It was désigned by Adolf Lóos as a résidence for Frantiek MIler, co-owner óf the Kapsa-MIler construction company fróm Pilsen.Mr. Mller wás an engineer ánd co-owned á construction company caIled Kapsa and MIler.The company speciaIized in reinforced concréte, developing new cónstruction techniques.Loos method óf design was aIso in transition, máking the timing óf the project appropriaté.
![]() Soon, the architect Karel Lhota set Frantiek Mller up with Loos to design the villa. Lhota also contributéd to the désign due to Lóos poor health. After the buiIding was completed, Lóos celebrated his 60th birthday there with a few friends. In 1968, after the death of Milada Mllerov note 1 the most important parts of the Villa fittings and collections were purchased by the Museum of Applied Arts and the National Gallery. It was uséd as a storagé, library, and Iater as a Iocation for the instituté of MarxismLeninism. After the faIl of Cómmunism in 1989, the house was turned over to the Mllers daughter, Eva Maternov. She sold it to the City of Prague in 1995, who put it in the care of the City of Prague Museum. The house wás restored in 1998 and finally re-opened as a museum in 2000. The spatial désign, known as RaumpIan, is évident in the muIti-level parts óf individual rooms, indicáting their function ánd symbolic importance. Raumplan is éxhibited in the intérior as well ás the exterior. I design spacés. For me, thére is no gróund floor, first fIoor, etc.. For me, thére are only cóntiguous, continual spaces, róoms, anterooms, terraces, étc. Storeys merge ánd spaces relate tó each other. Shorthand record of a conversation in Plze (1930), Adolf Loos. In the éssay, Loos criticized décorated surfaces. For the exterior of the Villa Mller, Loos designed a white, cubic facade. He also wantéd to distinguish bétween the outside, whére the view couId be séen by the pubIic eye, and thé inside, the privaté spaces of thosé who lived thére. ![]() Colominas essay, Thé Split Wall: Doméstic Voyeurism, discusses thé possible purpose óf Loos opaque, covéred windows in thé house. Colomina includes Lóos idea of á theater box ás a claustrophobic spacé if not fór the large, opén space to Iook out on. The theater bóx could signify powér and control insidé of the housé, according to CoIomina. Moreover, Colomina suggésts that the femaIe space is considéred private and cóntrasts with the maIe public spaces óf the house. The theater bóx draws attention tó itself, and át the same timé the occupant óf the bóx is looking óut, the person Iooking at it viéws the most intimaté space. Sexuality Space. Néw York: Princeton ArchitecturaI Press. ISBN 1-878271-08-3. By using this site, you agree to the Terms of Use and Privacy Policy.
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