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216:, developing new construction techniques. Loos' method of design was also in transition, making the timing of the project appropriate. Soon, the architect Karel Lhota set František Müller up with Loos to design the villa. Lhota also contributed to the design due to Loos' poor health. After the building was completed, Loos celebrated his 60th birthday there with a few friends.
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Loos designed a raised sitting area which
Colomina interprets as the theater box as well as the 'female' space because of its domestic character. Moreover, Colomina suggests that the 'female' space is considered private and contrasts with the 'male' public spaces of the house. The theater box draws
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The couple freely inhabited the house for eighteen years before
Communists seized control of it in 1948. In 1968, after the death of Milada Müllerová the most important parts of the Villa fittings and collections were purchased by the Museum of Applied Arts and the National Gallery. The Villa was
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My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades, sections. I design spaces. For me, there is no ground floor, first floor, etc. ... For me, there are only contiguous, continual spaces, rooms, anterooms, terraces, etc. Storeys merge and spaces
303:, discusses the possible purpose of Loos' opaque, covered windows in the house. Colomina includes Loos' idea of a theater box as a claustrophobic space if not for the large, open space to look out on. The theater box could signify power and control inside of the house, according to Colomina.
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in 1989, the house was turned over to the Müllers' daughter, Eva
Maternová. She sold it to the City of Prague in 1995, who put it in the care of the City of Prague Museum. The house was restored in 1998 and finally re-opened as a museum in 2000.
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The building was commissioned by František Müller and his wife, Milada Müllerová. Mr. Müller was an engineer and co-owned a construction company called Kapsa and Müller. The company specialized in reinforced
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attention to itself, and at the same time the occupant of the box is looking out, the person looking at it views the most intimate space. Therefore, the person in the theater box is objectified.
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299:(1992), which focused on the relationships between sexuality and space within the structure. Colomina's essay,
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as a residence for František Müller, co-owner of the Kapsa-Müller construction company from
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Simultaneously, the house is temporarily taken over by the
Institute of marxism-leninism.
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The exterior displayed Loos' theory discussed in his 1908 essay, "
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Colomina, Beatriz (1992). "The Split Wall: Domestic
Voyeurism".
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Up to this time, she could occupy only two rooms in the villa.
466:. New York: Princeton Architectural Press. pp. 73–130.
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is exhibited in the interior as well as the exterior.
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examined and discussed the Villa Müller in the book
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245:and functionality. The spatial design, known as
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107:50.09250°N 14.37833°E
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30:Haus Müller
19:Villa Müller
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110: /
85:Coordinates
32:(in German)
524:Categories
435:References
269:Adolf Loos
197:Adolf Loos
148:Adolf Loos
98:14°22′42″E
95:50°05′33″N
27:(in Czech)
311:Footnotes
226:Communism
187:villa in
185:Modernist
123:Completed
64:Modernism
396:Archived
378:Archived
375:Raumplan
267:(1930),
261:—
251:Raumplan
247:Raumplan
214:concrete
70:Location
243:economy
207:History
183:) is a
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201:Pilsen
189:Prague
177:German
131:Client
338:Notes
265:Plzeň
169:Czech
491:ISBN
468:ISBN
447:ISBN
163:The
126:1930
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