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ANALYSIS OF THE VILLA MUELLER .ADOLF LOOS THE LIFE .THE THEORIES .
Stephan Liebscher Exchange students at: University of Bath from: Technical University of Dresden Bath 2005 .Joern Besser.
„… the highest blossom of mental perversity …“ „The crap box at the Michaeler place.Mistelbauer.“ „This monster of a house….1984) to Loos`s house at the Michaelerplatz .“ Reactions in the newspapers (Czech.
3 Proportions / Rela.2.2. The Person – Overcoming the Ancient Man 1.Correlation 28 3.2 Analysis 21 188.8.131.52 Window.2 Visiting the USA and Great Britain 1.6 Floor Plan 32 3.Table of Content 1. The Site 21 3.2.2. Illustrations 45 11 . The Villa Müller 16 3.2 Cubature & Facade 22 3. Raumplan (Spatial Plan) 14 3.1 Introduction 16 3.3 The essence of the Journey 9 7 8 2.7 Spatial Plan 34 4.1.5 Windows & Room Correlation 30 3.Façade.tions / Symmetry / Axes 22 3.1 Speaking into the void 11 2.2.1 Loos’ early years 7 1.away from the ornament 2. The Writer – turning.2 Anyway – “the important happens anyway” 13 2.2.
As shown before.date self expression. but already/ yet in 1870 a loss of orientation dominates this search for a up. repressions at thisthe bourgeoisie emerges in the time in his mind. anti-bourgeois Austro. The emancipation of the bourgeoisie is strongly linked to the search for a bourgeois self and its expression. Adolf Loos was born in Dezember 1870 into a lower middle class but academically educated family.Hungary is bound by its internal affairs. Therefore the hope for a modern bourgeois expression illustrating the breakup into a new era was not satisfied. decay less political but definitely cultural of a multi-national state and to realise and intellectual. Despite to bring the situation of his homeland. Forofthe 1848 understanding mould the society one has of the Danube Monarchy. The art of the emancipation of the bourgeoisie got caught in copying ancient aristocratic forms of expression – creating the so called Historism.Hungary.Adolf Loos ffd8ffe0001 04a4649460 0010201009 600960000ff e20c584943 435f50524f4 6494c45000 10100000c4 1. seems to be unstoppable.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. 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. the time of his birth alone could have triggered Loos’ provocative way of live and thinking by its general . The Person – 84c696e6f02 Overcoming the Ancient Man 1000006d6e 1. the chancesInfor contrast large. Due to this Austro.to that the fall of the gentry scale changes created by that.to. one also has tocities envision as the theleading stealthy class.
in Dresden will be completed nor the planned exchange to the Academy of Fine Arts Vienna will be carried out. .step dissociation from the (former) habits/practice of aesthetical vision (moulded by the a�endance at an European The first “pitiful vocational school)”4. Melk. with the family business – a stonemason’s workshop. histhe next stations of mothers permanent pressure to life assume the business a�er are also moulded by leaving school. Despite inadequate study at the school Royalachievements Loos completes the royal-imperial Saxon Technical vocational University school of Brno with the Matura.by. Reichenberg)Loos’ 1. As well. which was be also published later in his writings. The meeting with the simplicity of items of the American applied arts movement. 1. also his aesthetical ideals succumb to this metamorphosis. the now defective unsteadiness family ties cause an odyssey and of the young Adolf Loos troughinconsequence: several residential schools neither (Brünn.2 Visiting the USA and Great Britain Loos’ time in America can be easily described as a “phase of emancipation”³ in which he developed himself from a minor. student without prospects to a modern and complete human being and gentleman.Changes and confusions. 5for the American smile” and English Artsand-Cra�s Movement turns soon into admiration and leads to the realisation/awareness. geopolitical breaks also mould the youth of Adolf Loos: The early death social of hischanges father in 1879 forced his mother to deal alterations. and the plain elegance of the American rural population caused a “step. Iglau. 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”². Due to and dualism the less time the mother could spend with child and the s. But not only his human qualities changed in years between 1893 and 1896.
But wereferred can take sure.that simplicity. that the architecture of the Chicago School has carried weight on Adolf Loos.back our money for the journey time is beautiful. 9 by his Mother. For example the comparison of the rounded window corners of his Uncle Fredrick’s 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 my nightmare yields. Here he had to waive knowingly the material safety of his former life. 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. always we had to be could think about saving modelled on another time.that all was like a liberation from the European traditions.) 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. Astonishing similarities (three-pieced horizontal structuring. His tramping around the USA. our he time. who were “changed by a some vital force in this country”7 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 . influences.and bricklayer 6. So beautiful. As a . floor. the less there are proved facts about the exact route and received tangible. became familiar with the hard and poor living conditions of the European immigrants in New York. especially architectural. 1. But Loos himself never tofor that. plainness are the Important for Loos individual development were the real expressions ofmonths a modern unse�led of the year 1894. But the incapacitation another. that I don’t want to live in home. Always we had to look back. Loos writes: when Loos found a salaried “The biting American and English air antook all my position as architectural preoccupation (…) away. in which he occidental culture. Yes. the simple jobs he did and the meetings with normal (new-) american people. That there existed buildings which influenced Loos’ work is visible. Unprincipled men tried to malign dra�sman in New York.3 The essence of the Journey The important the impressions of America are for Loos. 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. forced him to leave the USA and marks the end of this period of cu�ing the cord. forms of cornices etc.
far Loos’ later writings on his American experiences refer to the true events of his journey will never be completely proved.important example for that the Loos. 1888) with the windows of the mezzanine storey of the MichaelerplatzHouse 1 Also Loos’ pride of . art and society in Europe.and his ability to overcome the still existing European traditions lead to his criticising point of view from the position of a . In contrast to that the simple American farmer. with his plain. 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 “new world” . Sullivan’s 0 salutation „my dear brother in spirit“ 1 seems to support the theory of the 1 Chicago School influence. Loos’ prominence in knowing America and England . In his writings he o�en 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 person of Uncle Ben and Aunt Anna. Beside the more uncertain influences of the American architecture of that time we can say more about America’s effect on his way of thinking. 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. 1885) and The Rookery Chicago (Daniel Burnham &John Wellborn Root. the representatives of the outdated moral.literature points out to the comparison of the combination of bay-windows and coloums at the Fine Arts Building Chicago (Solon Spencer Beman. In America we can find the origin of his evolutionary theory of culture.
Thinking in this wide spectrum he developed his theory of an unornamental way of design. like the renaissance. back to the previous era and was not able to deal with the problems and possibilties of the new civil society. some of them were published in his own journal “Das Andere – ein Bla� zur Einführung der Abendländischen Kultur in Österreich“ (“The Other – A journal for the introduction of the western culture into Austria”). ItArt was not possible movement was part of the European Noveau. The society looked people. The architectural mainstream was the historism. In these essays he dealt with problems from all social spheres. like “How long should the hair of women be”. he started to write essays for Viennese newspapers like the Neue Freie Presse. critised that the Austrian applied arts copied the ancient arts. His theoretical work culminated in his main work “Ornament and Crime” (1908).in Vienna. In his opinion they botched .1 Speaking into the void Starting with the essay “Lederwaren und GoldSilberschmied (“Leath und goods and the art ekunst“ erof silversmith”). Their for Loos to establish himself ambition was to improve the basic commodity by art. This arrived. It was affected by the backwards orienteted educate the governance of the emperor Franz Joseph I. Due to this. Die Zeit and Die Waage. was published 1921 in his book „Ins leere gesprochen“ (“Speaking into the void”) and 1931 in the extension “Trotzdem” (“Anyway”). fashion or architecture. All his essays. from the t gold and of May 1898 where he. for environment Loos building houses. to it`s capital Vienna. Writer – point of view. turningaway from In the historism it was common to use and to imitate the the designornament mediums of the ancient eras. There was With also this another architectural was confronted when he movement in Vienna – the so called Viennese Secession. He a�acks the applied art academies and accuses them of doing 1 3 „reissbre�diletantismus“. The as an architect protagonists of this movement immediately were O�o Wagner. This was alsoThe to observe in architecutre and the dominant architectural 2. Joseph Maria Olbrichs and Josef Hoffman. based h 15 on his American experience. Simultaneously to his first essay he got the possibility to realise some interior designs for flats and shops. On the basis of these books it is possible to observe the development of his theoretical work. 2. developed At this time Vienna was tothe blatant contradiction of the observer with the demand modern America. in 1896.Loos returned culturally “higher” back to Austria.
this simulation. painting. live in everyone Vienna may buy these for himself Loos verbalised his critic of and simple civils. Loos dismissed this categorically. reichen Manne“ (“About a poor.” 16 the not ornament more exactly in his essay „Das Luxusfuhrwerk“ (“The luxury cart”) from the 3rd July 1898. and make it not depending on the ornament. that is the human ambition. He described how an architect designed a house. At the end the man is complete. he a�acks rules the at Viennese will. the wallpapers and clothes for a rich man. He creates the following sentence: “The lower the cultural level. the Viennese try all to items turn simple made by living ourhouses cra�smen in the modern idiom (never into palaces.the design process of the With the essay “Die potemkinsche „ TheStadt” walls (“The of a building potemkin belong to the architect. architecture and applied arts. the simulation moveable. and because occasional through chairs. of (…. So he is a poor. Andarchitectural as with walls so with any furniture that is not for the inpurenessHe of thesentenced basic historism. commodity userenaissance of nailing by ontheof facadeshassocks as amoral. He followed his own rule. because he is complete and has everything. . desks and smoking stands – historical ornaments. So they feign that only by aristocrates the architects). table and chairs. he also a�acked the Viennese secession. the furnitures. the more lavish the ornament. rich man. and it is not allowed for him to have wishes. Looking at the work of the Art Noveau architcts of this time you recognise that Loos didn`t overplay. There he wrote: Searching the beauty only in the form. He needs nothing more.”15 He will develop this idea farther in his later work “Ornament and Crime” to his evolutionary art theory. But Loos was not only a�acking the historism. 14 In this context he also starts to flesh out his theory against the ornament with the cultural history. The result should be a Gesamtkunstwerk under the leadership of the architect. He criticized their ambition to create a strong formal and mental connection between production. rich man”) from April the 26th 1898. There he cra�smen and were responsible city”) from July 1898.) material The wrought-iron and the bedstead. according to his own taste and inclination. when he described that the architect designed special clothes for every room – Herny van de Velde did this in reality. which he described so: His most beautiful script against the Viennese Secession is the essay “Vom armen.
Loos did his building not only without the normal ornamental facade arragment. That Loos was such a character shows his reaction to a critic. which were the result of a long argument between him and the city. the work. In this context he predicated the ornament as “the babble of painting” 18. 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. For the native this behavoir is fine. should be used to produce more 1908. which happened two years later. he would be a degenerate or criminal. This argument was affected by buildingbreaks and the involvement of the public. Hehappens also criticized the ornament from the important economical point of view. “evolution of culture is conterminous with the removal of the ornament from the basic commodity”17 He founded this sentence by looking at the native (papua). which tatoo themselves. Loos built his first house the house at the Michaelerplatz (also known as the Looshouse). it lifes from the rich texture of the marble. The displacment of the ornament through the texture. but would the modern man ta�oo his skin. Due to that. It shows how he thought is ideas could get reality. required a disputatious character. because the modern man has negotiated this stadium. Only an unornamental render facade with outcuted square holes for the windows. he also did it without the finishing frize from the classical facade trisection for townhouse of this age. Ornamentless built. Loos products the freetime his theoretical Here he thought. because the fabrication of ornamental basic commodities needs more manpower and material than His polemic one. general social wealth could be increased.2 critic Anyway “the aesthetic. which is observable at this house and . Over this base ist the plain part of the the house. The only decoration at the facade are the bronze flower boxes. paper for anfinal unornamental The working time which should not “Ornament and Crime” from be wasted for the ornament. He predicated the ornament as an anyway” (Friedrich Nietzsche) economical damage. The lower part of the house is made out of Cipolini marble.His of the– reawakening of the ornament is not only 2. is or thefor aggregation ofof the worker.” 19 The constractional proclamation of his writings happend 1910. The conversion of these revolutionary ideas. The ending of the house is a high and rampant roof. describe his evolutionary art Wasting material and working time for the ornament – that is theory: what Loos called a crime.
. He states. continual spaces. theory.Le spaces (cubes). Raumplan developed an architectural language of simplicity and plain (Spatial Plan) elegance in the times of the luxury of ornament. For Loos what is for others the great the theatre with loges is the secret.also at his other projects. that “one Coming back to your can only bear the the stay in question.”23 Adolf Loos 20 . Loos to reconcile the demands of the classic bourgeois For me.. facades. The other interesting aspect in this house. terraces etc.. floor. Adolf Loos merit for the architecture is not only that he 2. “bourgeois architecture”. This was his first realised project where you could see the beginning of the development of his Raumplan (plane of volumes). first floor etc. but in Posener21 Loos is the last element of the chain Palladio. but also in his later houses. makes it possible to see parallels to Mies van der Rohe who also removed the ornament and displaced it with texture. there are only contiguous. For me. it is just this the narrow and low-ceiled spatial interaction and loges and galleries. thus the ceilings firstly used by Heinrich Kulka are set at different levels. Mies went so far to draw the texture for his porjects and selected only stones which would fit in his texture plan. realise in Dr Müller’s house” continuous main hall. Every space requires a different height: the dining In contrast to the term room is surely higher than “Raumplan” which was the pantry. To in 1931 the idea behind. is the connection of the rooms and the way how they communicate to eachother.3. Storeys merge and spaces relate to each other. 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. I design spaces. rooms.Schinkel and his Raumplan is the descendant of their design floor plans. although it is for me origin of his Raumplan a great ma�er of course. because spatial austerity that thus they are in an open spatial far I have best been able to connection to the high. the join these spaces in such a “solving the floorplan in way that the rise and fall are space”22. is the result of a not only unobservable but continued process in the also practical. I do not Doux. in this I see work of Adolf Loos. anterooms. The Raumplan is the a�empt of sections. there is no ground architecture – simplicity and building for usage.
with The creation of the ffd8ffe000104a464946000102010 a special importance on the visual connections of the rooms.Villa Müller 00204000000147258595a0000021 8000000146758595a0000022c000 Typically in Loos’ houses the rooms 000146258595a000002400000001 are vertically shi�ed by a half of 4646d6e640000025400000070646 the height of a storey (Tzara House. with a strong connecting link to the privacy a higher which main the room should provide. d6464000002c4000000887675656 Moissi House) or 2 higher storeys 40000034c0000008676696577000 face 3 lower storeys in the whole 003d4000000246c756d69000003f cubature (Mueller House). 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. 0494543207352474200000000000 complex space structures which were made aviable by as well 00000000000000000f6d60001000 complex vertical circulation by stairs.Basically He also it comes can be tosaid.firstly a differentiation of the save of space height the ceiling through in differently used rooms. Frantisek Mueller. as he said. 5 . thethat for Loos two things were conclusion. Raumplan in Loos 09600960000ffe20c584943435f50 That means precisely that private annexes with lower architecture. The best 8000000146d6561730000040c000 and most impressive use of the 0002474656368000004300000000 Raumplan can be found in the c725452430000043c0000080c675 Mueller House. visually trough in the unbuild project of the 96e6f021000006d6e74725247422 view-throughs etc.within important that his “one Raumplan can . wasmore 524f46494c4500010100000c484c6 ceilings are spatially connected through stairs. 00000d32d4850202000000000000 0000000000000000000000000000 0000000000000000000000000000 0000000000000000000000000001 1637072740000015000000033646 57363000001840000006c7774707 4000001f000000014626b7074000 Ill. 00000436f7079726967687420286 3292031393938204865776c65747 42d5061636b61726420436f6d706 16e7900006465736300000000000 0001273524742204945433631393 6362d322e3100000000000000000 0000012735247422049454336313 936362d322e31000000000000000 0000000000000000000000000000 00000000000 . This leads to Vienna in 1907/08. which was build in 452430000043c0000080c6254524 1930 in Prague for the building 30000043c0000080c74657874000 contractor Dr. secondly room the tofirst a lower ofuse room annexe” sequences 24 with the different rooms.
Chicago World Fair 1893 313936362d322e31000000000000000000000000000000000000000000000000000000 .ffd8ffe000104a4649460001020100c100c10000ffe20c584943435f50524f46494c4500010 100000c484c696e6f021000006d6e74725247422058595a2007ce000200090006003100006 16373704d5346540000000049454320735247420000000000000000000000000000f6d600 0100000000d32d48502020000000000000000000000000000000000000000000000000000 0000000000000000000000000000000000000000000116370727400000150000000336465 7363000001840000006c77747074000001f000000014626b7074000002040000001472585 95a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e 640000025400000070646d6464000002c400000088767565640000034c000000867669657 7000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368 000004300000000c725452430000043c0000080c675452430000043c0000080c625452430 000043c0000080c7465787400000000436f70797269676874202863292031393938204865 776c6574742d5061636b61726420436f6d70616e790000646573630000000000000012735 247422049454336313936362d322e31000000000000000000000012735247422049454336 Illustration 2 .
Chestnut Ill. Frederick Loos Fashion store 003f8000000146d6561730000040c00000 322e3100000000000000000000001273524742204 02474656368000004300000000c7254524 9454336313936362d322e31000000000000000000 000000000000000000000000000000000000 30000043c0000080c675452430000043c0 000080c625452430000043c0000080c746 5787400000000436f70797269676874202 863292031393938204865776c6574742d5 061636b61726420436f6d70616e7900006 4657363000000000000001273524742204 9454336313936362d322e3100000000000 0000000000012735247422049454336313 936362d322e31000000000000000000000 000000000000000000000000000000000 .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. 4 -Entrance door of the Ebenstein 6696577000003d4000000246c756d69000 0000000000012735247422049454336313936362d Street.
As well he adopted the main aspects of the Rufer House as there are the overall arrangement of utilisation of rooms. The first design of the Villa Müller in 1928 was a simple cuboid with a 3:2 relationship of the sides of the footprint rectangle of the house. albeit he considered the construction of the Rufer House with its single middle coloumn as inapplicable for the Villa Müller.1 Introduction In the autumn of 1928 the civil engineer and building contractor Frantisek Müller. Due to the professional closeness of the contractors.3. To give the front and the backside an square appearance though there existed a the strong slope of the terrain. . partner in the successful building firm Kapsa & Müller. Anton Stroll Verlag. which lowered the visible facade on that side to a square appearance. faced to the valley side he planed a vast terrace. a strong affinity of their thinking and other personal characteristics Loos. were in our opinion the main influence on not ge�ing changed the original design too much. and Müller’s experience as building contractor.g. he decided soon to use his in former houses (e. especially in dealing with the building authority. 1994. Loos wit in dealing with the building law. the roofterrace and the central representative stair. which he showed for example yet in the roof design of the Steiner House. Despite repeated appeals of the local building authority against the measurement of the building footprint. in strong accordance with Müller. For an easier access to the analysis of the Villa Müller we present firstly a virtual tour through the building. 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. S. The roofstorey should only be carried out on the hill side of the house. Moller House) yet formulated design idea of the terrace house. 19) One must add that Loos design of the Villa Müller was strongly influenced by the design of the Rufer House. 1931 in: Kleinman. van Duzer. The Villa Müller 3. was able to design and build the masterpiece of his late work: the conversion of his Raumplan into built reality. Wien. the number of storeys and several design elements the original design of the house could be carried out largely. commissioned Adolf Loos and his associate Karel Lhota to design the new house for the Müller family.
more vivid. there exists 00000000000000000000000 at the same time when Villa Müller was built) delimit the site. As well we created a three dimensional model of the rooms (room imprint or moulded rooms).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. Only the eastern 00000000494543207352474 and south-eastern side of the site border on sites with houses. ffd8ffe000104a4649460001 0201009600960000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 The site The of theSite Villa Müller is situated in a western district of 3. a double slope having its 00000000000000000000000 lowest point in the north00000000000000000000000 eastern corner of the site. The building is moved as far 00000c725452430000043c0 as possible to the western end 000080c675452430000043c of site to create a small. 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 be�er accessibility and the less 8767565640000034c000000 used street. as well illustrated for a be�er understanding by the view direction in additional floor plans. 20000000000000000000000 the remaining sides are facing public space. the 0000080c625452430000043 more private area in the garden in c0000080c74657874000000 00436f70797269676874202 86329203139393820486577 6c6574742d5061636b61726 420436f6d70616e79000064 65736300000000000000127 . From North a 8676696577000003d400000 stair over the whole 0246c756d69000003f80000narrow length of the western side of 00146d6561730000040c000 the site provides access to 00024746563680000043000 the house. Stresovice. the storey floor plans and facades.1. 595a2007ce0002000900060 Additionally it is located on the northern slope of a hill with 0310000616373704d534654 view to the castle of Prague. ought to give further insights into the architecture of the Villa Müller. We completed and analyzed them graphically with the help of CAD. Thus in the southDue to the in North-to-South west a smaller road (Nad Hradnim Vodojemen) . The basis of our work are the excellent floor plans. an at the time of building the Villa 000006d6e74725247422058 emerging suburb with mainly free standing residential houses. sections and façade prints of Leslie van Duzer’s and Kent Kleinman’s book “Villa Müller – A Work of Adolf Loos”.and drawing programmes as AutoCAD and Adobe Illustrator. views and height differences – the A virtual round tour through Raumplan .2.3. the Hradshin. to show the relations. 00000000000001163707274 The building itself is more 00000150000000336465736 extroverted to the North and Illustration 14: siteplan 3000001840000006c777470 more introverted to the 74000001f000000014626b7South because of it’s exposure on the north-facing 07400000204000000147258 slope. the Villa Müller .2 Analysis The analysis of the Viller Müller mainly refers to the relations of the measurement of the parts of the structure. Prague.
size 12x12x12m. is nearly square. a movement that the cube was vertically by the minor of the Golden shi�ed by a fourth of its Section size. visible 3. windows and their which are arranged that they combination to a fit the slope of the site. plans into three parts and As well this effect is the arrangement of the 4 supported by the similar and constructive piers. Due to the sloping terrain this area is terraced and to secure it from unwanted insights surrounded by trees.2. 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. . two shi�ed cubes in northeast alignment and of The arrangement of the approx. 3. the part of the north façade.2 Cubature & Facadefrom the northern road.50m) in nort-east principle of similarity will direction explains on one give the façade 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. it becomes clear the façade rectangle to the level under closer investigation of the terrace top.tions / Symmetry / Axes North façade As already said.3 Proportions / Rela. The geometrically similar displacement of one of the rectangle clarifies the form cubes by almost half of its of the façade and due to the depth (5.2. if one will accept the absence of a The cubature of Haus defined base of the Villa Mueller is roughly based on Müller.the East. arbitrary with respect to the With a vertical movement of slope.
Not only. but also by repeating its form in the visually connected walls of the terraced garden in the eastern part of the site. 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. the storey. 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 façade. 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.Following of the rectangle. The origin of stair leading to the garage. measurements of the terrace Loos influences notably the appearance of whole elevation. 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. A movement of the terrace form . 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 façade. Furthermore northern façade. the measurement is the The diagonals of the form of forward north rectangles ((m-M2+m2) and façade. 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. A rectangle made of 3x3 tiles of this the upper end of the measurement defines as well the height of the façade as the building. understanding the height of the minor (m) interrelations of the forms using the Golden Section within the façade is the (M2/m2) reveals the upper appearance of the ground end of the wall of the outside level terrace.
context. The arrangement of the windows and the vertical centre axis of the middle window show a reference to the southern façade and its vertical axis of symmetry V which is moved away eastward from . an exception is only the shows the western of arrangement of the annexes such as the terrace and the the Villa Müller and establish an outside stairs leading to the garage. level terrace f it would be a�er passing the narrow carried out over the whole stairs the suddenly width of the building. of thebynorthern façade corresponds with the forms. 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 façade 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.The to therepresentative. Especially when aspect ratio as the ground entering the Great Hall. of the first floor. Due to appearing view outside the principle of similarity the creates a feeling of unlimited viewer will now vastness. backwards located façade of the roof storey is closer to the southern façade. only to be revealed middle axes of the great hall of the ground floor and the knowing the restroom behind the façade. subconsciously perceive a In contrast to the structure connection between the two of the forward northern façade forms and the appearance the elevation of the becomes more consitent. To the Great Hall. west with the same forward part of the northern façade is width composed strictly end symmetrical. 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. The vertical axis of encrypted symmetry of symmetry I.
southern façade of the Villa Consequently. alongside practical consideration. Its role is very whole notedly strict well documented in the Loos symmetry of the façade. sections. The centre axes of the 3 moreover different-sized windows are moved away with different distances (2c. equiping Müller. Ultimately the rooms of the forward part of the house were made accessible by the centre representative stair. to point out that the roof storey belongs more to the southern facade than to the northern. The roof storey is by no means symmetrical. a violation of the classicistic stylistic devices hierarchy of rooms Loos could not stand. whereas the roof storey only could be reached by the service stair behind the southern façade.the northern axis of symmetry by the half of the width of the representative stair (c) of the ground floor. a difference which was used by Loos. that it is trick to correlate the axis of “symmetry” of the southern façade to the axis of the service staircase. The only Loosian architecture could exception is the Great Hall with three windows on the be best viewed in north the façade (but none on the other flanking facades!) in to point out its exceptional position. so one only has to allude. For the sake of as symmetry or harmonic completeness must very add. Due to its obviousness it is also a sign to point out the artificiality. They one are used decomposing of the symmetry by a missing window will deliberately to create on the especially a�ention on the room behind it and one handfocus an the obviously maybe tamper its real importance. that viewed from the contrary. In our façade 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 façade on the other. As shown already on the northern façade also the windows and the entrance area of the southern façade are . Consequently the affiliation was here already specified by the internal circulation infrastructure. This reveals a severe difference between the roof storey and the forward part of the northern façade. the masking effect of the symmetry of the south facade. c and c/2) from their equivalents in the lower storey s. But this means the notchild’s playroom with more then one window in the south façade would have li�ed it to the simply copying or repeating same level of importance as the Great Hall. idealistic and classic image which on the other hand is The regressed le� corner of undermined very shrewd in the south façade is a second the same moment. literature. 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.
it seems that there is no consistent principle. Furthermore it whole façade. A horizontal trisection of the rectangle corresponding in its overall shape of the ratio with the form of thesouthern façade defines the outer limitation of rectangles the windows of the “ground level”. roughly the slope of the terrain. which regulate the shape. In contrast to were the determined northern inner windows also by a trisection. whereas it seems that for the terraced appearance the Golden Section was used again. . The centre axes of those Major. in this case relations among theaspect windows.Alongside to combined the create axis aof overall “symmetry” V there are also other analysing axes on athe southern façade. As the use of Golden Section is not confirmed for the heights of the terraces (relations among them) and some of the lengths. the western one seems to be not as sophisticated and too reserved for a representative façade (here also the site borders to The shape of the roof follows public space). 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 façade and is identical the centre axes of the inner windows of the first floor define with the the measurement of the front door.A hinted reference to the overall shape of the southern is more of introverted. 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. interior the house can be found in the width of the windows West Façade of the staircase. the southern façade façade. but of the façade. In northern and southern façade.
located level representative terrace which façade. It seems it would fit importance be�er on the western has been side of the building. unwelcome insights by the balcony. refined from an overall shape of the façade. Back and In-Front in this therefore they are carried section. The bay is also a symbol for the importance of the dining room in the pa�ern of utilisation of the Villa Loos. dining room. the axial gradient of As also introverted. One can see spaces and more Loos’ differentiation of the opportunities for insights. the minor Thus the dominant element the more public (service of the façade. detail. Thus here the major western façade a rectangle of the Golden Section enclosing the façade is the describes the more private influencing design element. measurement because of on thethe unrepresentative side of the ground site. But if one goes described more into already. in this case. The location of .Ostensibly Once againthe more eastern interesting façade of the Villa Müller comes across is the as a wrongly. the bay of the oriented). surrounding trees and enough distance/ slope to The Golden Section of a the public space. part of the house. In contrast rectangle enclosing the to that the western and the shape of the building. of the notterrace a mistake is again in Loos design. southern façade have to defines the centre axis of deal with much nearer public the windows VI. one Thus willthe recognise that there is a deeper shapeand logic. revealed on the out more privacy. 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 façade are much façade defines the be�er secured against prominence of. refers with its measurement to the aspect East Facade ratio of it.
Similarity in contour between the windows is achieved by the golden section and partitioning into two or four sections. The diagonal of the half of the original square of the facade is decisive for geometric . Geometrically similar shapes are always marked with the same grey scale. Of particular interest is the combination of two rectangles forming the ground floor terrace. Golden Section (M/m).) and thus defining the aspect ratio are the base for the geometrically similar shapes of the windows. emerging from intersecting the outline square in ratio of the Golden Section. The following pages give a review over the used sections of the overall shapes and their reference for the shapes of the windows. Octave (Trisection).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.as for most of the other shaping elements . Quint etc.the square enclosing the facade. 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.2. 3. 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 . Diagonals resulting from certain harmonic sections of the overall shape (Bisection.4 WindowFaçadeCorrelation Loos always used window shapes determined by the overall shape of the façade (rectangle or shape) and its sections to fit the windows harmonically into the overall image of the façade.
this street level becomes the base point of the form-giving square. South facade As for the north facade. West facade Again. 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.a theme that Loos also applies to the dimensions of the anteroom in the ground floor. the window dimensions of the south facade are also governed by two rectangles. Of particular interest is that the garage door with its surrounding immersion has the same dimensions as the main entrance of the south facade . As that facade is plunged into the street level by 1m and hence is only allusively of square shape. which shape is defined by the size of the partsouth of the facade that is plunged into the site. Two rectangles. the diagonals for geometric similarities between the window sizes of the west facade are defined by two major shapes. flanked by the entrance door on the le� and the window to the coal cellar on the right.similarities. 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. This square can be found in a fi�h of its original size in the entry area where it appears as niche for a bench. in particular when investigating the visible part of the balcony door. All of the other windows shapes are defined by partitioning diagonals of the half of the facade square. The shape of the coal window as well as the windows of the entrance door is both derived from that square. are separated from .
eating room without built-in furniture. guest room) receive medium windows size. boudoir. have the smallest . anteroom. Hence.g. even if only in the architectural sense.g. diagonals that emerge hidden behind. window shape Still. toilets and bathrooms. the the facade.5 Windows & refrain from publishing a Room Correlation photography of his first wife’s bedroom as a presentation of his interior design . parents). In addition. and therefore even size assignment of the windows observable. said that the size of the windows only As marginally correlates with the size of the rooms that are such. This distance is caused by a The common rooms. the eating room window axis of the child’s and the bedroom have the room. Prepositioned rooms and individual rooms of retreat (e. noofstatement about those rooms can from particular sectioning be made by bare observation of the facade. spatial axis of the room the bedroom can be itself. define the base room axisbetween aligns with of similarity thethe windows axis only in rare cases (e. emerging from the biggest windows.Generally the collective it can facade be shape. in which the size distances between the of the windows correlates windows of the dressing with the level of importance rooms and the child’s room. Loos did not 3. of the function of the room. such as storerooms. As such. What should additionally be follows a hierarchy in almost noted are the different all cases. library. adjoining rooms. assigned a role of representation. A�er all. the translation of the vertical big saloon. one can say bedroom that the of the there no coherent concept is s.2.the most private of all rooms was as such transferred into a public affair.
in the light of the gravity that Loos assigns clothing as an expression of society (consider. 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. None of used sizes of the there windows can be found on any of the other facades. Differentiation becomes pure speculation. south. However. Men’s Clothing. What can be done easier is a differentiation between the Up and the Down. e. Foot Clothing.)).g. giving cues to the individual rooms and retreats and adjoint rooms that hide behind. 2. The reason for the kitchen window size seems to be purely formal. 0. Still. adjustment of the windows succeeds. in comparison. are obvious. 1. etc. west facade: approx. as mentioned by Johan van den Beek in “Adolf Loos -Pa�erns of Town Houses”. are only vaguely noticeable in the facades. while those feature constantly repeated windows dimensions (east. a differentiation between the back and the front by considering the side facades gets almost impossible due to its symmetries. whereas difficulty in expressing gradients of privacy occurs when considering the east and west side. if the north and south side are considered as such. The balcony door of the child’s bedroom (but equal in size to the balcony door of the parent’s bedroom on the north facade) and the window of the eating room on the east facade are the noticeable exceptions. west facade additionally approx. hinted game rooms and boudoir are equated with adjoint rooms and guest bathrooms. misleading equality (kitchen and library. which becomes particularly visible on the north and the back side. Even there.) the size of the windows of the dressing room seems adequate. and the Back p28) (gradient In Front of axial privacy (ibid. This modus operandi is particularly traceable for the windows of the Great Hall and the Dining . even there one may not ask for the use of the rooms that hide behind these windows. east. whereas a decrease of the windows size towards the top emphasises the increased privacy of the rooms. the difference between the front and the back.20x1..20m and approx. Loos’ intention was presumably to emphasis with the nonrecurring usage of those window dimensions the exceptional position of the rooms behind them. The two dressing rooms and the kitchen with the obvious and. Here.windows. too big windows for its function are the only exceptions. to obey the (almost) symmetrical south facade.50x1. If one compares the windows sizes over all facades. an exceptional position of the north facade can be observed.20m).00m. The difference between the Up and Down (gradient of vertical privacy (Risselad a. individual man’s leisure room) finds its way.80x1. In fact. and 1989. Naturally.
is important for the If it was not possible to internal structure of the floor design the room in the same plan. but has an aspect ratio of 3 to 2. The squares over this row contain the Kitchen and dining room. That wit it is possible equivalent to the vertical to draw 3 vertical rectangles. For this room he use the dimension a in the size of 1/4 to place a the . are30) used onlytofor square arrangement is nearly conform with the functional those special structure of the floor plan. This dimensions(Ill. Compositorial analysis Loos o�en use a part of the dimension a to describe the The floor plan of the house measures of the rooms. which is same aspect ratio. proportion like the vertical rectangles. The bay Plan window extend the dining room about the dimension of 1/4a. The first square in the lower right rooms. The hall take the space of 2 squares. he based them in another way on the dimension a like for example the boudoir. with an aspect the kitchen with an aspect ratio of a to 2a. over the ratio of a to 1/2a. the second the boudoir. corner is the library. nearly 1/3 of the whole floor plan 3. 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.Because Room because the combination their window of this axis with the 3 vertical rectangles lead an arrangement of 6 squares.2. The shape of the niche (1/2a to 1/4a) or the floor plan has also 2 support funnel (which symmetry-axis (I. he goes further. but includes a li�) with the only the axis I.6 Floor plain. IV). the kitchen floor plan. identical with the facade axis I. Like for example rectangles.
hop between these axis. garage. the toilet and the axissouth facade. like in the facade.Loos could walls. but axis asymmetrical in the ground floor plan. the stair well and interaction. identical with the wall of the but the facade not with V of bath room. through the . 1/4a. 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). As the bath room have the aforementioned their are same aspect ratio of 1/2a to two main symmetryI and IV ). There is a the support funnel. For the first look there is no relation . It is also interesting to axis ( the symmetrical axis Namely see that the axis VIII. the podium not keep of the up on his compositorial conception in the room basement and the ground floor. Also the toilet and and the floor plan axis. stair coal storage etc. The reason for this is the fact and also the entrance for the that the basement with the support rooms (laundry. or the missing of an gallery. An identical sized rectangle describes the The interesting aspect of the child`s playroom and the house Müller is the staircase.is axis I of the north facade. which I is identical with the facade divides one vertical rectangle in the middle . south facade according to the facade V. consisting of the interaction. 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. design the second floor (Ill.31). between the facade axis the stair. heights differences of the stories along the north-south Loos use the same system to direction.) also influence the ground floor.
which house” Adolf Loos 20 should underline the To make the spatial interaction symmetry of the short walls in the house Müller easier to of the Hall. to the the but entrance Loos triedsituation. we created a roomcast of the important rooms (Ill. 33) . exactly situated on the symmetrical main axis I. was a�er roofa�ic-plan. The room-cast shows that the dominant room of the house is the hall and assigned to her are the other rooms. Loos thus far I have best been supported the axis with 4 able to realise in Dr. The ground floor and the first floor are the really interesting levels for the intrinsic spatial plan (grey tagged in the axonometric projection).this spatial interaction rooms. like the axis III. It is and spatial austerity that the axis of the Hall.. He said: There are also axes in the “.7 Spatial Plan width of the stair.. but asymmetrical in to connect this axis inin the the floor plan. of the stair width. Müller’s hollow corner pillars.3. Müller. However Loos realised. understand. As aforementioned it is symmetrical situated the south facade. This which was described in the dimension is also observable in the chapter 2. He repeated He reflected this border wall at this entrance motive at the rise for the first floor. where it is part Loos`s own words realised of the measures of the on its best in the house skylight. through an ably chosen floor plan by placing the border entrance-motive tripartition). the axis I and got in this way the 3. The reason for this is that Loos situated in the .In the context between the facade of the axes V and it is also necessary to take a closer axisfloor look backplan. an entrance door which is wall of the staircase on(athis axis. Due to this the hop of the to axis is 1/2 The idea of the spatial plan.2.
Rooms whichroom have the entrance (1) and continue to the Hall (2) with a the same or jump similar functions. Compared to this hall there are the boudoir (7)ofand Based on his idea the the dining room (3). between dining room. and Thus he generate a room sequence which starts in playroom. which is connection with the staircase and the penetrated walls not given in the second floor. Loos placed rooms. So it is room a height according to possible to say that two small rooms. which was according to Loos the (which leads to the interesting original idea of the spatial plan. height of 1. hall ad stair. According to the height jumps and the different room heights. 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. like of the sleeping room.2 m. functions and designed them with different rooms different robing-room the child`s heights.5 m (the boudoir has in its upper part a height of only 2. The diagram of the roomcast in Illustration 34 shows exactly how complex the design of the vertical access system has be. which has a height of approx. Loos realised this open of different functions. One is continuous in the height and the other .second level only the private In the ground floor and the first floor whereas. are connected to one big room. to guarantee the function of the room plan in the house Müller. so the height the entrance room three. 4. (Cp. difference between the rooms Considering the loge theatre. Loos created two vertical access systems. Both rooms have a lower sealing then spatial plan Loos gavethe everyHall. 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.1 m). and when you count also the function.
(border wall of the hall) or Only the differences in the have windows to the rooms size of the windows indicate (dining room). which differ of the house showsin a height movement of the rooms from height. The continuous it is to system say that Loos realised his idea of the spatial with height jumps between the rooms. The the basement to the roof. 000146258595a000002400000001 000616373704d5346540000000049454320 4646d6e640000025400000070646 73524742000000000000000000000000000 d6464000002c4000000887675656 0f6d6000100000000d32d485020200000000 40000034c0000008676696577000 00000000000000000000000000000000000 003d4000000246c756d69000003f 00000000000000000000000000000000000 8000000146d6561730000040c000 00000000000000000116370727400000150 0002474656368000004300000000 0000003364657363000001840000006c7774 c725452430000043c0000080c675 7074000001f000000014626b707400000204 452430000043c0000080c6254524 000000147258595a00000218000000146758 30000043c0000080c74657874000 595a0000022c000000146258595a00000240 00000436f7079726967687420286 00000014646d6e640000025400000070646d 3292031393938204865776c65747 6464000002c400000088767565640000034c Illustration 36 42d5061636b61726420436f6d706 0000008676696577000003d4000000246c75 16e7900006465736300000000000 6d69000003f8000000146d6561730000040c 0001273524742204945433631393 0000002474656368000004300000000c7254 6362d322e3100000000000000000 52430000043c0000080c675452430000043c 0000012735247422049454336313 0000080c625452430000043c0000080c7465 936362d322e31000000000000000 787400000000436f70797269676874202863 0000000000000000000000000000 292031393938204865776c6574742d506163 00000000000 6b61726420436f6d70616e79000064657363 00000000000000127352474220494543363 13936362d322e31000000000000000000000 012735247422049454336313936362d322e3 10000000000000000000000000000000000 00000000000000000000 . 36) through the vertical access system could implicate system is the important one for the such an organisation. which should be characteristic for the spatial kitchen are linked to this system. 35) planaccess as pantry. differences. and connects the house from access system. but the third story in this section is only spatial plan.Recapitulating not. It provides the death end ofover the access system and is named in the floor platforms the to theWhereas various another longitudinal section (Ill. in literature o�en mentioned confrontation twothe high stories to three smaller stories in the The function roomsoflike house Müller. plan) is de facto not observable. rooms. As aforemesntioned are the border wall of the nonAt last it is to say that the continuous coverage semispatial plan in the house transparent. the is placedplan at the south variation of room heights and by the use of a complex vertical facade. This leads to the fact that some rooms like the boudoir are double developed. ffd8ffe000104a464946000102010 09600960000ffe20c584943435f50 524f46494c4500010100000c484c6 96e6f021000006d6e74725247422 058595a2007ce000200090006003 10000616373704d5346540000000 0494543207352474200000000000 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. They are Müller is not recognisable at designed a a column row the facade of the house. because Loos did not ffd8ffe000104a4649460001020100960096 develope his houses from inside to 4000001f000000014626b7074000 0000ffe20c584943435f50524f46494c45000 outside. Loos was able to manage that the continuous and the non-continuous verical access system are always connected. Maybe a longitudinal section The non-continuous acess (Ill. the different rooms with their various functions but not their height movement or their different heights. He always wanted that the 00204000000147258595a0000021 10100000c484c696e6f021000006d6e74725 cubatore of the house is an 8000000146758595a0000022c000 247422058595a2007ce00020009000600310 intergrated whole or a sign. Withal the height north to south.
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ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e6f 021000006d6e74725247422058595a2007ce00020009000600310000616373704d53465400000000494543207 35247420000000000000000000000000000f6d6000100000000d32d4850202000000000000000000000000000 00000000000000000000000000000000000000000000000000000000000000000000116370727400000150000 0003364657363000001840000006c77747074000001f000000014626b707400000204000000147258595a0000 0218000000146758595a0000022c000000146258595a0000024000000014646d6e640000025400000070646d6 464000002c400000088767565640000034c0000008676696577000003d4000000246c756d69000003f8000000 146d6561730000040c0000002474656368000004300000000c725452430000043c0000080c675452430000043 c0000080c625452430000043c0000080c7465787400000000436f7079726967687420286329203139393820486 5776c6574742d5061636b61726420436f6d70616e790000646573630000000000000012735247422049454336 313936362d322e31000000000000000000000012735247422049454336313936362d322e31000000000000000 000000000000000000000000000000000000000 Ilustration 19 .north facade ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c69 6e6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049 454320735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000 0000000000000000000000000000000000000000000000000000000000000000000000000000001163707 274000001500000003364657363000001840000006c77747074000001f000000014626b707400000204000 000147258595a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640 000025400000070646d6464000002c400000088767565640000034c0000008676696577000003d40000002 46c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000 43c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000000436f7079726 9676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e790000646573630 000000000000012735247422049454336313936362d322e31000000000000000000000012735247422049 454336313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 20 .south facade .
ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c69 6e6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049 454320735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000 0000000000000000000000000000000000000000000000000000000000000000000000000000001163707 274000001500000003364657363000001840000006c77747074000001f000000014626b707400000204000 000147258595a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640 000025400000070646d6464000002c400000088767565640000034c0000008676696577000003d40000002 46c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000 43c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000000436f7079726 9676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e790000646573630 000000000000012735247422049454336313936362d322e31000000000000000000000012735247422049 454336313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 21 .south facade ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e6f02100 0006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049454320735247420000 000000000000000000000000f6d6000100000000d32d485020200000000000000000000000000000000000000000000 0000000000000000000000000000000000000000000000000001163707274000001500000003364657363000001840 000006c77747074000001f000000014626b707400000204000000147258595a00000218000000146758595a0000022c 000000146258595a0000024000000014646d6e640000025400000070646d6464000002c400000088767565640000034 c0000008676696577000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368000004 300000000c725452430000043c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000 000436f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e7900006465 73630000000000000012735247422049454336313936362d322e310000000000000000000000127352474220494543 36313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 22 .west facade .
ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e6f02100 0006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049454320735247420000 000000000000000000000000f6d6000100000000d32d485020200000000000000000000000000000000000000000000 0000000000000000000000000000000000000000000000000001163707274000001500000003364657363000001840 000006c77747074000001f000000014626b707400000204000000147258595a00000218000000146758595a0000022c 000000146258595a0000024000000014646d6e640000025400000070646d6464000002c400000088767565640000034 c0000008676696577000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368000004 300000000c725452430000043c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000 000436f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e7900006465 73630000000000000012735247422049454336313936362d322e310000000000000000000000127352474220494543 36313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 23 .western facade ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e 6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d53465400000000494543 20735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000000000 000000000000000000000000000000000000000000000000000000000000000000000000116370727400000 1500000003364657363000001840000006c77747074000001f000000014626b7074000002040000001472585 95a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640000025400000 070646d6464000002c400000088767565640000034c0000008676696577000003d4000000246c756d6900000 3f8000000146d6561730000040c0000002474656368000004300000000c725452430000043c0000080c67545 2430000043c0000080c625452430000043c0000080c7465787400000000436f7079726967687420286329203 1393938204865776c6574742d5061636b61726420436f6d70616e79000064657363000000000000001273524 7422049454336313936362d322e31000000000000000000000012735247422049454336313936362d322e310 00000000000000000000000000000000000000000000000000000 Ilustration 24 east facade .
26 .north facade 336313936362d322e310000000000000000000000000000000000000000 00000000000000 .ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e6f 021000006d6e74725247422058595a2007ce00020009000600310000616373704d53465400000000494543207 35247420000000000000000000000000000f6d6000100000000d32d4850202000000000000000000000000000 00000000000000000000000000000000000000000000000000000000000000000000116370727400000150000 0003364657363000001840000006c77747074000001f000000014626b707400000204000000147258595a0000 0218000000146758595a0000022c000000146258595a0000024000000014646d6e640000025400000070646d6 464000002c400000088767565640000034c0000008676696577000003d4000000246c756d69000003f8000000 146d6561730000040c0000002474656368000004300000000c725452430000043c0000080c675452430000043 c0000080c625452430000043c0000080c7465787400000000436f7079726967687420286329203139393820486 5776c6574742d5061636b61726420436f6d70616e790000646573630000000000000012735247422049454336 313936362d322e31000000000000000000000012735247422049454336313936362d322e31000000000000000 000000000000000000000000000000000000000 ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524 f46494c4500010100000c484c696e6f021000006d6e74725247422058595 a2007ce00020009000600310000616373704d5346540000000049454320 735247420000000000000000000000000000f6d6000100000000d32d485 02020000000000000000000000000000000000000000000000000000000 00000000000000000000000000000000000000001163707274000001500 000003364657363000001840000006c77747074000001f000000014626b 707400000204000000147258595a00000218000000146758595a0000022 c000000146258595a0000024000000014646d6e64000002540000007064 6d6464000002c400000088767565640000034c000000867669657700000 3d4000000246c756d69000003f8000000146d6561730000040c000000247 4656368000004300000000c725452430000043c0000080c675452430000 043c0000080c625452430000043c0000080c7465787400000000436f7079 7269676874202863292031393938204865776c6574742d5061636b61726 420436f6d70616e79000064657363000000000000001273524742204945 4336313936362d322e31000000000000000000000012735247422049454 Ilustration 25.
west facade .south facade ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c696e6f02100 0006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049454320735247420000 000000000000000000000000f6d6000100000000d32d485020200000000000000000000000000000000000000000000 0000000000000000000000000000000000000000000000000001163707274000001500000003364657363000001840 000006c77747074000001f000000014626b707400000204000000147258595a00000218000000146758595a0000022c 000000146258595a0000024000000014646d6e640000025400000070646d6464000002c400000088767565640000034 c0000008676696577000003d4000000246c756d69000003f8000000146d6561730000040c0000002474656368000004 300000000c725452430000043c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000 000436f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e7900006465 73630000000000000012735247422049454336313936362d322e310000000000000000000000127352474220494543 36313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 28 .ffd8ffe000104a4649460001020100d600d60000ffe20c584943435f50524f46494c4500010100000c484c69 6e6f021000006d6e74725247422058595a2007ce00020009000600310000616373704d5346540000000049 454320735247420000000000000000000000000000f6d6000100000000d32d485020200000000000000000 0000000000000000000000000000000000000000000000000000000000000000000000000000001163707 274000001500000003364657363000001840000006c77747074000001f000000014626b707400000204000 000147258595a00000218000000146758595a0000022c000000146258595a0000024000000014646d6e640 000025400000070646d6464000002c400000088767565640000034c0000008676696577000003d40000002 46c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000 43c0000080c675452430000043c0000080c625452430000043c0000080c7465787400000000436f7079726 9676874202863292031393938204865776c6574742d5061636b61726420436f6d70616e790000646573630 000000000000012735247422049454336313936362d322e31000000000000000000000012735247422049 454336313936362d322e31000000000000000000000000000000000000000000000000000000 Ilustration 27 .
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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 .
ground floor . first floor.roof plan.ffd8ffe000104a4649460001020100eb00e80000ffe20c584943435f50524f46494c45 00010100000c484c696e6f021000006d6e74725247422058595a2007ce0002000900 0600310000616373704d53465400000000494543207352474200000000000000000 00000000000f6d6000100000000d32d485020200000000000000000000000000000 0000000000000000000000000000000000000000000000000000000000000000001 163707274000001500000003364657363000001840000006c77747074000001f0000 00014626b707400000204000000147258595a00000218000000146758595a000002 2c000000146258595a0000024000000014646d6e640000025400000070646d64640 00002c400000088767565640000034c0000008676696577000003d4000000246c75 6d69000003f8000000146d6561730000040c0000002474656368000004300000000c 725452430000043c0000080c675452430000043c0000080c625452430000043c0000 080c7465787400000000436f70797269676874202863292031393938204865776c65 74742d5061636b61726420436f6d70616e7900006465736300000000000000127352 47422049454336313936362d322e310000000000000000000000127352474220494 54336313936362d322e310000000000000000000000000000000000000000000000 00000000 Ilustration 32 .
ffd8ffe000104a4649460001020100c800c80000ffe20c5849434 35f50524f46494c4500010100000c484c696e6f021000006d6e74 725247422058595a2007ce00020009000600310000616373704 d53465400000000494543207352474200000000000000000000 00000000f6d6000100000000d32d48502020000000000000000 000000000000000000000000000000000000000000000000000 000000000000000000000000000011637072740000015000000 03364657363000001840000006c77747074000001f000000014 626b707400000204000000147258595a0000021800000014675 8595a0000022c000000146258595a0000024000000014646d6e 640000025400000070646d6464000002c400000088767565640 000034c0000008676696577000003d4000000246c756d690000 03f8000000146d6561730000040c00000024746563680000043 00000000c725452430000043c0000080c675452430000043c00 00080c625452430000043c0000080c7465787400000000436f70 797269676874202863292031393938204865776c6574742d506 1636b61726420436f6d70616e79000064657363000000000000 0012735247422049454336313936362d322e310000000000000 00000000012735247422049454336313936362d322e31000000 000000000000000000000000000000000000000000000000 ffd8ffe000104a4649460001020100c800c80000ffe20c584943435f50524f46494 c4500010100000c484c696e6f021000006d6e74725247422058595a2007ce00020 009000600310000616373704d5346540000000049454320735247420000000000 000000000000000000f6d6000100000000d32d485020200000000000000000000 00000000000000000000000000000000000000000000000000000000000000000 00000000001163707274000001500000003364657363000001840000006c77747 074000001f000000014626b707400000204000000147258595a00000218000000 146758595a0000022c000000146258595a0000024000000014646d6e640000025 400000070646d6464000002c400000088767565640000034c0000008676696577 000003d4000000246c756d69000003f8000000146d6561730000040c000000247 4656368000004300000000c725452430000043c0000080c675452430000043c00 00080c625452430000043c0000080c7465787400000000436f707972696768742 02863292031393938204865776c6574742d5061636b61726420436f6d70616e79 0000646573630000000000000012735247422049454336313936362d322e31000 000000000000000000012735247422049454336313936362d322e310000000000 00000000000000000000000000000000000000000000 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 .
23). uns diese zeit zu verleiden. Hamburg. 12). „historischen Vorurteilen. „Die schönheit nur in der form zu suchen und nicht vom ornament abhängig zu machen. des ornamentes p. p. „evolution der kultur ist gleichbedeutend mit dem entfernen 18 (Glück. p.188). desto verschwenderischer ist es mit seinem ornament. 1994. 1994. Wang. 8 (ibid. 1992/ 2003. 12) 11 (ibid. page 65).d.) “man stünden“ also durch die Verbindung eines höheren Hauptraumes mit einem niedrigem Annex Raum sparen 25 (see kann (…)“Posener.13 ) „schrittweise Loslösung von den (bisherigen. p. p. 1992/2003. p. p.1962. ist das ziel. 1980. Innsbruck.) (Lusterberger. p. 15 ästhetischen ) “mitleidige Sehgewohnheiten“. p. 1989. 1994. 93) 17(Glück. p. 3 (Roland L. p. 1962. p. 179 f.: unsere ( Eduard zeitF. 1962. p. weil diese in einer offenen räumlichen Beziehung zum großen. „Je tiefer ein volk steht. et al. 4 (Lusterberger.16) „Die scharfe amerikanische und englische luft hat Notes. 1962. Lächeln” 6 (Safran. p.257) Lustenberger.38) „horizontalen Raumschichtung“ 23 . 18) “drawingtable-diletantism “ 13 (Glück.) 19 (Lustenberger. Stets sollten 9 wir rückwärts schauen. 1930) 21(Posener. 277). 23 schön.A. p. p. Auftrag für Morgen.g.. 1985.) 5 (Glück.istSeckler schön. 65) 12 (Glück. Ganz gewissenlose and References menschen haben es versucht. 65). wollte. durchgehenden Hauptraum 24 (ibid.“ 16 (Frampton. Quotations alle voreingenommenheit (…) von mir genommen. p. ist es Schachel von mir gewichen. 1962. „Ausweg aus einer Situation ohne Perspektive“ & „Verzicht auf eine akademische Ausbildung”. 1994. seinem schmuck. p.) „in jenem Vorgang der Entrümpelung“. 1989.37) „den Aufenthalt in den engen und niedrigen Logen und Galerien nur deshalb ertragen könne. die in der überalterten politischen Geographie ihr Blut schwer gemacht und vergiftet hatte“. “das aus dem gebrauchsgegenstand“ lallen der malerei” 14 (Frampton. see Adolf Loos.36.36 f. 96) 20(Adolf Loos: Shorthand record of a conversation in Plzen (Pilsen). 10 e. 1 (Roland in: Wie ein alp L. p. p. p. 1994. 1962. Schachel in: Rukschcio et al. Josef Veillich: Trotzdem. in: so Rukschcio et al. 1962.(Glück. p. 1980. „Lösen des Grundrisses im Raum“ 22 (Lustenberger. 1962. A. Jawohl. 277). dem die ganze menschheit zustrebt“ 15 (Glück. ) „die durch irgend eine vitale Kraft in diesem Lande verändert wurden“. stets uns eine andere zeit zum vorbild nehmen. 1962. dass ich in keiner anderen/ lebenRukschcio. 1931. ibid. durch den Besuch einer europäischen Kunstgewerbeschule geprägten.15) 7 (Richard Neutra.“ 1989. 2 (Glück. „Emanzipationsphase”.
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