Oct 25, 2007
Two - Room and Narrative
Selected drawing:
Edward Hopper - Excursion Into PhilosophyThe field stretches to the horizon and the atmosphere is somewhat charming yet despairing at the same time. The slants of light judges the couple, separated in a timeless manner while silence concrete the air. This silence is the prison.
Geometry analysis
Design process
One - Muller's House
Introduction of Muller's House
Our group did lots of research on Muller’s before building the model. Group Model start on building site and facade. The accurate building data such as the thickness of walls, level height etc. are extract from building technique drawing.
The muller’s house was designed in 1928 and built in Prague 1929-30 for Frantisek Muller, an engineer and partner of a large construction firm, Kapsa & Muller. It stands on a steep slope overlooking surrounding villas and close to a main avenue to the city centre. At first sight it appears almost too simplistic, its exterior refusing to divulge interior splendour and fulfilling Loos' notion that 'the building should be dumb outside and only reveal wealth inside'.
Clad in bright green glass tiles, the entrance lobby leads to a restful white panelled ante room. A small staircase curves up to a large double-height main hall running the width of the villa with a door and windows onto a terrace overlooking the garden. Grey-green marble partly covers the walls, columns and horizontal surfaces. From here you can either continue upwards to a boudoir, rising half a storey and lined with yellow lemonwood, or to the dining room above the high drawing room. From the dining room, the route leads to a central stairwell illuminated by a skylight, and from there to the library, brightly lit in spite of being clad with dark panelling. The kitchen next to the service stair is on the same level as the dining room. On the floor above are bedrooms and dressing rooms, a child's playroom, bathrooms and maid's room; and above them at attic level is a summer breakfast room looking over a large terrace sheltered by extended flank walls. An opening in the right-hand wall frames a view of the site. The complexity of the spaces, interwoven yet with each maintaining functional identity, is perplexing but the spatial planning of the main rooms reproduces the Raumplan of the whole villa -- the dwelling within a dwelling.
In an interview after the villa's completion, Loos explained: 'My architecture is not conceived by drawings but by spaces. I do not draw plans, facades or sections ... For me, the ground floor, first floor, do not exist ... There are only interconnected continual spaces, rooms, halls, terraces ... Each space needs a different height: a dining room is obviously higher than a larder, that is why the ceilings are placed at different levels. These spaces are connected So that ascent and descent are not only unnoticeable, hut at the same time functional'. Of all his works, Loos considered that the Villa Muller was the best example of such spatial economy.
Clad in bright green glass tiles, the entrance lobby leads to a restful white panelled ante room. A small staircase curves up to a large double-height main hall running the width of the villa with a door and windows onto a terrace overlooking the garden. Grey-green marble partly covers the walls, columns and horizontal surfaces. From here you can either continue upwards to a boudoir, rising half a storey and lined with yellow lemonwood, or to the dining room above the high drawing room. From the dining room, the route leads to a central stairwell illuminated by a skylight, and from there to the library, brightly lit in spite of being clad with dark panelling. The kitchen next to the service stair is on the same level as the dining room. On the floor above are bedrooms and dressing rooms, a child's playroom, bathrooms and maid's room; and above them at attic level is a summer breakfast room looking over a large terrace sheltered by extended flank walls. An opening in the right-hand wall frames a view of the site. The complexity of the spaces, interwoven yet with each maintaining functional identity, is perplexing but the spatial planning of the main rooms reproduces the Raumplan of the whole villa -- the dwelling within a dwelling.
In an interview after the villa's completion, Loos explained: 'My architecture is not conceived by drawings but by spaces. I do not draw plans, facades or sections ... For me, the ground floor, first floor, do not exist ... There are only interconnected continual spaces, rooms, halls, terraces ... Each space needs a different height: a dining room is obviously higher than a larder, that is why the ceilings are placed at different levels. These spaces are connected So that ascent and descent are not only unnoticeable, hut at the same time functional'. Of all his works, Loos considered that the Villa Muller was the best example of such spatial economy.
Group Model Making Process:
Sectional model
Ground floor room arrangement shows in model
3rd floor room arrangement shows in model
Section
Final Model Images:
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