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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 Content1. The Person Overcoming the Ancient Man1.1 Loos early years 7 1.2 Visiting the USA and Great Britain 1.3 The essence of the Journey 9 8

7

2. The Writer turning- away from the ornament2.1 Speaking into the void 11 2.2 Anyway the important happens anyway 13 2.3. Raumplan (Spatial Plan) 14

11

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

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

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.

Changes and breaks also mould the youth of Adolf Loos: The confusions, geopolitical early death of his father alterations, social changes in 1879 forced his mother to deal with and the family business a stonemasons workshop. Due to dualism the less time the mother could spend with the child and the s. As well, his next stations of mothers permanent pressure to life are the business aer assume 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 study at the school 1. Despite inadequate Royalachievements Loos completes the royal-imperial vocational Saxon Technical 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 BritainLoos 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. with The meeting 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 and English Artssmileand-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 unseled a modern 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 and freed Loos of 1894 Not until the end thinking from the ballast of the outdated forms of culture. Loossalaried when Loos found a writes: The biting American and English as an architectural position air took all my preoccupation () away. Unprincipled men triedNew York, our drasman in to malign he time. Always we had to look back, always we had saving could think about to be modelled on another time. But my nightmare yields. Yes, our money for the journey back 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 JourneyThe 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 referred tofor sure, But we can take that. thatarchitecture of the 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 literature points out to Loosthe comparison of the combination of bay-windows and coloums at Fine Arts Building the Chicago (Solon Spencer Beman, 1885) Rookery Chicago and The (Daniel Burnham &John Wellborn Root, 1888) with the windows of the mezzanine storey of the MichaelerplatzHouse 1 Also Loos pride of Sullivans salutation my . 0 dear brother in spirit 1 seems to support the theory of the 1Chicago 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 far Loos later writings European style. on American experiences his refer true events of his to the journey be completely will never 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 and society in moral, art Europe. Loos prominence in knowing America and England world - and his - the new ability to overcome the still existing European traditions lead to his criticising point of view from the position of a

Loos returned back culturally higher to Austria, to it`s capital Vienna, in 1896. At this with Vienna was the blatant contradiction of the developed observertime the demand to 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 also to observe in architecutre and the dominant architectural 2. The Writer point of view. The architectural mainstream was the historism. turning- awaywas common to use and to imitate the from In the historism it the ornament the ancient eras, like the renaissance, for design mediums of building houses. There was With this environment Loos also another architectural was confronted when he movement in Vienna the so called Viennese Secession. This arrived. Art Noveau. Their movement was part of the European It was not possible for commodity by himself ambition was to improve the basicLoos to establishart. The protagonists of this movement immediately Wagner, Joseph were Oo as an architect 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 of ekunst er silversmith), from the t gold and he, based of May 1898 where h 15 American experience, on hiscritised that the Austrian applied arts copied the ancient arts. He aacks the applied art academies and accuses them of doing reissbrediletantismus.

1 3

In his opinion they botched

the design process of the

With the essay Die potemkinsche Stadt (Thebuilding belong to the architect. There he The walls of a potemkin crasmenfrom July 1898, he aacks the at will. Andarchitectural so with any furniture that is not and were responsible city) rules Viennese as with walls for the inpurenessHe sentenced the simulation of (.) The wrought-iron bedstead, table and chairs, historism. of the basic moveable. material and the commodity by the userenaissance facadeshassocks and occasional chairs, desks and smoking stands nailing on of of as amoral, because through historical ornaments. this simulation, the Viennese try all itemssimple by ourhouses to turn made living crasmen in the modern idiom (never into palaces. So they critic that only aristocrates live in everyone may buy these for himself feign of by the architects); Vienna Loos verbalised his and not simple civils. exactly according to his own taste and inclination. 16 the ornament more 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 critic of the reawakening of the ornament is not only 2.2 Anyway the aesthetic. Hehappens important also criticized the ornament from the economical point of view. He predicated the ornament as an anyway damage, because the fabrication of ornamental (Friedrich Nietzsche) economical basic commodities needs more manpower and material than His anfinal polemic one. The working time which should not for unornamental paper Ornament for the ornament, should be used to produce more be wasted and Crime from 1908, is or for the freetime of the worker. Due to that, Loos products the aggregation of his theoretical work. Here he thought, the general social wealth could be increased. describe material and working time for the ornament that is Wasting his evolutionary art 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 happend of his writings 1910. Loos built his first house the house at the Michaelerplatz (also known as the Looshouse). he thought is It shows how ideas get reality. The lower could part house is made out of of the Cipolini marble. Ornamentless built, it lifes from the rich texture of the marble. Over this ist the plain part of the base the house. Only an unornamental with outcuted render facade square holes for the windows. of the house is a The ending 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 decoration at the only facade bronze flower boxes, are the which were the result of a long argument between him and the This argument was city. 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 so far to draw the went 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 Raumplan 2.3. Loos merit for the architecture is not only that he developed Plan) (Spatial an architectural language of simplicity and plain 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 comesbe to the can said, that for Loos two things were important within one can conclusion, that his Raumplan - firstly a differentiation of the height save of space the ceiling through in differently used rooms, with a strong link to the a higher main connecting privacy which the room should provide, secondly the creation of annexe the room to a lowerroom of 24 sequences with the different rooms, with The first use ffd8ffe000104a464946000102010 a special importance on Loos visual connections of the rooms. the Raumplan in 09600960000ffe20c584943435f50 That means precisely that more 524f46494c4500010100000c484c6 private annexes with lower architecture, as he said, was ceilings are spatially connected through stairs, visually trough in the unbuild project of the 96e6f021000006d6e74725247422 view-throughs of etc. with higher058595a2007ce000200090006003 more public rooms. The Ministry War different heights of the ceiling cause a break-through of the (Kriegsministerium) in 10000616373704d5346540000000 established horizontal layering25 0494543207352474200000000000 of the house. This leads to Vienna in 1907/08. 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 100000c484c696e6f021000006d6e74725247422058595a2007ce000200090006003100006 16373704d5346540000000049454320735247420000000000000000000000000000f6d600 0100000000d32d48502020000000000000000000000000000000000000000000000000000 0000000000000000000000000000000000000000000116370727400000150000000336465 7363000001840000006c77747074000001f000000014626b7074000002040000001472585 95a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e 640000025400000070646d6464000002c400000088767565640000034c000000867669657 7000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368 000004300000000c725452430000043c0000080c675452430000043c0000080c625452430 000043c0000080c7465787400000000436f70797269676874202863292031393938204865 776c6574742d5061636b61726420436f6d70616e790000646573630000000000000012735 247422049454336313936362d322e31000000000000000000000012735247422049454336 Illustration 2 - Chicago World Fair 1893 313936362d322e31000000000000000000000000000000000000000000000000000000

ffd8ffe000104a46494600010201009600960000ff ffd8ffe000104a46494600010201009600 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 4 -Entrance door of the Ebenstein Ill. 3 -Philadelphia house, Chestnut Ill. 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 Mller3.1 IntroductionIn 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 AnalysisThe 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 Site Mller is situated in a western district of 3.2.1. of the Villa Prague, Stresovice, an at the time of building the Villa 000006d6e74725247422058 emerging suburb with mainly free 595a2007ce0002000900060standing residential houses. Additionally it is located on the northern slope of a hill with 0310000616373704d534654Hradshin. Only the eastern view to the castle of Prague, the 00000000494543207352474 and south-eastern side of the site border on sites with houses, 20000000000000000000000 space. Thus in the souththe remaining sides are facing public Due to the in North-to-South west a smaller road (Nad Hradnim 000000f6d6000100000000d Vodojemen) ,leading to a direction of the slope and older residential area, in the north a heavy used road and at 32d48502020000000000000 alignment of the site to the least a public thoroughfare (in the appearance of a stair built the North-east, there 00000000000000000000000was built) delimit the exists at the same time when Villa Mller site. a 00000000000000000000000 double slope having its lowest point in the north00000000000000000000000 eastern corner of the site. 00000000000001163707274 The is more 00000150000000336465736 building itselfNorth and extroverted to the Illustration 14: siteplan 3000001840000006c777470 more introverted to the 74000001f000000014626b7 South because of its exposure on the north-facing 07400000204000000147258 slope. 595a0000021800000014675 can enter the site from One the 8595a0000022c0000001462 South as well as from the 58595a00000240000000146 North however the main entrance with the access to 46d6e640000025400000070 garage is located to the the 646d6464000002c40000008 south because of beer accessibility and the less 8767565640000034c000000 used street. From North a 8676696577000003d400000 narrow stair over the whole 0246c756d69000003f80000 length of the western side of 00146d6561730000040c000 site provides access to the 00024746563680000043000 house. the The 00000c725452430000043c0 building is moved as far as possible to the western end 000080c675452430000043c of the site to create a small, 0000080c625452430000043 more area in the garden in private 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 / AxesNorth 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 terrace top, a movement the that the cube was vertically by minor of the Golden the shied by a fourth of its Section size.

Following this approach one of the rectangle, the upper will recognise that the remaining minor end rectangle will mark with the height of the terrace leads of the (m) in combination to themore connections. A rectangle made of 3x3 tiles of this upper end of the measurement defines as well the height of the faade as the building. horizontal total dimensions of the further dividing and the so A further key for A building defining of including the prominence the of the bay of the dining room. understanding 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.to the absolute Not only due picture of the faade. measurements of the terrace Loos influences notably the appearance of whole elevation, repeating its but also by form visually connected in the walls of the terraced garden in eastern part of the site. the A movement of the terrace form

The representative, forward part of the northern faade is to the west with the same composed strictly symmetrical, an exception is only the width the western end of shows arrangement of the annexes such as the terrace and the the Mller and establish an Villa outside stairs leading to the garage. The vertical axis of encrypted symmetry of symmetry revealed bynorthern faade corresponds with the forms, be I, of the only to middle axes of the great hall of the ground floor and the knowing the restroom of the first floor, both located behind the faade. context. 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. to the structure subconsciously perceive a In contrast connection between the two of forward northern faade the 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 verticalsymmetry V which is axis of moved away eastward from

the northern axis of symmetry of the width of by the half the representative stair (c) of the ground floor. The roof storey is no means symmetrical. by The centre axes of the 3 moreover different-sized windows are moved away with different distances (2c, c and c/2) from equivalents in the their 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 opinion South faade 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 window for every room in every Classicistic influences on faade onarchitectureThe only exception is the Great Hall with the other. Loosian could three windows on be best viewed the north faade (but none on the other in the flanking facades!) in toVilla southern faade of the point out its exceptional position. Consequently, equiping not Mller. But this means the childs playroom with more then one window in or south faade would have lied it to the simply copying the repeating same level of importance as the Great Hall, a violation of the classicistic stylistic devices hierarchy of Loos could not stand. For the sake of as symmetryroomsharmonic or completeness are must add, sections. They one used very that viewed from the contrary, decomposing of the on the deliberately to create symmetry by a missing window will especially one handfocus the aention on the room behind it and an obviously maybe tamper its real image idealistic and classic importance. 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 symmetry of the axis of the southern faade to the axis of service staircase. Due to the its obviousness it is also a sign to point out the artificiality, the masking effect of the symmetry of the south facade. already on the As shown northern faade also the windows and the entrance area of the southern faade are

Alongside the axis overall combined to create aof symmetry V there are also other analysing axes on shape, in this case athe southern faade, which regulate the relations rectangle among its aspect corresponding in the windows. A horizontal trisection of the overall shape of of thesouthern faade defines the outer ratio with the form the limitation of rectangles whole The the windows of the ground level. Furthermore it faade. determines the Goldenof the canopy of the entrance area. The height also marks the width 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 determined also by a trisection, but of the inner windows the northern faade, shape of the southern faade.A hinted reference to the overall the southern faade is more of the house can be found in the width of the windows interior introverted. 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 more interesting Once againthe eastern faade of the Villa Mller comes across as a measurement of the is thewrongly, because on the unrepresentative side of the site, located terrace which ground level representative faade. It seems it would fit beer on importancethe western been of the building. But if one goes has side more into detail, Thus the described already.one will recognise that there is a deeper logic, of not a mistake in Loos design. shapeandthe terrace is again 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 revealed out more introverted.on the 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 paern of utilisation in the of Villa Loos. The location the of

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

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

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.

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 balcony door. A the geometricwith this rectangle similarity 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 facade that is the of plunged site, are separated into the from

Generally it facade said that the size of the windows only the collectivecan be shape. marginally correlates with As such, diagonals that emerge the size of the rooms that are hidden behind. sectioning of from particular Hence, no statement about those rooms can be made by bare the base the facade, define observation of the facade. In addition, the room axisbetween thethe windows axis only in rare cases (e.g. of similarity aligns with eating room without built-in furniture,one can say bedroom of window shape Still, anteroom, that the the parents), and therefore even size no coherent concept is there s. 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. assignedrepresentation, a role of even in the architectural if only 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 interior design - the most his private of all rooms was as such transferred into a public Prepositioned rooms affair. and individual rooms of retreat (e.g. boudoir, library, guest room) receive medium windows size, adjoining rooms, storerooms, toilets such as and bathrooms, have the smallest

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

of representation of the north (front towards the facade 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 and boudoir are rooms 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 can be observed. facade 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 additionally approx. facade 1.50x1.20m). The balcony door childs bedroom (but of the equal in size to the balcony door parents bedroom on of the the facade) and the north window of the eating room on the east facade are the noticeable Loos intention exceptions. 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 the windows of traceable for the Great Hall and the Dining

Because the combination Room because their window of this axis with the 3 vertical rectangles are used only for dimensions(Ill. 30) lead to an arrangement of 6 squares. This 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 3.2.6The bay Plan plain. Floor 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 he use the dimension a room in the size of 1/4 to place a the

Loos the podium of up walls,could not keep the on his compositorial conception in the basement and the ground floor. The reason for this is the fact room 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, facade axis between the 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 symmetrymain I 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 not with the facade 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 (the entrance situation straight and basic niche) is symmetrical placed in the composition rules, like in the facade. south facade according to the facade V but , axis ground floor plan. For asymmetrical in the the first look there is no relation

In the context of the V and between the facade axes it is also necessary to take a closer look axisfloor plan,the entrance situation. As aforementioned it is the back to but Loos tried symmetrical situated in the south facade, but asymmetrical in to connect this axis in the the floor plan. However Loos realised, through an ably chosen floor by placing the border plan entrance-motive (a tripartition), an entrance door which is wall staircase on this axis. of the 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 I and got in this way the axis 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 stair width. This the 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 sleeping room, functions and designed them with different rooms the different robing-room and the child`s generate a room sequence which starts in heights. Thus he playroom. Rooms whichroom (1) and continue to the Hall (2) with a the entrance have the same or jump of 1,2 m. Compared to this hall there are the height similar functions. boudoir (7) and Based on his idea of the the dining room (3). Both rooms have a lower sealing then the Hall, which has a height of approx. 4,5 m (the spatial plan Loos gave every boudoir has in to upper part a height of only 2,1 m). So it is room a height according its possibleso the height to say that two small rooms, and when you count also the function, 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 to be, guarantee the function of the plan in the house room Mller. According to the height jumps different room and the heights, Loos created two vertical access One is continuous systems. in the height and the other

Recapitulating it is system not. The continuous to say that Loos realised his idea of the spatial plan with height jumps between the rooms, the is placed at the south variation facade, of room house from by the use of a complex vertical and connects the heights and access system.theThe in literature oen mentioned the basement to roof. confrontation oflike the stories to three smaller stories in the two high The function rooms 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 provides over plan. It the death end of the access system and is named in the floor platforms to the various another longitudinal section (Ill. 35) the access plan as pantry. Whereas rooms, house differ in a height movement of the rooms from of the which shows height.the height Withalto south. north differences, to manage Loos was able that the continuous and the non-continuous verical access are always system connected. the fact that This leads to some like the boudoir are rooms 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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above: Ill. 8 - the hall le: Ill. 9 - view from the hall to the staircase

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above: Ill. 12 - staircase with skylight le: Ill. 13 - roof terrace with skylight

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Ilustration 19 - north facade ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c69 6e6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049 454320735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000 0000000000000000000000000000000000000000000000000000000000000000000000000000001163707 274000001500000003364657363000001840000006c77747074000001f000000014626b707400000204000 000147258595a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640 000025400000070646d6464000002c400000088767565640000034c0000008676696577000003d40000002 46c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000 43c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000000436f7079726 9676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e790000646573630 000000000000012735247422049454336313936362d322e31000000000000000000000012735247422049 454336313936362d322e31000000000000000000000000000000000000000000000000000000

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

Ilustration 24 east facade

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