Subversion of Inside and Outside Sense of Vision
Exploring Raumplan versus Plan Libre: Muller houses’ architectural revolution in challenging spatial boundaries
In the field of architecture, the exchange between interior and exterior spaces has always been a dynamic interplay; It’s a connection between confinement and openness.
In my essay, I’m looking into the subversion of inside and outside in the sense of vision, while also delving deeper into two architectural concepts: Raumplan and Plan Libre.
The origin of the word ‘Raumplan’ comes from the German term for ‘spatial plan’, the term visualises a three-dimensional way of thinking about a building, which is what allows for such profound experiences (Slunecko, 2018). It is used in response to the need for more flexible and adaptable interior spaces. This approach to space creates a dynamic and interconnected spatial experience.
The term Plan Libre is a French term for ‘free plan’ and is associated with the modernist architect Le Corbusier. It materialised in response to the limitations of load-bearing walls and traditional structural systems (thesleepofrigour, 2012). Using Plan Libre allows for a more uninterrupted flow of space and gives architects the freedom to design spaces without having any structural constraints.
These two concepts originated in the early 20th century, they challenged not only the conventional notions of space but also the subverted boundaries between inside and outside.
Muller house was designed in Prague, in 1930 by the Austrian Architect, Adolf Loos.
The Muller house is repeatedly celebrated as an architectural masterpiece in modernism and is defined by its functional and minimalist design.
Loos describes the muller house as the embodiment of modernism, where the building displays simplicity, functionality, and the rejection of unnecessary ornamentation. Alongside the modernist concept, a minimalist aesthetic can be seen throughout the house, with the focal point being a simple white façade, clean lines, and the complete absence of decorative elements. (Adolf Loos, 2008)(Pg. 38)
The minimalism can be taken back to Loo's theory on “Ornament and crime”, where he used his essay as a way of explaining his disapproval of ’ornament’ in favour of ‘smooth and previous surfaces’ (Taylor-Foster, 2016). This is partly because previously it would cause objects and buildings to become unfashionable much sooner than expected, resulting in them becoming obsolete. The house is also impressively efficient when it comes to the use of space. The interior of the building is designed with an open plan layout and built-in furniture or ‘furnitecture’, to allow for the maximisation of space flexibility and utilisation. An abundance of natural light can be found in each of the rooms with the large windows that occupy the walls. The large windows and numerous sliding glass doors flood living spaces with natural light, deepening the connection to nature; the sliding glass doors also allow for a seamless integration with the garden.
Fig.1 Cabinet room (WikiArchitectura, 2020) Fig. 2 Muller exterior (WikiArchitectura, 2020)As well as the minimalist design features that Loos followed throughout the house, he also showed considerable architectural affordance, this can be seen in the functional design, timeless quality, and ergonomic comfortability.
The muller house is a prime example of functional architecture, where everything that Loos designed was able to serve a practical purpose. With practicality in mind, most of the furniture within the house was built with a logical layout in mind to ensure maximum comfort and functionality of the spaces (Architectuul, 2023).
Consequently, the muller house continues to be celebrated for its lasting influence on modernist architecture. The Muller house serves as proof of Loo's commitment to architectural purity and the contribution he made to 20th-century architecture.
To summarise, the Muller House is a classic building within architecture known for its minimalist design, efficient use of space, and seamless integration of indoor and outdoor spaces. The house mirrors Loo's dedication to functionality and his rejection of redundant ornamentation, leaving a significant mark on the architectural world.
Literature review:
To commence my essay, the first source I investigated was ‘Raumplan versus Plan Libre: Adolf Loos, le Corbusier’. Raumplan versus Plan Libre shows how Loos ‘reflects the split between the intimate and the social life of the metropolitan being: outside, the realm of exchange, money and masks: inside the realm of the inalienable, the non-exchangeable, and the unspeakable’ (Adolf Loos, 2008)(Pg. 39). Throughout the book, houses created by Loos are compared and analysed, which I found especially helpful as it went into detail with Muller house, expressing how it’s ‘Loo’s most sophisticated Raumplan’ (Adolf Loos, 2008).(Pg. 66) The source has a sophisticated way of comparing differences and the seamless integration of Loos and Corbusier’s designs, where one designer is concerned with the autonomy of architectural means and the other, tries to place his work in a context. As my title is Looking into Raumplan and the Subversion of Inside and Outside, I investigated the paper ‘Intimacy and Spectacle: The Interiors of Adolf Loos’. In this source, Colomina goes into detail about Muller house, allowing the reader to feel as though they are walking through each of the rooms, how they would feel, ‘comfort in this space is more than just sensual, for there is also a psychological dimension. The position of the sofa, and its occupant against the light, produces a sense of security’ (Colomina, 1981)(Pg. 5), and detailed descriptions of the intimacy of the interior spaces. Colomina's article was useful to me as it gave me a description of how the Muller house feels concerning inside and outside, explaining in detail how each of the spaces was laid out, where they were in the house and how they fit inside the basis of Raumplan. Colomina also includes pictures of the spaces, cross-referencing the descriptions with the images, allowing for a deeper understanding. The last source I accumulated information from was ‘Adolf Loos: His Interior Linings’ Coll studies Loo's treatment of colour and understanding of colour as materials in three of his houses. Coll’s study, completes a formal analysis of The Muller House, expressing how the Muller house is the ‘definition of a modern house – at a time when wealthy, progressive industrialists were the source of modernist commissions’ (Coll, 2022). Coll goes on to Raumplan within Muller House, expressing how Loos breaks with the ‘classic vertical arrangement of the floors and creates rooms at various heights and unique spaces, linked by stairs or elevators and arranged around an imaginary axis’ (Coll, 2022).
Reviewing all the sources, the primary theme between all of them is the interiors and Raumplan within the different spaces throughout the house. While some sources were looking into Raumplan and the decoration of the interiors, and how this creates different atmospheres in each room, others looked at how Raumplan affected the layout and spatial dynamic between each of the rooms. I also found that a lot of the rooms within the house tend to have specific intentions behind their design and incorporation with Raumplan. Such as the living room, where Raumplan is most visible. The living room can be found in the heart of the Muller house, a large space that can be found by a short
staircase from the foyer, followed by a low recess opening that Loos designed to create an element of surprise when moving from the narrow hallway to the large, open living room. ‘The living room is connected to the dining room, which is situated on the mezzanine, and the boudoir, reached by a spiral staircase’ (Plockova, 2017). In terms of the design of the living room, the furniture was intended for each piece to stand alone. Loos states that he made ‘an attempt to make it possible for everyone to find comfortable seating according to their needs’ (Plockova, 2017).
Who is Adolf Loos?
Adolf Loos was an architect celebrated for his influential contributions to modernist architecture. Loo's minimalist and functional design can be seen in his book ‘Ornament and Crime’, where he pushes for the rejection of unnecessary ornamentation, pure form, efficiency, and simplicity. Loos’ work and writings had a lasting impact on modernist architecture, shaping the path of architecture theory and practise (Joern Besser, 2005)
Loos is a key figure in the development of modernism, with his designs embodying core principles such as minimalism, spatial efficiency, hierarchy of spaces, integration of nature, timelessness, function, and space.
Loos’ publishing in 1908, on ‘Ornament and Crime’ had an extensive influence on the design philosophy of the Muller house, and Loos’ architectural approach. In his essay it argues against the use of ornamentation within architecture, implying that it was a sign of cultural degeneracy and a waste of resources. Loos’ rejection of ornamentation is evident in his design of the Muller house, seen in its simplicity and minimalism, focus and functionality, use of quality materials and emphasis on timelessness (Loos, 1998)(Pg. 168).
Loos’ displeasure led to a design culture centred around simplicity and minimalism. The muller house is a perfect example, with clean lines, bare surfaces, and a lack of decorative elements. Linking into the unnecessary ornamentation, Loos’ book ‘Ornament and Crime’ emphasises the importance of prioritising function over unnecessary decoration. In the Design of the Muller house, Loos ensured he combined functional elements into the architecture, which can be seen throughout the meticulously organised spaces – ensuring they served their intended purposes efficiently, contributing to a functional and purposeful design.
In Muller house, the influence of minimalism can be seen in the choice of materials, such as marble, onyx, and various types of wood (Coll, 2022). Loos’ particular choices of materials add a sense of luxury and elegance to his interior design without having to decorate unnecessarily
Raumplan:
A large attribute of Loos's work came from Raumplan. ‘Raumplan’ Is a phrase that is closely associated with Adolf Loos. It is the spatial design that focuses on the arrangement of interior spaces, creating a dynamic, non-hierarchical organisation. The concept of Raumplan within the muller house is not as prominent as some of his other projects, but some elements can be recognised.
In terms of the muller house, four main elements of Raumplan can be seen within the house, spatial complexity, functional zoning, spatial hierarchy and views and connectivity. Fig. 3 Muller House Section of the Varying levels and ceiling heights (Fabrizi, 2014)
When exploring Raumplan the idea of the use of multiple interconnected levels and diverse ceiling heights was the focus, giving each of the room’s dynamic spatial experiences.
“Adolf Loos gave birth to a much new, higher spatial thought: free thinking in space, planning rooms that are at different levels and are not tied to a continuous floor, composing the interrelated rooms into a harmonious, inseparable whole and a spatial economic structure.” (Kulka, 1931)
While Muller House is a compact house and doesn’t have the spatial complexity as some of Loo's other designs, it still features a planned arrangement of spaces on different levels. The central staircase, varying ceiling heights and half-levels contribute to the houses’ sense of spatial diversity. The building interior is practically open plan throughout, with the only disruption coming from the garden side.
“Inside, there are no continuous axes or sightlines except for the line between the dining-room window overlooking the garden and the salon window nearly opposite. The staircase in the middle of the house has a centrifugal effect on the various living rooms.” (Adolf Loos, 2008)(Pg. 69)
Another form within Raumplan is the functionality of the zoning. Raumplan often involves organising various spaces according to their function and hierarchies. Spaces are carefully planned and organised, with public areas on the ground floor – which includes the living room and dining room – and private spaces found on the upper levels of the house. The placement of different rooms and their relationships also displays the spatial hierarchy within the Muller house. The spatial hierarchy within the muller house is displayed well with plans, with different levels on the bedroom storey to subsidise a less abrupt transition between the living and sleeping levels (Adolf Loos, 2008)(Pg. 68) The rooms on the ‘living level’ are oriented towards the salon – the dining room, mistress’ room, and library –there is no break, no constriction (Adolf Loos, 2008)(Pg. 68).
Raumplan is strategically planned in that it incorporates different views and connectivity between the spaces to create a sense of spatial interest and dynamic relationships. In the muller house, large windows are used and the easy connection to the garden intensifies the visual connectivity between the interior and exterior, contributing to the spatial experience.
Subsequently, the Muller house isn’t a pure and traditional example of Raumplan in the same way some of Loo's other projects are such as the Rufer house, however, it does incorporate elements of the concept. The conscientious organisation of spaces, varying ceiling heights and the functionality of the spatial zoning of the house are all indicative signs of Loo’s commitment to efficient and thoughtful spatial design.
Looking at Muller house through sense:
Examining the Muller house through vision, particularly focusing on natural light, shadows and colour reveals an interplay that contributes to the overall sensory experience of the space.
Fig. 4 Muller House interior zoning Layout (Kartun, 2011)The architectural design of the Muller House exhibits a sensitivity to natural light. Large windows and glass doors are strategically positioned to invite daylight into the living spaces. This deliberate incorporation of natural light not only illuminates the interior but also establishes a dynamic connection between the inside and outside, enhancing the occupant's visual experience.
Coupled with the natural light due to the strategically placed windows and openings, the Muller house creates captivating shadow patterns. As sunlight filters through various elements of the building’s architecture, shadows move across surfaces, adding a layer of visual interest as seen in Figure 5. This interplay between the light and shadows becomes an essential part of the spatial experience, transforming the interior spaces throughout the day.
Adhering to his minimalist and functional design theory, Loos reflects this in his natural tones and colour choices. Loo's choice of colour enhances the natural light coming in, creating a sense of openness, and allowing for the continuation of the timeless and elegant aesthetic. The neutral colours and natural light create a balanced visual environment. The seamless connection between the house and the surrounding garden introduces a change of colour of the outdoors into the interior. The different seasons and the play of natural light throughout the day create various dynamic visuals.
The manipulation of natural light and shadows, along with the careful selection of colours plays a role in shaping the space within the Muller house.
Natural light, shadows and colours collaborate, creating a visually fascinating and immersive experience.
The layout avoids unnecessary partitions, resulting in spaces being interconnected and emptiness spanning the house. The absence of decorative elements, varying ceiling heights and connected levels, contributes to a spatial silence. Allowing the occupants to reflect and be content in a peaceful environment. The Muller House stands not only as a testament to Loo's architectural accomplishments but as a visual symphony of emptiness and silence within its precisely designed spaces.
User experience in Muller House: Navigating the connection between Raumplan and Plan Libre in the Muller House involves looking at contrasting architectural concepts, resulting in a blend of spatial elements. The collaboration of these concepts is a testament to Adolf Loos’ ability to blend two seemingly different approaches and
Fig. 5 Natural lighting and shadows from large windows in the Muller house (WikiArchitectura, 2020) Fig. 6 Entrance to the Muller House – Adolf Loos’ use of bright colours but no decoration (Plockova, 2020)turn them into a habitable space that has been able to embody both functionality, efficiency, and spatial dynamics
One of Raumplan's main elements is its emphasis on hierarchical organisation, and the deliberate organisation of the rooms can be seen within the Muller house. Despite the hierarchical approach being seen through Raumplan, it is also able to be seamlessly integrated with Plan Libre’s flexibility of space, allowing for varying adaptability of the space over time.
Linking in with the hierarchical organisation the Muller House displays exceptional functional zoning characteristics. In Raumplan spaces are designated and put in place for specific purposes, yet the building is also coupled with the open configurations inspired by plan libre. The spatial arrangement in Muller house had both purpose and is interconnected, creating an enhanced overall flow and accessibility of the residence.
The connection between Raumplan and Plan Libre is particularly evident in the spatial transitions within the Muller house. Loos allows for a smooth and adaptive shift between different rooms, demonstrating not only the flexibility of plan libre but also the distinct character of each Raumplaninspired space.
At the core of both Raumplan and Plan Libre is the focus of the human experience. The Muller house exemplifies this by providing spaces that are not only efficient in their functionality but also respond to the users' need for an aesthetically pleasing environment. Both concepts prioritise the well-being and comfort of the residents.
In navigating the connection between Raumplan and Plan Libre, the Muller House materialises as a fusion of contrasting ideals, demonstrating the ability to harmonise seemingly opposing concepts. This architectural masterpiece demonstrates the flexibility of design thinking and serves as proof of Loos’ innovative approach to spatial composition and the creation of a house that looks beyond the boundaries of traditional architectural paradigms.
Comparative analysis:
Muller house stands as a testament to Adolf Loos’ architectural accomplishments, by seamlessly integrating the contrasting elements of Raumplan and Plan Libre. With the deliberate arrangement of the varied levels and adaptable spaces, Raumplan's hierarchical organisation and spatial flexibility are unmistakable. The influence of Plan Libre is seen in the house's open plan configurations, fluid transitions between rooms and use of natural light.
The exchange between light and shadows, material choices, and the juxtaposition of spatial continuity with deliberate zoning, contribute to the unique synthes isation.
Loos managed to achieve a harmonious balance, creating a home that embodies efficiency in the space’s functionality and open spatial dynamics, showcasing his contemporary ability to navigate and connect two diverse architectural theories within one cohesive building.
Fig 7 Materials and Spatial layout of Muller House Living room (Coll, 2022)
How Raumplan and plan libre have affected the future of construction:
With the introduction of Raumplan and Plan Libre, their influential architectural concepts developed in the early 20th century and resulted in having a lasting impact on the future of architecture in various ways.
Raumplan, a concept championed by Adolf Loos, emphasises spatial flexibility and the efficiency of a space. In contrast, Le Corbusier’s Plan Libre investigated a more open and flexible floor plan, facilitated by reinforced concrete, which has shaped the now modern, open-concept living spaces. Both concepts, essential to the broader modernist movement, have contributed in their ways to a paradigm shift. They both emphasise functionality, simplicity, and the exploration of new materials.
Conclusion:
To conclude this essay, the Muller house stands as an architectural revolution, seamlessly merging the principles of Raumplan and Plan Libre to challenge conventional spatial boundaries. Adolf Loos’ innovative approach, established in Raumplan’s hierarchical organisation and Plan Libre’s open composition, has created a residence that transforms the traditional design paradigm limitations. The calculated interplay of varying levels, flexible spatial transitions, and the dynamic integration of natural light manifests Loos’ mastery in being able to navigate the intersection between the two contrasting concepts.
The Muller house not only defies spatial constraints but invites occupants into a visual out-of-body experience. With its clean line, minimal ornamentation and harmonious blend of form and function, it exceeds the physical dimension, offering a sensory journey that has the capability of going beyond the immediate spatial confines. Muller house is an architectural masterpiece, with its enduring relevance and timeless aesthetic, it seals its place as a visual testament to the boundless possibilities when Raumplan and plan libre intersect, challenging and reshaping the very essence of spatial design.
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Fig 8 Stairs in the Muller house displaying the natural light and timeless design (WikiArchitectura, 2020)Bibliography
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Figure one – (WikiArchitectura, 2020)
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