong to the architect. There he
crasmen
and
were
responsible
city) from July 1898, he aacks
rules
the at
Viennese
will. Andarchitectural
as with walls so with any furniture that is not
for
the inpurenessHe
of thesentenced
basic
historism.
the simulation
moveable.
of (.)
material
The wrought-iron
and the
bedstead, table and chairs,
commodity
userenaissance
of
nailing by
ontheof
facadeshassocks
as amoral,
and
because
occasional
through
chairs, desks and smoking stands
historical
ornaments.
this simulation,
the Viennese try all
to items
turn simple
made by
living
ourhouses
crasmen in the modern idiom (never
into
palaces.
So
they
feign
that
only
by
aristocrates
the
architects);
live
in
everyone
Vienna
may buy these for himself
Loos verbalised his critic of
and
simple civils.
according to his own taste and inclination. 16
the not
ornament
more exactly
in
his
essay
Das
Luxusfuhrwerk (The luxury
cart) from
the 3rd
July
1898. There he wrote:
Searching the beauty only in
the form, and make it not
depending on the ornament,
that is the human ambition.
14

In this context he also starts

to flesh out his theory
against the ornament with
the cultural history. He
creates
the
following
sentence:
The lower the cultural
level, the more lavish the
ornament.15
He will develop this idea
farther in his later work
Ornament and Crime to his
evolutionary art theory.

But Loos was not only

aacking the historism, he
also aacked the Viennese
secession. He criticized their
ambition to create a strong
formal
and
mental
connection
between
production,
painting,
architecture
and
applied
arts. The result should be a
Gesamtkunstwerk under the
leadership of the architect.
Loos
dismissed
this
categorically. He followed his
own rule, which he described
so:

His most beautiful script

against
the
Viennese
Secession is the essay Vom
armen,
reichen
Manne
(About a poor, rich man)
from April the 26th 1898. He
described how an architect
designed
a
house,
the
furnitures, the wallpapers
and clothes for a rich man.
At the end the man is
complete. He needs nothing
more, and it is not allowed
for him to have wishes,
because he is complete and
has everything. So he is a
poor, rich man. Looking at
the work of the Art Noveau
architcts of this time you
recognise that Loos didn`t
overplay, when he described
that the architect designed
special clothes for every
room Herny van de Velde
did this in reality.

His
of the reawakening
of the ornament is not only
2.2 critic
Anyway
the
aesthetic.
Hehappens
also criticized the ornament from the
important
economical point of view. He predicated the ornament as an
anyway
(Friedrich
Nietzsche)
economical
damage, because the fabrication of ornamental
basic commodities needs more manpower and material than
His
polemic one.
paper
for anfinal
unornamental
The working time which should not
Ornament
and
Crime
from
be wasted for the ornament, should be used to produce more
1908,
is or
thefor
aggregation
ofof the worker. Due to that, Loos
products
the freetime
his
theoretical
Here
he
thought,
the work.
general
social
wealth could be increased.
describe
his
evolutionary
art
Wasting material and working time for the ornament that is
theory:
what Loos called a crime.
evolution of culture is
conterminous
with
the
removal
of the ornament
from the basic commodity17
He founded this sentence by
looking
at
the
native
(papua),
which
tatoo
themselves. For the native
this behavoir is fine, but
would the modern man
taoo his skin, he would be
a degenerate or criminal,
because the modern man
has negotiated this stadium.
In this context he predicated
the ornament as the babble
of painting 18.

The conversion of these

revolutionary ideas, which
happened two years later,
required
a
disputatious
character. That Loos was
such a character shows his
reaction to a critic, which he
got for his essay Ornament
and Crime:
I tell you the time will come
when the furnishing of a
prison cell by the royal
upholsterer Schulze or by
Professur Van de Velde will
be
considered
an
aggravation
of
the
sentence. 19

The constractional
proclamation
of his writings happend
1910.
Loos built his first house the
house at the Michaelerplatz
(also known as the
Looshouse).
It shows how he thought is
ideas
could get reality. The lower
part
of the house is made out of
Cipolini marble.
Ornamentless
built, it lifes from the rich
texture of the marble. Over
this
base ist the plain part of the
the
house. Only an
unornamental
render facade with outcuted
square holes for the
windows.
The ending of the house is a
high and rampant roof. Loos
did his building not only
without the normal
ornamental
facade arragment, he also
did it
without
the finishing frize
from
the classical facade
trisection
for townhouse of this age.
The
only decoration at the
facade
are the bronze flower boxes,
which were the result of a
long
argument between him and
the
city. This argument was
affected
by buildingbreaks and the
involvement of the public.
The
displacment of the ornament
through the texture, which is
observable at this house and

also at his other projects,

makes
it possible to see parallels to
Mies van der Rohe who also
removed the ornament and
displaced it with texture.
Mies
went so far to draw the
texture
for his porjects and selected
only stones which would fit
in his texture
plan.
The other interesting aspect
in this house, but also in his
later
houses,
is
the
connection of the rooms and
the
way
how
they
communicate to eachother.
This was his first realised
project where you could see
the
beginning
of
the
development
of
his
Raumplan
(plane
of
volumes).

Adolf
Loos merit for the architecture is not only that he
2.3. Raumplan
developed
an architectural language of simplicity and plain
(Spatial Plan)
elegance in the times of the luxury of ornament. His creation
of the Raumplan also introduces a new point of view for the
My architecture is not
composition and connection of rooms. If we follow Julius
conceived in plans, but in
Posener21 Loos is the last element of the chain Palladio- Le
spaces (cubes). I do not
Doux- Schinkel and his Raumplan is the descendant of their
design floor plans, facades,
bourgeois architecture. The Raumplan is the aempt of
sections. I design spaces.
Loos to reconcile the demands of the classic bourgeois
For me, there is no ground
architecture simplicity and building for usage.
floor, first floor etc.... For
me,
there
are
only
contiguous,
continual
spaces, rooms, anterooms,
terraces etc. Storeys merge
and spaces relate to each
other. Every space requires
a different height: the dining
In contrast to the term
room is surely higher than
Raumplan
which
was
the pantry, thus the ceilings
firstly used by Heinrich Kulka
are set at different levels. To
in 1931 the idea behind, the
join these spaces in such a
solving the floorplan in
way that the rise and fall are
space22, is the result of a
not only unobservable but
continued process in the
also practical, in this I see
work of Adolf Loos. For Loos
what is for others the great
the theatre with loges is the
secret, although it is for me
origin of his Raumplan
a great maer of course.
theory. He states, that one
Coming
back
to
your
can only bear the the stay in
question, it is just this
the narrow and low-ceiled
spatial
interaction
and
loges and galleries, because
spatial austerity that thus
they are in an open spatial
far I have best been able to
connection to the high,
realise in Dr Mllers house
continuous main hall.23
Adolf Loos 20

Basically
He
also it comes
can be tosaid,
thethat for Loos two things were
conclusion,within
important
that his
one
Raumplan
can - firstly a differentiation of the
save of space
height
the ceiling through
in differently used rooms, with a strong
connecting
link
to the privacy
a higher
which
main
the room should provide, secondly
room
the
tofirst
a lower
ofuse
room
annexe
sequences
24
with
the different rooms, with
The creation
of
the
ffd8ffe000104a464946000102010
a
special
importance
on
the
visual
connections
of the rooms.
Raumplan
in
Loos
09600960000ffe20c584943435f50
That
means precisely
that
private annexes with lower
architecture,
as he said,
wasmore 524f46494c4500010100000c484c6
ceilings
are
spatially
connected
through
stairs, visually trough
in the unbuild project of the
96e6f021000006d6e74725247422
view-throughs
etc.
with
higher
more
public rooms. The
Ministry
of
War
058595a2007ce000200090006003
different
heights of the ceiling
cause
a break-through of the
(Kriegsministerium)
in
10000616373704d5346540000000
established
horizontal
layering
25 of the house. This leads to
Vienna in 1907/08.
0494543207352474200000000000
complex space structures which were
made aviable by as well
00000000000000000f6d60001000
complex vertical circulation by stairs.
00000d32d4850202000000000000
0000000000000000000000000000
0000000000000000000000000000
0000000000000000000000000001
1637072740000015000000033646
57363000001840000006c7774707
4000001f000000014626b7074000
Ill. 5 - Villa Mller
00204000000147258595a0000021
8000000146758595a0000022c000
Typically
in Loos houses the rooms
000146258595a000002400000001
are vertically shied by a half of
4646d6e640000025400000070646
the height of a storey (Tzara House,
d6464000002c4000000887675656
Moissi
House) or 2 higher storeys
40000034c0000008676696577000
face 3 lower storeys in the whole
003d4000000246c756d69000003f
cubature (Mueller House). The best
8000000146d6561730000040c000
and
most impressive use of the
0002474656368000004300000000
Raumplan
can be found in the
c725452430000043c0000080c675
Mueller House, which was build in
452430000043c0000080c6254524
1930
in Prague for the building
30000043c0000080c74657874000
contractor
Dr. Frantisek Mueller.
00000436f7079726967687420286
3292031393938204865776c65747
42d5061636b61726420436f6d706
16e7900006465736300000000000
0001273524742204945433631393
6362d322e3100000000000000000
0000012735247422049454336313
936362d322e31000000000000000
0000000000000000000000000000
00000000000

ffd8ffe000104a4649460001020100c100c10000ffe20c584943435f50524f46494c4500010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 2 - Chicago World Fair 1893
313936362d322e31000000000000000000000000000000000000000000000000000000

ffd8ffe000104a46494600010201009600960000ffffd8ffe000104a46494600010201009600
e20c584943435f50524f46494c4500010100000c48
960000ffe20c584943435f50524f46494c45
4c696e6f021000006d6e74725247422058595a200
00010100000c484c696e6f021000006d6e7
7ce00020009000600310000616373704d53465400
4725247422058595a2007ce00020009000
00000049454320735247420000000000000000000
600310000616373704d534654000000004
000000000f6d6000100000000d32d485020200000
00000000000000000000000000000000000000000
9454320735247420000000000000000000
00000000000000000000000000000000000000000
000000000f6d6000100000000d32d48502
00000000116370727400000150000000336465736
0200000000000000000000000000000000
3000001840000006c77747074000001f000000014
0000000000000000000000000000000000
626b707400000204000000147258595a000002180
0000000000000000000000000000011637
00000146758595a0000022c000000146258595a00
00024000000014646d6e640000025400000070646
0727400000150000000336465736300000
d6464000002c400000088767565640000034c0000
1840000006c77747074000001f00000001
008676696577000003d4000000246c756d6900000
4626b707400000204000000147258595a0
3f8000000146d6561730000040c00000024746563
0000218000000146758595a0000022c000
68000004300000000c725452430000043c0000080
000146258595a0000024000000014646d6
c675452430000043c0000080c625452430000043c
0000080c7465787400000000436f7079726967687
e640000025400000070646d6464000002c
4202863292031393938204865776c6574742d5061
400000088767565640000034c000000867
636b61726420436f6d70616e79000064657363000
Ill. 3 -Philadelphia house, Chestnut
Ill. 4 -Entrance door of the Ebenstein
6696577000003d4000000246c756d69000
0000000000012735247422049454336313936362d
Street, Frederick Loos
Fashion
store
003f8000000146d6561730000040c00000
322e3100000000000000000000001273524742204
02474656368000004300000000c7254524
9454336313936362d322e31000000000000000000
000000000000000000000000000000000000 30000043c0000080c675452430000043c0

000080c625452430000043c0000080c746
5787400000000436f70797269676874202
863292031393938204865776c6574742d5
061636b61726420436f6d70616e7900006
4657363000000000000001273524742204
9454336313936362d322e3100000000000
0000000000012735247422049454336313
936362d322e31000000000000000000000
000000000000000000000000000000000

3. The Villa Mller

3.1 Introduction
In the autumn of 1928 the
civil engineer and building
contractor Frantisek Mller,
partner in the successful
building firm Kapsa & Mller,
commissioned Adolf Loos
and his associate Karel Lhota
to design the new house for
the Mller family.
Due to the professional
closeness of the contractors,
a strong affinity of their
thinking and other personal
characteristics
Loos,
in
strong
accordance
with
Mller, was able to design
and build the masterpiece of
his late work: the conversion
of his Raumplan into built
reality.
Together with Lhota Loos
designed in only two month
the house which would be
later to be recognized as the
pinnacle
of
his
work
(Heinrich Kulka: Das Werk
des
Architekten,
Wien,
Anton Stroll Verlag, 1931 in:
Kleinman, van Duzer, 1994,
S. 19)

One must add that Loos

design of the Villa Mller was
strongly influenced by the
design of the Rufer House,
albeit he considered the
construction of the Rufer
House with its single middle
coloumn as inapplicable for
the Villa Mller. As well he
adopted the main aspects of
the Rufer House as there are
the overall arrangement of
utilisation of rooms, the roofterrace and the central
representative stair.
The first design of the Villa
Mller in 1928 was a simple
cuboid
with
a
3:2
relationship of the sides of
the footprint rectangle of the
house. To give the front and
the backside an square
appearance though there
existed a the strong slope of
the terrain, he decided soon
to use his in former houses
(e.g. Moller House) yet
formulated design idea of
the terrace house. The roofstorey should only be carried
out on the hill side of the
house, faced to the valley
side he planed a vast
terrace, which lowered the
visible facade on that side to
a square appearance.

Despite repeated appeals of

the local building authority
against the measurement of
the building footprint, the
number of storeys and
several design elements the
original design of the house
could be carried out largely.
Loos wit in dealing with the
building
law,
which he
showed for example yet in
the roof design of the
Steiner House, and Mllers
experience
as
building
contractor,
especially
in
dealing with the building
authority,
were
in
our
opinion the main influence
on not geing changed the
original design too much.
For an easier access to the
analysis of the Villa Mller
we present firstly a virtual
tour through the building.

3.2 Analysis
The analysis of the Viller
Mller mainly refers to the
relations
of
the
measurement of the parts of
the structure, the storey
floor plans and facades. The
basis of our work are the
excellent
floor
plans,
sections and faade prints of
Leslie van Duzers and Kent
Kleinmans book Villa Mller
A Work of Adolf Loos. We
completed
and
analyzed
them graphically with the
help of CAD- and drawing
programmes as AutoCAD
and Adobe Illustrator. As well
we
created
a
three
dimensional model of the
rooms (room imprint or
moulded rooms), to show
the relations, views and
height differences the
A virtual round tour through
Raumplan - more vivid.
the Villa Mller , as well
illustrated for a beer
understanding by the view
direction in additional floor
plans, ought to give further
insights into the architecture
of the Villa Mller.

ffd8ffe000104a4649460001
0201009600960000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021
The
site The
of theSite
Villa Mller is situated in a western district of
3.2.1.
Prague, Stresovice, an at the time of building the Villa
000006d6e74725247422058
emerging suburb with mainly free standing residential houses.
595a2007ce0002000900060
Additionally it is located on the northern slope of a hill with
0310000616373704d534654
view to the castle of Prague, the Hradshin. Only the eastern
00000000494543207352474
and south-eastern side of the site border on sites with houses,
20000000000000000000000
the remaining sides are facing public space. Thus in the southDue to the in North-to-South
west a smaller road (Nad Hradnim Vodojemen) ,leading to a
000000f6d6000100000000d
direction of the slope and
older
residential
area,
in
the
north
a heavy used road and at
32d48502020000000000000
the alignment of the site to
least a public thoroughfare (in the appearance of a stair built
the North-east, there exists
00000000000000000000000
at the same time when Villa Mller was built) delimit the site.
a double slope having its
00000000000000000000000
lowest point in the north00000000000000000000000
eastern corner of the site.
00000000000001163707274
The building itself is more
00000150000000336465736
extroverted to the North and
Illustration 14: siteplan
3000001840000006c777470
more introverted to the
74000001f000000014626b7South because of its
exposure on the north-facing
07400000204000000147258
slope.
595a0000021800000014675
One can enter the site from
the South as well as from
8595a0000022c0000001462
the North however the main
58595a00000240000000146
entrance with the access to
46d6e640000025400000070
the garage is located to the
646d6464000002c40000008
south because of beer
accessibility and the less
8767565640000034c000000
used street. From North a
8676696577000003d400000
stair over the whole
0246c756d69000003f80000narrow
length of the western side of
00146d6561730000040c000
the site provides access to
00024746563680000043000
the house.
The building is moved as far
00000c725452430000043c0
as
possible to the western end
000080c675452430000043c
of site to create a small,
the
0000080c625452430000043
more
private area in the garden in
c0000080c74657874000000
00436f70797269676874202
86329203139393820486577
6c6574742d5061636b61726
420436f6d70616e79000064
65736300000000000000127

the East. Due to the sloping

terrain this area is terraced
and to secure it from
unwanted
insights surrounded by
trees.

3.2.3 Proportions /
Rela- tions /
Symmetry / Axes
North faade

As already said, the part of

the north faade, visible
3.2.2 Cubature & Facadefrom the northern road, is
nearly square, if one will
accept the absence of a
The
cubature
of
Haus
defined base of the Villa
Mueller is roughly based on
Mller.
two shied cubes in northeast
alignment
and
of
The arrangement of the
approx. size 12x12x12m,
windows
and
their
which are arranged that they
combination
to
a
fit the slope of the site. The
geometrically
similar
displacement of one of the
rectangle clarifies the form
cubes by almost half of its
of the faade and due to the
depth (5,50m) in nort-east
principle of similarity will
direction explains on one
give the faade a more
hand the 2:3 ratio of the
consistent appearance with
base and on the other hand
a clear disjunction from the
the partitioning of the floor
roof storey facade.
plans into three parts and
As
well this
effect
is
the arrangement of the 4
supported by the similar and
constructive piers. While the
nearly square appearance of
elevation of the north cube
the visible parts of the door
seems to be explicitely
windows of the balcony.
arbitrary with respect to the
With a vertical movement of
slope, it becomes clear
the
faade rectangle to the level
under closer investigation
of
the terrace top, a movement
that the cube was vertically
by
the minor of the Golden
shied by a fourth of its
Section
size.

Following
of
the rectangle,
this approach
the upper
one will recognise that the remaining
end
minor
(m) in combination
of the rectangle
will mark with the height of the terrace leads
to
more
connections.
A rectangle made of 3x3 tiles of this
the
upper end of the
measurement
defines
as
well the height of the faade as the
building.
horizontal
total dimensions
building dividing
defining and
so
A
further
key
for of the
A further
of the
including
the
prominence
of
the
bay
of
the
dining
room.
understanding
the
height of the minor (m)
interrelations of the forms
using the Golden Section
within the faade is the
(M2/m2) reveals the upper
appearance of the ground
end of the wall of the outside
level terrace. The origin of
stair leading to the garage.
the measurement is the
The
diagonals
of
the
form
of
forward
north
rectangles ((m-M2+m2) and
faade. Not only, the top of
(m-M2)) created by the
the terrace marks the minor
dividing are the clue for the
of the height of the forward
aspect ratio of the roof
northern
faade,
the
storey. They are also the
rectangular form of the
only
visual
connection
terrace is also geometrically
between the lower storeys
similar to the half of the
and the roof storey of the
facade square. Furthermore
northern faade.
the major (M) of the Golden
The ground level terrace
Section of the width of the
with its form is also
affiliated
north facade is the width of
important
for the whole appearance of
the ground level terrace,
the northern elevation of the
what explains their elegant
building and its
integration into the overall
surroundings.
Not only due to the absolute
picture of the faade.
measurements of the terrace
Loos influences notably the
appearance of whole
elevation,
but also by repeating its
form
in the visually connected
walls of the terraced garden
in
the eastern part of the site.
A
movement of the terrace
form

The
to
therepresentative,
west with the same
forward part of the northern faade is
width
composed
strictly end
symmetrical,
an exception is only the
shows the western
of
arrangement
of
the
annexes
such
as the terrace and the
the
Villa Mller and establish an
outside
stairs
leading
to
the
garage.
The vertical axis of
encrypted symmetry of
symmetry
I, of thebynorthern faade corresponds with the
forms,
only to be revealed
middle
axes
of the great hall of the ground floor and the
knowing
the
restroom
behind the faade.
context. of the first floor, both located
The centre axes of the outer
window of the ground floor
To
explain
the
visual
correspond with centre axis
consistence of the northern
II of the Dining room and
faade one has also to focus
respectively with the axis of
on the form of the balcony in
symmetry of the entrance to
the first upper storey. To
the Great Hall. Due to the
create a visual connection of
matching axes a connection
upper storey and the ground
to the outside (northern
floor
Loos
formed
the
view) is created for both
Balcony with the same
rooms.
Especially
when
aspect ratio as the ground
entering the Great Hall,
level terrace f it would be
aer passing the narrow
carried out over the whole
stairs
the
suddenly
width of the building. Due to
appearing
view
outside
the principle of similarity the
creates
a
feeling
of
unlimited
viewer
will
now
vastness.
subconsciously perceive a
In contrast to the structure
connection between the two
of
the forward northern faade
forms and the appearance
the elevation of the
becomes more consitent.
backwards
located faade of the roof
storey is closer to the
southern
faade. The arrangement of
the windows and the vertical
centre axis of the middle
window show a reference to
the
southern faade and its
vertical
axis of symmetry V which is
moved away eastward from

the northern axis of

symmetry
by the half of the width of
the
representative stair (c) of
the
ground floor. The roof storey
is
by no means symmetrical.
The
centre axes of the 3
moreover
different-sized windows are
moved away with different
distances (2c, c and c/2)
from
their equivalents in the
lower
storey
s.
This
reveals
a
severe
difference between the roof
storey and the forward part
of the northern faade, a
difference which was used
by Loos, alongside practical
consideration, to point out
that the roof storey belongs
more to the southern facade
than to the northern.
Ultimately the rooms of the
forward part of the house
were made accessible by the
centre representative stair,
whereas the roof storey only
could be reached by the
service stair behind the
southern
faade.
Consequently the affiliation
was here already specified
by the internal circulation
infrastructure.

In our faade
South
opinion it also seems that Loos had to decide here
between two principles: a strict symmetry on the on hand and
the
configuration
of only one
Classicistic
influences
on window for every room in every
faade
on
the
other.
The
only
Loosian architecture could exception is the Great Hall with
three
windows
on the
be best
viewed
in north
the faade (but none on the other
flanking
facades!)
in
to
point out its exceptional position.
southern faade of the Villa
Consequently,
equiping
Mller. But this
means the
notchilds playroom with more then
one
window
in the
south faade would have lied it to the
simply
copying
or repeating
same
level of
importance
as the Great Hall, a violation of the
classicistic
stylistic
devices
hierarchy
of rooms
Loos could not stand. For the sake of
as symmetry
or harmonic
completeness
must very
add, that viewed from the contrary,
sections. They one
are used
decomposing
of
the
symmetry
by a missing window will
deliberately to create on the
especially
aention on the room behind it and
one handfocus
an the
obviously
maybe
tamper
its real importance.
idealistic
and classic
image
which on the other hand is
The regressed le corner of
undermined very shrewd in
the south faade is a second
the same moment. Thus the
absence of only one of
element which undermines
smallest windows used in
the symmetry in a very
the facades decomposes the
special way. Its role is very
whole
notedly
strict
well documented in the Loos
symmetry of the faade.
literature, so one only has to
allude, that it is trick to
correlate
the axis of symmetry of
the
southern faade to the axis
of
the service staircase. Due to
its obviousness it is also a
sign
to point out the artificiality,
the masking effect of the
symmetry of the south
facade.
As shown already on the
northern faade also the
windows and the entrance
area of the southern faade
are

Alongside to
combined
the
create
axis aof
overall
symmetry V there are also other
analysing
axes
on athe southern faade, which regulate the
shape, in this
case
relations
among
theaspect
windows. A horizontal trisection of the
rectangle
corresponding in its
overall
shape
of
the
ratio with the form of thesouthern faade defines the outer
limitation
of rectangles
the windows of the ground level. Furthermore it
whole
faade. The
determines
the
width of the canopy of the entrance area. The
height
also marks the Golden
centre
axes of the ground level windows in combination with
Section
of the faade and is identical
the centre axes of the inner windows of the first floor define
with the
the measurement of the front door. The centre axes of those
Major.
In
contrast
to were
the determined
northern
inner
windows
also by a trisection, but of the
faade,
the southern
faade faade.A hinted reference to the
overall shape
of the southern
is
more of
introverted.
interior
the house can be found in the width of the windows
West
Faade
of the staircase. It describes the
double
distance of the
movement (c) of the two symmetry axes I and V as well as the
comparison
to
the
width of the representative stair. In
northern
and
southern
faade, the western one
seems
to
be
not
as
sophisticated
and
too
reserved
for
a
representative faade (here
also the site borders to
The shape of the roof follows
public space).
roughly the slope of the
terrain, whereas it seems
that
for
the
terraced
appearance
the
Golden
Section was used again. As
the use of Golden Section is
not confirmed for the heights
of the terraces (relations
among them) and some of
the lengths, it seems that
there
is
no
consistent
principle.

Ostensibly
Once
againthe
more
eastern
interesting
faade of the Villa Mller comes across
is the
as
a wrongly,
measurement
because
of on
thethe unrepresentative side of the
ground
site,
located
level representative
terrace which faade. It seems it would fit
importance
beer
on the western
has
been
side of the building. But if one goes
described
more
into already.
detail, one
Thus
willthe
recognise that there is a deeper
shapeand
logic,
of the
notterrace
a mistake
is again
in Loos design.
refined from an overall
shape of the faade.
As well as in the North
elevation the section (here:
The more open facades as
bisection) and triplication of
there are the northern and
an overall shape of the
the eastern faade are much
faade
defines
the
beer
secured
against
prominence of, in this case,
unwelcome
insights
by
the balcony.
surrounding
trees
and
enough distance/ slope to
The Golden Section of a
the public space. In contrast
rectangle
enclosing
the
to that the western and the
shape
of
the
building,
southern faade have to
defines the centre axis of
deal with much nearer public
the windows VI. One can see
spaces
and
more
Loos differentiation of the
opportunities for insights,
Back and In-Front in this
therefore they are carried
section, the axial gradient of
As
also introverted.
revealed on the
out more
privacy. Thus here the major
western faade a rectangle
of
the
Golden
Section
enclosing the faade is the
describes the more private
influencing design element.
part of the house, the minor
Thus the dominant element
the more public (service
of the faade, the bay of the
oriented).
dining room, refers with its
measurement to the aspect
East Facade
ratio of it.
The bay is also a symbol for
the
importance of the dining
room
in the paern of utilisation
of
the Villa Loos. The location
of

the bay on the only private

side
of the building also points
out
the essential function of the
room as a room to gather
the
whole family, as the real
centre
of the
house.

3.2.4 WindowFaadeCorrelation

Loos always used window

shapes determined by the
overall shape of the faade
(rectangle or shape) and its
sections to fit the windows
harmonically into the overall
image of the faade.
Diagonals
resulting from
certain harmonic sections of
the overall shape (Bisection,
Golden
Section
(M/m),
Octave (Trisection), Quint
etc.) and thus defining the
aspect ratio are the base for
the geometrically similar
shapes of the windows.
Loos
intention
was
to
reproduce the great in the
small by the deliberate
similarity and thus to let the
all the parts create a
consistent ensemble.

The following pages give a

review
over
the
used
sections
of
the
overall
shapes and their reference
for the shapes of the
windows.
Geometrically similar shapes
are always marked with the
same grey scale, the aspect
ratio is mostly shown with
dimensions on the sides

North facade
The basic idea behind the
windows shapes of the north
facade is - as for most of the
other shaping elements - the
square enclosing the facade.
Similarity
in
contour
between the windows is
achieved by the golden
section and partitioning into
two or four sections. Of
particular interest is the
combination
of
two
rectangles
forming
the
ground
floor
terrace,
emerging from intersecting
the outline square in ratio of
the Golden Section.
The diagonal of the half of
the
original square of the facade
is decisive for geometric

similarities, in particular
when
investigating the visible part
of
the balcony door. A
geometric
similarity with this rectangle
can also be observed in both
the collective windowsbalcony
shape and the roof lights of
the
ground floor
windows.
South facade
As for the north facade, the
window dimensions of the
south
facade
are
also
governed by two rectangles.
As that facade is plunged
into the street level by 1m
and hence is only allusively
of square shape, this street
level becomes the base
point of the form-giving
square. This square can be
found in a fih of its original
size in the entry area where
it appears as niche for a
bench,
flanked
by
the
entrance door on the le
and the window to the coal
cellar on the right. The
shape of the coal window as
well as the windows of the
entrance
door
is
both
derived from that square.

All of the other windows

shapes
are
defined
by
partitioning diagonals of the
half of the facade square.

West facade
Again, the diagonals for
geometric
similarities
between the window sizes of
the west facade are defined
by two major shapes. Of
particular interest is that the
garage
door
with
its
surrounding immersion has
the same dimensions as the
main entrance of the south
facade - a theme that Loos
also
applies
to
the
dimensions of the anteroom
in the ground floor.
East facade
The window shapes of
the east facade are in their
similarities bound to the
shape
of a rectangle that emerges
subtractively from the
facade.
Two rectangles, which shape
is
defined by the size of the
partsouth
of
the
facade that is
plunged
into the site, are separated
from

Generally
the
collective
it can
facade
be shape.
said that the size of the windows only
As
marginally
correlates
with the size of the rooms that are
such, diagonals
that emerge
hidden
behind.
Hence,
noofstatement about those rooms can
from particular sectioning
be
made
by
bare
observation
of the facade. In addition, the
the facade, define the base
room
axisbetween
aligns with
of
similarity
thethe windows axis only in rare cases (e.g.
eating
room
without
built-in furniture,
anteroom,
window
shape
Still, one
can say bedroom
that the of
the
there no coherent concept is
s. parents), and therefore even size
assignment of the windows
observable.
What should additionally be
follows a hierarchy in almost
noted are the different
all cases, in which the size
distances
between
the
of the windows correlates
windows of the dressing
with the level of importance
rooms and the childs room.
of the function of the room.
This distance is caused by a
The common rooms, the
translation of the vertical
big saloon, the eating room
window axis of the childs
and the bedroom have the
room, emerging from the
biggest windows. As such,
spatial axis of the room
the bedroom can be
itself.
assigned
a role of representation,
even
if only in the architectural
sense. Aer all, Loos did not
3.2.5 Windows &
refrain from publishing a
Room Correlation
photography of his first
wifes
bedroom as a presentation
of
his interior design - the most
private of all rooms was as
such transferred into a
public
affair. Prepositioned rooms
and individual rooms of
retreat (e.g. boudoir, library,
guest room) receive medium
windows size, adjoining
rooms,
such as storerooms, toilets
and
bathrooms, have the
smallest

windows. The two dressing

rooms and the kitchen with
the
obvious and, in comparison,
too
big windows for its function
are
the only exceptions.
However,
in the light of the gravity
that
Loos assigns clothing as an
expression of society
(consider,
e.g., Mens Clothing, Foot
Clothing, etc.) the size of the
windows of the dressing
room
seems adequate. The reason
for
the kitchen window size
seems
to be purely formal, to obey
the (almost) symmetrical
south
facade. The difference
between
the Up and Down (gradient
of vertical privacy (Risselad
a, and
1989,
and the Back
p28) (gradient
In
Front
of axial
privacy
(ibid.)), as mentioned by
Johan
van den Beek in Adolf Loos
-Paerns of Town Houses,
are
only vaguely noticeable in
the
facades. In fact, the
difference
between the front and the
back, if the north and south
side are considered as such,
are
obvious, whereas difficulty in
expressing gradients of
privacy
occurs when considering the
east and west side. While
one
can clearly see the function

of representation of the
north
facade (front towards the
street with more traffic and
as such more
representative)
through its bigger windows
and the smaller windows to
the south, giving cues to the
individual rooms and
retreats
and adjoint rooms that hide
behind, a differentiation
between the back and the
front
by considering the side
facades
gets almost impossible due
to its symmetries. Here,
hinted
game
rooms and boudoir are
equated
with adjoint rooms and guest
bathrooms. Differentiation
becomes pure
speculation.
What can be done easier is a
differentiation between the
Up and the Down, which
becomes particularly visible
on the north and the back
side. Naturally, even there
one may not ask for the use
of the rooms that hide
behind these windows. Even
there, misleading equality
(kitchen
and
library,
individual
mans
leisure
room) finds its way. Still,
adjustment of

the
windows
succeeds,
whereas a decrease of the
windows size towards the
top
emphasises
the
increased privacy of the
rooms.
If one compares the windows
sizes over all facades, an
exceptional position of the
north
facade can be observed.
None
of used sizes of
the
there
windows
can be found on any of the
other
facades, while those feature
constantly repeated
windows
dimensions (east, south,
west
facade: approx. 2.20x1.20m
and
approx. 0.80x1.00m, east,
west
facade additionally approx.
1.50x1.20m). The balcony
door
of the childs bedroom (but
equal in size to the balcony
door
of the parents bedroom on
the
north facade) and the
window
of the eating room on the
east facade are the
noticeable
exceptions. Loos intention
was presumably to emphasis
with the nonrecurring usage
of those window dimensions
the exceptional position of
the rooms behind them. This
modus operandi is
particularly
traceable for the windows of
the Great Hall and the
Dining

Because
Room
because
the combination
their window of this axis with the 3 vertical
rectangles
lead
an arrangement of 6 squares. This
dimensions(Ill.
are30)
used
onlytofor
square
arrangement
is
nearly
conform with the functional
those special
structure
of
the
floor
plan.
The
first
square in the lower right
rooms.
corner is the library, the second the boudoir. The squares over
this row contain the Kitchen and dining room. The hall take
the space of 2 squares, nearly 1/3 of the whole floor plan
3.2.6
Floor
plain. The
bay Plan
window extend the dining room about the
dimension of 1/4a.
Compositorial analysis
Loos oen use a part of the
dimension a to describe the
The floor plan of the house
measures of the rooms, but
has an aspect ratio of 3 to 2.
he goes further. When it is
The long side has a canon of
possible he also design the
3a and the short side canon
proportion of the rooms
of 2a. That wit it is possible
equivalent to the vertical
to
draw
3
vertical
rectangles. Like for example
rectangles, with an aspect
the kitchen with an aspect
ratio of a to 2a, over the
ratio of a to 1/2a, the kitchen
floor plan. The shape of the
niche (1/2a to 1/4a) or the
floor plan has also 2
support
funnel
(which
symmetry-axis (I, IV), but
includes
a
li)
with
the
only the axis I, which is
same
aspect
ratio.
identical with the facade axis
I, is important for the
If it was not possible to
internal structure of the floor
design
the room in the same
plan.
proportion
like the vertical rectangles,
he
based them in another way
on the dimension a like for
example the boudoir. For
this
room he use the dimension a
in the size of 1/4 to place
a the

Loos could
walls,
the podium
not keep
of the
up on his compositorial conception in the
room
basement
and
the ground
floor. The reason for this is the fact
and also the
entrance
for the
that
the
basement
with
the
support rooms (laundry, garage,
stair
coal
storage
etc.)
also
influence
the ground floor, through the
.
heights differences of the stories along the north-south
Loos use the same system to
direction.
design the second floor (Ill.31). The symmetrical placed
robing-rooms have the same
proportion like the vertical
rectangle and are also based
on the dimension a (aspect
Symmetry-axes
ratio a to 1/2a). An identical
sized rectangle describes the
The interesting aspect of the
child`s playroom and the
house Mller is the
staircase, consisting of the
interaction,
or the missing of an
gallery, the stair well and
interaction,
between the facade axis
the stair. Also the toilet and
and the floor plan axis. As
the bath room have the
aforementioned their are
same aspect ratio of 1/2a to
two
main symmetryI and IV ).
1/4a. It is also interesting to
axis ( the symmetrical axis
Namely
see that the axis VIII, which
I is identical with the facade
divides
one
vertical
rectangle in the middle ,is
axis I of the north facade,
identical with the wall of the
but the facade
not with
V of
bath room, the toilet and the
axissouth facade. There is a
the
support funnel.
hop between these axis. This
is
very good recognisable in
The floor plan shows that
the
ground floor plan. The
Loos followed for the design
entrance
situation (the entrance
straight
and
basic
niche)
is symmetrical placed in the
composition rules, like in the
facade.
south facade according to
the
facade
V, but
axis
asymmetrical
in
the ground
floor plan. For
the first look there is no
relation

In the context
between
the facade
of the axes
V and
it is also necessary to take a closer
axisfloor
look
backplan,
to the
the
but entrance
Loos triedsituation. As aforementioned it is
symmetrical
situated
the south facade, but asymmetrical in
to connect this axis inin
the
the
floor
plan.
However
Loos realised, through an ably chosen
floor
plan by placing the border
entrance-motive
tripartition),
an entrance door which is
wall
of the staircase on(athis
axis.
exactly
situated
on
the
symmetrical
main axis I. He repeated
He
reflected this border wall at
this
entrance motive at the rise for the first floor.
the
axis I and got in this way the
3.2.7 Spatial Plan
width of the stair. Due to this
the hop of the to axis is 1/2
The idea of the spatial plan,
of
the stair width. This
which was described in the
dimension
is also observable in the
chapter 2.3, was aer
roofaic-plan, where it is part
Loos`s own words realised
of
the
measures
of the
on its best in the house
skylight.
Mller. He said:
There are also axes in the
...this spatial interaction
rooms, like the axis III. It is
and spatial austerity that
the axis of the Hall. Loos
thus far I have best been
supported the axis with 4
able to realise in Dr. Mllers
hollow corner pillars, which
house Adolf Loos 20
should
underline
the
To make the spatial interaction
symmetry of the short walls
in the house Mller easier to
of the Hall.
understand, we created a roomcast of the important rooms
(Ill. 33)

. The room-cast shows

that the dominant room of the

house is the hall and assigned
to her are the other rooms. The
ground floor and the first floor
are the really interesting levels
for the intrinsic spatial plan
(grey tagged in the axonometric
projection). The reason for this
is that Loos situated in the

second level only the private

In the ground floor and the first floor whereas, Loos placed
rooms,
like of
the sleeping
room, functions and designed them with different
rooms
different
robing-room
the child`s
heights. and
Thus
he generate a room sequence which starts in
playroom.
Rooms whichroom
have
the entrance
(1) and continue to the Hall (2) with a
the
same or jump
similar functions.
height
of 1,2 m. Compared to this hall there are the
boudoir
(7)ofand
Based
on his idea
the the dining room (3). Both rooms have a lower
sealing
then
spatial
plan Loos
gavethe
everyHall, which has a height of approx. 4,5 m (the
boudoir
has
in
its upper part a height of only 2,1 m). So it is
room a height according to
possible
to
say
that two small rooms, and when you count also
the function, so the height
the
entrance room three, are connected to one big room.
difference between the rooms
Considering the loge theatre, which was according to Loos the
(which leads to the interesting
original idea of the spatial plan, there should be an open
room sequences of the spatial
connection between the small rooms and the big one to
plan) arise only between rooms
perceive the whole room sequence. Loos realised this open
of different functions, which is
connection with the staircase and the penetrated walls
not given in the second floor.
between dining room, hall ad stair. (Cp. tour through the
The
vertical organisation from
house)
public rooms in the ground
floor to the private rooms in
the upper part of the house is
typical for Loos.

The diagram of the roomcast

in Illustration 34 shows
exactly
how complex the design of
the
vertical access system has
be,
to guarantee
the function of
the
room plan in the house
Mller.
According to the height
jumps
and the different room
heights,
Loos created two vertical
access
systems. One is continuous
in the height and the other

Recapitulating
not.
The continuous
it is to
system
say that Loos realised his idea of the
spatial
with
height jumps between the rooms, the
is placedplan
at the
south
variation
of
room
heights
and by the use of a complex vertical
facade,
and connects the house from
access
system.
The
the basement to the roof. in literature oen mentioned
confrontation
twothe
high stories to three smaller stories in the
The
function roomsoflike
house
Mller,
which
should be characteristic for the spatial
kitchen
are linked to this system.
plan)
is de facto not observable. Maybe a longitudinal section
The
non-continuous acess
(Ill. 36) through the vertical access system could implicate
system
is
the important
one for the
such an organisation, but the third story in this section is only
spatial
plan.
It
provides
the death end ofover
the access system and is named in the floor
platforms
the
to theWhereas
various another longitudinal section (Ill. 35)
planaccess
as pantry.
rooms,
which
differ
of the house showsin a height movement of the rooms from
height.
Withal
the
height
north to
south.
differences,
Loos was able to manage
that the continuous and the
non-continuous verical
access
system are always
connected.
This leads to the fact that
some
rooms like the boudoir are
double
developed.
As aforemesntioned are the
border wall of the nonAt last it is to say that the
continuous coverage semispatial plan in the house
transparent.
They
are
Mller is not recognisable at
designed a a column row
the facade of the house.
(border wall of the hall) or
Only the differences in the
have windows to the rooms
size of the windows indicate
(dining room).
the different rooms with
their various functions but
not their height movement
or their different heights.

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00000000000000000f6d60001000
Ilustration 35
00000d32d4850202000000000000
0000000000000000000000000000
0000000000000000000000000000
According to Julius Posener it is
0000000000000000000000000001
typical for Loos that the outside of
1637072740000015000000033646
the house and the internal structure
57363000001840000006c7774707
differ,
because Loos did not
ffd8ffe000104a4649460001020100960096
develope
his houses from inside to
4000001f000000014626b7074000
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outside.
He
always wanted that the
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cubatore of the house is an
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intergrated whole or a sign.
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Illustration 36
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above:
Ill. 6 - view to the entrance
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right:
Ill. 7 - view to the rise to the first level
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above: Ill. 8 - the hall

le: Ill. 9 - view from the hall to the staircase

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above: Ill. 10 - dining room
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right: Ill. 11 - boudoir
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above: Ill. 12 - staircase with skylight

le: Ill. 13 - roof terrace with skylight

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Ilustration 15, 16 - noth facade
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Ilustration 17, 18 - north facade
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Ilustration 19 - north facade

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Ilustration 20 - south facade

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Ilustration 21 - south facade

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Ilustration 22 - west facade

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Ilustration 23 - western facade

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Ilustration 24 east facade

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Ilustration 25, 26 - north facade
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Ilustration 27 - south facade

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73630000000000000012735247422049454336313936362d322e310000000000000000000000127352474220494543
36313936362d322e31000000000000000000000000000000000000000000000000000000

Ilustration 28 - west facade

ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e
6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d53465400000000494543
20735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000000000
000000000000000000000000000000000000000000000000000000000000000000000000116370727400000
1500000003364657363000001840000006c77747074000001f000000014626b7074000002040000001472585
95a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640000025400000
070646d6464000002c400000088767565640000034c0000008676696577000003d4000000246c756d6900000
3f8000000146d6561730000040c0000002474656368000004300000000c725452430000043c0000080c67545
2430000043c0000080c625452430000043c0000080c7465787400000000436f7079726967687420286329203
1393938204865776c6574742d5061636b61726420436f6d70616e79000064657363000000000000001273524
7422049454336313936362d322e31000000000000000000000012735247422049454336313936362d322e310
00000000000000000000000000000000000000000000000000000

Ilustration 29 - east facade

ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500010100000c484c696e6f0210000
06d6e74725247422058595a2007ce00020009000600310000616373704d53465400000000494543207352474200000000
00000000000000000000f6d6000100000000d32d485020200000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000001163707274000001500000003364657363000001840000006c77
747074000001f000000014626b707400000204000000147258595a00000218000000146758595a0000022c00000014625
8595a0000024000000014646d6e640000025400000070646d6464000002c400000088767565640000034c000000867669
6577000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c72545
2430000043c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000000436f70797269676
874202863292031393938204865776c6574742d5061636b61726420436f6d70616e790000646573630000000000000012
735247422049454336313936362d322e31000000000000000000000012735247422049454336313936362d322e3100000
0000000000000000000000000000000000000000000000000

Ilustration 30 -first floor

ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500010100000c484c696e6f02100
0006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049454320735247420000
000000000000000000000000f6d6000100000000d32d485020200000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000001163707274000001500000003364657363000001840
000006c77747074000001f000000014626b707400000204000000147258595a00000218000000146758595a0000022c
000000146258595a0000024000000014646d6e640000025400000070646d6464000002c400000088767565640000034
c0000008676696577000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368000004
300000000c725452430000043c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000
000436f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e7900006465
73630000000000000012735247422049454336313936362d322e310000000000000000000000127352474220494543
36313936362d322e31000000000000000000000000000000000000000000000000000000

Ilustration 31 - second floor

ffd8ffe000104a4649460001020100eb00e80000ffe20c584943435f50524f46494c45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Ilustration 32 - roof plan, first floor, ground floor

ffd8ffe000104a4649460001020100c800c80000ffe20c5849434
35f50524f46494c4500010100000c484c696e6f021000006d6e74
725247422058595a2007ce00020009000600310000616373704
d53465400000000494543207352474200000000000000000000
00000000f6d6000100000000d32d48502020000000000000000
000000000000000000000000000000000000000000000000000
000000000000000000000000000011637072740000015000000
03364657363000001840000006c77747074000001f000000014
626b707400000204000000147258595a0000021800000014675
8595a0000022c000000146258595a0000024000000014646d6e
640000025400000070646d6464000002c400000088767565640
000034c0000008676696577000003d4000000246c756d690000
03f8000000146d6561730000040c00000024746563680000043
00000000c725452430000043c0000080c675452430000043c00
00080c625452430000043c0000080c7465787400000000436f70
797269676874202863292031393938204865776c6574742d506
1636b61726420436f6d70616e79000064657363000000000000
0012735247422049454336313936362d322e310000000000000
00000000012735247422049454336313936362d322e31000000
000000000000000000000000000000000000000000000000
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Ilustration 33

ffd8ffe000104a4649460001020100c800c80000ffe20c58
4943435f50524f46494c4500010100000c484c696e6f0210
00006d6e74725247422058595a2007ce000200090006003
10000616373704d53465400000000494543207352474200
00000000000000000000000000f6d6000100000000d32d4
85020200000000000000000000000000000000000000000
00000000000000000000000000000000000000000000000
00000001163707274000001500000003364657363000001
840000006c77747074000001f000000014626b707400000
204000000147258595a00000218000000146758595a0000
022c000000146258595a0000024000000014646d6e64000
0025400000070646d6464000002c4000000887675656400
00034c0000008676696577000003d4000000246c756d690
00003f8000000146d6561730000040c0000002474656368
000004300000000c725452430000043c0000080c6754524
30000043c0000080c625452430000043c0000080c746578
7400000000436f707972696768742028632920313939382
04865776c6574742d5061636b61726420436f6d70616e79
00006465736300000000000000127352474220494543363
13936362d322e3100000000000000000000001273524742
2049454336313936362d322e31000000000000000000000
000000000000000000000000000000000

Ilustration 34

(Glck, 1962,
p.16) Die scharfe amerikanische und englische luft hat
Notes,
Quotations
alle voreingenommenheit () von mir genommen. Ganz gewissenlose
and
References
menschen
haben es versucht, uns diese zeit zu verleiden. Stets sollten
9

wir rckwrts schauen, stets uns eine andere zeit zum vorbild nehmen.
1
(Roland
in:
Wie
ein alp L.
ist es Schachel
von mir gewichen.
Jawohl,
10 e.g.: unsere
( Eduard
zeitF.istSeckler
schn, in:
so
Rukschcio
et
al.
1989,
p.
23
schn, dass ich in keiner anderen/ lebenRukschcio,
wollte. 1989, p.257)
Lustenberger, 1994, p. 12)
11 (ibid.)
(Lusterberger, 1994, p. 12),
Ausweg aus einer Situation
ohne Perspektive & Verzicht
auf
eine
akademische
Ausbildung,
3
(Roland
L.
Schachel
in:
Rukschcio et al., 1989, p.23),
Emanzipationsphase,
4
(Lusterberger, 1994, p.13 )
schrittweise Loslsung von den
(bisherigen, durch den Besuch
einer
europischen
Kunstgewerbeschule geprgten,
A.d.A.)
5
(Glck,1962, p. 15 sthetischen
) mitleidige
Sehgewohnheiten,
Lcheln
6 (Safran; Wang; et al. 1985,
p.15)
7 (Richard
Neutra, Auftrag fr
Morgen, Hamburg, 1962, p. 179
f. ) die durch irgend eine vitale
Kraft in diesem Lande verndert
wurden,
8 (ibid.) in jenem Vorgang der
Entrmpelung,
historischen
Vorurteilen,
die
in
der
beralterten
politischen
Geographie ihr Blut schwer
gemacht und vergiftet hatte;
ibid.
2

(Glck, 1962, p. 65)

12

(Glck, 1962, p. 18) drawingtable-diletantism

13

(Glck, 1962; p. 65), Die

schnheit nur in der form zu
suchen und nicht vom ornament
abhngig zu machen, ist das
ziel, dem die ganze menschheit
zustrebt
15
(Glck, 1962; page 65), Je
tiefer ein volk steht, desto
verschwenderischer ist es mit
seinem
ornament,
seinem
schmuck.
16
(Frampton, 1992/ 2003; p.
93)
17(Glck,
1962,
p.
277),
evolution
der
kultur
ist
gleichbedeutend
mit
dem
entfernen
18
(Glck, 1962;
des ornamentes
p. 277), das
aus
dem gebrauchsgegenstand
lallen
der malerei
14

(Frampton, 1992/2003; p.
96)
20(Adolf Loos:
Shorthand record
of a conversation in Plzen
(Pilsen), 1930)
21(Posener, 1980, p.36 f.)
19

(Lustenberger, 1994, p.36, see

Adolf
Loos,
Josef
Veillich:
Trotzdem,
Innsbruck,
1931,
p.188), Lsen des Grundrisses
im Raum
22

(Lustenberger,
1994,
p.37)
den Aufenthalt in den engen
und
niedrigen
Logen
und
Galerien nur deshalb ertragen
knne, weil diese in einer
offenen rumlichen Beziehung
zum groen, durchgehenden
Hauptraum
24
(ibid.) man
stnden
also durch die
Verbindung
eines
hheren
Hauptraumes
mit
einem
niedrigem Annex Raum sparen
25
(see
kann
()Posener, 1980, p.38)
horizontalen Raumschichtung
23

n Architecture a critical history : London, Thames & Hudson Ltd., 3rd ed. 1992 / reprint 2003, ISBN 0-500-20257-5

Bibliography

UER, Wolfgang: Das Looshaus, 3. Auflage, Wien: L?ckerverlag, 1984

Loos S?mtliche Schriften in zwei B?nden: Wien, M?nchen, Verlag Herold, 1962

Adolf Loos Theory and Works: London, Art Data, 1995, ISBN 0-948835-16-8

4)

lie van: Villa M?ller A work of Adolf Loos: New York, Princeton Architectural Press, 1994, ISBN 1-878271-81-4

os, Berlin: Henschelverlag Kunst und Gesellschaft, 1970

Loos: Z?rich, Artemis Verlags- AG, 1994, ISBN 3-7608-8145-9

n zur Geschichte der Neuen Architektur in: ARCH+, Zeitschrift f?r Architekten, Stadtplaner, Sozialarbeiter und kommunalpolitische Gruppen, Ausgabe 48, Dezember 197

n zur Geschichte der Neuen Architektur (II) - Die Architektur der Reform in: ARCH+, Zeitschrift f?r Architekten, Stadtplaner, Sozialarbeiter und kommunalpolitische Grup

n zur Geschichte der Neuen Architektur (III) - Das Zeitalter Wilhelms II. in: ARCH+, Zeitschrift f?r Architekten, Stadtplaner, Sozialarbeiter und kommunalpolitische Grupp

n zur Geschichte der Neuen Architektur (IV) - Neue Tendenzen im 18. Jahrhundert in: ARCH+, Zeitschrift f?r Architekten, Stadtplaner, Sozialarbeiter und kommunalpoli

89)

: Raumplan versus Plan Libre Adolf Loos and Le Corbusier, 1919-1930: Delft, Delft University Press, 1989, ISBN 0-8478-1000-3

. : Adolf Loos Katalogbuch zur Ausstellung Adolf Loos: Wien, Graphische Sammlungen Albertina, 1989, ISBN 3-85409-165-6

5)

G, Wilfried (Ed.), BUDNY, Mildred: The Architecture of Adolf Loos An Arts Council Exhibition: Precision Press, 1985, ISBN 0-7287-0475-7

s Architektur: Salzburg/ Wien, Residenz Verlag, 1996, ISBN 3-7017-1031-7

80)

Vienna Adolf Loos` cultural criticism, London New York: Routledge, 2000, ISBN 0-415-22176-5

Illustration Credits
Illustration 2

http://www.mcah.columbia.edu/dbcourses/crary/large/

Illustration 3 GRAVAGNUOLO, Benedetto: Adolf Loos Theory and Works: London, Art
0-948835-16-8, S.90 right image

Data, 1995, ISBN

Illustration 4
RUKSCHCIO, Burkhardt; et al. : Adolf Loos Katalogbuch zur Ausstellung
Adolf Loos: Wien, Graphische Sammlungen Albertina, 1989,
ISBN 3-85409-165-6, S.254
Illustration 5

http://ourworld.compuserve.com/homepages/WernerLane/karosserie.htm

Illustration 6, 7, 8, 9, 10, 11,12,13 KLEINMAN, Kent; DUZER, Leslie van: Villa Mller A work of
Adolf
Loos: New York, Princeton Architectural Press, 1994,
ISBN 1-878271-81-4
Illustration 14: siteplan KLEINMAN, Kent; DUZER, Leslie van: Villa Mller A work of
Loos: New York, Princeton Architectural Press, 1994,
ISBN 1-878271-81-4

Ilustration 15 - 36 Joern Besser, Stephan Liebscher 2005

Adolf