PAM – Guide to the works of Adolf Loos and his collaborators in Pilsen

EN

Guide to the works of Adolf Loos and his collaborators in Pilsen

ADOLF LOOS

Pilsen Architecture Manual

pam.plzne.cz pestujprostor.plzne.cz

ISBN 978-80-907808-7-3

Texts © Petr Klíma, Lucie Valdhansová, Anna Waisserová, 2020 Photographs © Petr Jehlík, Matěj Hošek, 2020 © Pěstuj prostor / Foster the City, 2020

Foreword For many decades, the work of Adolf Loos in Pilsen was known only to the dedicated professional public. An international symposium held at the Museum of West Bohemia in Pilsen in 2003 on the occasion of the 70th anniversary of Loos’ death also went largely unnoticed by the general public. However, the conference, which highlighted the significance of Loos’ local realizations, was an important impetus for the restoration of several preserved interiors.

Two exhibition projects held by the Gallery of West Bohemia in Pilsen at the end of 2011 and beginning of 2012 presented the Pilsen work of Loos and his collaborators to the general public: Adolf Loos – Works in the Czech Lands and Loos – Pilsen – Connections. The second mentioned exhibition in particular, accompanied by a catalogue of the same name, illuminated the context surrounding the creation of individual works and revealed in detail the family background, relationships and fates of Loos’plzeňských Pilsen clients and their interiérů relationJeden z nejpůsobivějších bytových ship to him. In 2014–2015, interest wassefurther boosted by thepatře opening navrženýchpublic Adolfem Loosem dochoval ve druhém hisof several renovated interiors. torizujícího činžovního domu č. o. 10 v Bendově ulici. Architekt byt upravil v letech 1930–1931 pro majitelku domu Gertrudu Although one ofTaussigovou, the motivations to továrníka start the Pilsen Architecture Manual dceru Theodora Taussiga, a jejího(PAM) nasproject was to távajícího point to the factViléma that the extraordinary accomplishments in muže (Willyho) Krause, chemického inženýra Pilsen architecture of the firstúředníka third of the previous firmy. century are linked not only a obchodního Taussigovy to Adolf Loos but other architects as well, the intention to present his local work became one of Loos the decisive arguments the initial support of the projectoriby zachoval tradiční for dispozici s obytnými místnostmi the Pilsen 2015 entovanými organisation, do ulice. where PAM Odstraněním was born příček in 2014–2015. mezi třemi Sincepokoji then, a number of buildings vytvořilby jednolitý, other architects osově souměrný active inspolečenský Pilsen at the prostor, same time v němž as Loos have also gained po svém attention; zvyku uplatnil however, vytříbené Loos’ materiály. projects remain Vestavěný at the nábytek centre of domestic and i kazetový foreign strop publicnechal interest. zhotovit In 2020, z leštěného as we commemorate mahagonu, který the 150th anniversary doplnil of Loos’ obkladem birth, the ze attention zeleného paid mramoru to the zvaného work of Adolf cipollino.

Loos and his collaborators Místnost continued optickytorozdělil increase. pilíři Therefore, s předsazenými we decided prosklenými to convert the content of the skříňkami Adolf Loos a do kratších trail fromprotilehlých the online stěn environment místnostíofnechal the Pilsen vsaArchitectural Manual dit velká into dělená a printed zrcadla. publication.

Cenné je i dochované zařízení ložnice, situované v nároží domu, s vestavěným nábytkem s řadou This brochure intends originálních to be a practical detailů a promyšleně handbook that řešenými will help úložnými introduce prostory.

Loos’ local work to the public in situ, while, at the same time, is an informative read in itself, meeting Patrně the demands po narození of those dvouinterested potomků manželé in the architect Krausovi himself. rozšířiliJust byt like the period when o tři sousední we were místnosti. preparing the DalšíPAM osudy project, rodiny wei apartmánu believe thatbyly the interest in the appeal pohnuté. of the V roce work 1939, of Adolf v předvečer Loos and druhé hissvětové collaborators války, se may Vilému also bring the publicKrausovi closer topodařilo the architecture odjet do Londýna. of his peers Jeho andžena young i dvě professional děti však colleagues. Specifically, již před nacistickým in the first režimem half of the uprchnout 20th century, nedokázaly it wasa zahynuly they who, with a number of během excellent holokaustu. buildings Po válce and many byl rather dům Vilému ordinary Krausovi objectsvrácen, which formed generous alepublic roku 1954, spaces, šest let created po komunistickém one of the most převratu, valuable mu byl layers znovu of the city, which zabaven. still affects Původní our lives bytsignificantly byl pak rozdělen today.na tři In addition, bytové jednotky its creation would not a část have been vybavení possible bylawithout nenávratně the contribution zničena. Přesto of the seMunicipal jej v roce Building Authority, 1969political podařilo representation, zapsat na seznam construction movitých kulturních cooperatives, památek. local companies, associations and other institutions and numerous small investors.

As naive and idealistic Po roce 1989 as it may byl dům sound, převeden we aredo majetku convinced that, městabyPlzně, putting které in the necessary effort, v letech we2014–2016 can also nechalo achieve interiér a similarzrekonstruovat. result in the 21st Autoři century. proA look into the jektu past obliges to continue our endeavour.

Ludvík us Grym a Jan Sapák respektovali všechny původní

Pilsen Architecture Manual (PAM) Paths of Architecture 1914–1918 and 1948–1989

The Adolf Loos trail is one of a number of the paths of the expert/ popularisation project that gradually maps the architecture of the periods of 1914–1948 and 1948–1989 in Pilsen. The project, inspired by the successful Brno Architecture Manual (BAM), aims to present individual buildings, architects, builders, selected public spaces and city districts to the general public as well as experts through an online database and map brochures, which will be accompanied in the future by audio recordings and signs placed in public spaces – all of this in both Czech, English and in the case of the Adolf Loos trail also in a German version.

In the database with a web interface at pam.plzne.cz, all buildings and their files are accompanied by the date, address, GPS coordinates and information about the nearest public transport stops. Most of the sites are documented by contemporary photographs or archival images. Planning documentation and a short profile is also included for most buildings. An integral part of the website is an interactive map of Pilsen, which makes it easy to search for sites. While most of the buildings and authors of projects from the first period have already been published on the website, work on the documentation of buildings and architects from the post-war era and the creation of the relevant paths is still ongoing.

Since the formation of the original concept at the turn of 2013 and 2014, the project's scope has widened significantly. With most paths, the initial and less numerous selection of leading realizations has been complemented with other objects that have almost “every-day” qualities. However, these buildings represent the highly developed building culture of the given periods in Pilsen. At the same time, they attest to the need for the high architectural standard to exist in order to create a high-quality public environment. They also offer a vivid image of the genesis of the areas – which are defined historically, geographically, topographically and by the nature of localities – and the competence of the builders and building companies or of the clients’ activity.

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The expansion of the project (and its scope) was motivated by the authors’ effort to capture both architecture periods in Pilsen.

Due to often insensitive reconstructions, many buildings are losing their former appearance and some of them their original qualities; furthermore, some sites no longer exist or are in imminent peril of demolition. The project attempts to preserve this appearance where it is still possible; by processing and publishing planning and photography documentation, the project also becomes a sort of digital archive. At the same time it strives to draw attention to the on-going loss of a part of Pilsen’s architectural heritage and points out the necessity of preservation and a sensitive approach to buildings that are not listed as heritage sites.

To help the public perceive the architectural and urbanist values of the city, guided walks are held annually along the individual paths within the “Skryté město” (Hidden City) project or the Industry Open festival. A similar walk is also a part of an interactive workshop for the youngest generation prepared by members of the Architects in School initiative. It is the mediation of experience with architecture exhibited in situ, architecture “on itself”, which remains the main goal of the project, and this guide should also contribute to achieving this.

The Adolf Loos Path

A “backbone” path, whose central part cuts through the city along Klatovská třída (Klatovská Avenue), introduces the twelve Pilsen realizations by Adolf Loos and his collaborators. The concentration of these mostly interior works in this area is not a coincidence. It was the present Klatovská – then Ferdinandova Avenue, later also the Avenue of Czech Legionnaires – which became the main boulevard of Pilsen and home to many important businesspeople in the late 19th century, from whose ranks Loos’ clients came. The first among them were Martha and Wilhelm Hirsch, who became acquainted with Loos’ work thanks to Wilhelm’s sister Rosa, who had married into the Viennese family of the journalist Karl Kraus, one of Loos’ closest friends. In 1905, Adolf Loos designed the interior of Rosa and Alfred Kraus’ Viennese apartment. Two years later, Loos came to Pilsen for the first time to prepare the plan for a generous renovation of the Hirschs’ apartment in Plachého Street.

The architect did not return to Pilsen until the second half of the 1920s. In the years 1927–1932, Adolf Loos, in collaboration with Karel Lhota, Norbert Krieger, Heinrich Kulka and Bořivoj Kriegerbeck, prepared a number of designs for factory owners, entrepreneurs and other builders of Jewish origin connected through professional or personal ties. Among them were the families of the Brummel or Semler brothers, the Vogls, Samuel Teichner, Leopold Eisner, the Naschauers and again the Becks, whom Loos helped to adapt the interior that they transferred to their new house in Náměstí Míru (Peace Square). Loos probably drafted the design of Richard Hirsch’s flat, which was situated in his parents’ house. Several projects were apparently prepared

by Loos’ collaborators without the active participation of the famous architect (Loos’ authorship cannot be proven in them); however, they consistently applied the principles of his architecture, which is one of the reasons why these works are part of the trail bearing Loos’ name. The key to their inclusion was their connection with another of Loos’ realizations. This was the case, for example, with Lili and Paul Weiner’s apartment, which was located in Weiner’s house, as was Samuel Teichner’s surgery designed by Loos.

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Out of more than a dozen works of architecture, eight have been preserved to the present day, mostly in incomplete form.

The fact that these realizations have not entirely disappeared is owed to art historian Věra Běhalová. Thanks to her personal courage (as a participant of the anti-Communist resistance, she was persecuted by the regime of the time), she managed to gain monument protection for most of them in 1968 and 1969.

From the eight preserved interiors, three are presently open to the public: the sensitively restored apartment in the house of Jana and Jan Brummel and Hedvika Liebsteinová, which is privately owned, as well as the renovated apartments of the Kraus and Vogel families, which belong to the city. After completion of the current renovation under the auspices of the Gallery of West Bohemia in Pilsen, the so-called Semler residence will be reopened as well.

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Reconstruction of the house of Jana and Jan Brummel and Hedvika Liebsteinová 1927–1929 Adolf Loos – Karel Lhota Husova 58 GPS: 49.7461210N, 13.3641546E

The reconstruction of the house at No. 58 Husova Street was Adolf Loos’ first commission in Pilsen, where his intervention can be seen not only in the interiors but also in the building’s exterior. In 1907, the house was bought by Vilém Liebstein, a lumber and charcoal merchant, who merged his company with that of Jan Brummel in the early 1920s. Jan Brummel married Liebstein’s younger daughter Jana in 1922, and the house in Husova Street was given to her in 1928. As early as 1927, the Brummels engaged Loos to design a reconstruction of the house, which was to be not only the home of the couple but also of Jana’s mother, Hedvika Liebsteinová. Loos invited Karel Lhota to collaborate with him.

The architects extended the residential area of the house by means of a superstructure above the garages with a smooth Purist facade and a flat roof.

While the ground floor of the building was occupied by garages, company premises and a rental flat, the new section housed the Brummels’ apartment: a living room with a large balcony, a bedroom and a bathroom. Hedvika Liebsteinová’s rooms were located on the other side in the original part of the building. The authors connected the two-generation interior using the space of the shared dining room, which was decorated with light-coloured panelling from roots of Canadian poplar. The adjacent living room, panelled with dark oak, is dominated by a replica of a Renaissance fireplace. Hedvika Liebsteinová’s parlour, with wood panelling painted in yellow and blue, was accessible from the other side of the dining room. The parlour was connected to Hedvika’s bedroom, panelled in maple wood. The architects also situated two smaller rooms on the other floor of the extension.

In 1939, the house's inhabitants were severely affected by Nazi occupation. While Hedvika Liebsteinová died in Theresienstadt, Jan Brummel lived to see liberation in the concentration camp and his wife survived the death march. After the war the house was returned to them. However, in 1962 the family was forced to hand it over to the state. Thanks to Michal Brummel, nephew of the former owners, who was given back the house in 1991, the building was restored based on plans by architect Václav Girsa, largely back to its late 1920s appearance, including original pieces of furniture in the interior. The rooms have been listed as a cultural monument since 1969 and open to the public at present.

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Olga and Hugo Naschauer’s apartment 1931–1932 Adolf Loos, collaboration with Norbert Krieger Husova 20 GPS: 49.7456287N, 13.3695083E

In 1925, the newlyweds Olga and Hugo Naschauer moved into a house dating from 1912, the Neo-Baroque facade of which had been designed by the architect Adolf Hrussa.

The wealthy Hugo managed the family’s large glass and timber business in the town of Stříbro to the west of Pilsen, which had a number of subsidiaries in West Bohemia. The couple’s high social status demanded appropriate representation, and so in 1931–1932 the Naschauers had a new living room designed

by Adolf Loos. Together with Norbert Krieger, he furnished the room with brown stained-oak furniture, a comfortable U-shaped sofa and four coloured Egyptian stools.

In 1938, Olga and Hugo Naschauer moved into Bohdan Pantoflíček’s new commercial and apartment building at No. 4 in the avenue today called Sady Pětatřicátníků. They also moved the furnishings of their living room, which they adapted to the new space with the help of Norbert Krieger. In 1939, however, the Naschauers emigrated to Great Britain, where they remained for the duration of WWII. On their return to their homeland they attempted to re-establish the family business, but soon thereafter the communist regime put an end to their plans. Their living room did not survive the historical events of the last century either.

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Olga and Hugo Naschauer’s apartment (adaptation) 1938 Adolf Loos, collaboration with Norbert Krieger Sady Pětatřicátníků 4 GPS: 49.7460772N, 13.3739847E

The commercial and apartment building at No. 4 Kramářovy sady (today Sady Pětatřicátníků), one of the few Functionalist realizations in the park ring, was built in 1937 by the contractor Antonín Špalek for the director of the munitions division of Škoda Works Bohdan Pantoflíček. A year later, Hugo Naschauer and his wife Olga rented a four-bedroom apartment on the first-floor and brought there the furnishings of the living room from their former apartment in No. 20 Husova Street, which had been designed for them in the early 1930s by Adolf Loos and Norbert Krieger.

They probably entrusted Norbert Krieger with the necessary adaptation as well and it was most likely him again who designed the other unconventional furnishings of the flat.

However, in the following year the couple emigrated to the United Kingdom. All of the factories owned by the Naschauers were subsequently gradually closed down.

After WWII, Hugo Naschauer attempted to re-establish the business, but it was nationalised soon after. In 1953, Pantoflíček’s house was taken into state ownership, and the Naschauer’s apartment was divided later on. Nothing has been preserved of the interior of their living room.

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Samuel Teichner’s dental surgery and Lili and Pavel Weiner’s flat 1931 / first half of the 1930s Adolf Loos, collaboration with Norbert Krieger and Kurt Unger / architect unknown Náměstí Republiky 22 GPS: 49.7463083N, 13.3770569E

House No. 22 Náměstí Republiky (Republic Square) was commissioned by Karel Weiner, a leather goods merchant, in 1929–1931. The architect Vilém Beer prepared the project and Bohumil Chvojka designed the final appearance of the facade. The second-floor housed Samuel Teichner’s dental surgery, the interior of which was partly designed by Adolf Loos. The architect, collaborating with Norbert Krieger and probably with Kurt Unger, too, conceived the space axially – inserting a waiting room with a white leather sofa and mahogany panelling with built-in shelves between two surgeries with windows facing the square. The surgery, waiting room, dental laboratory, cloakrooms and a back area were complemented with the doctor’s recreational room with furniture of vivid colours typical of Loos’ late work. The space is still used as an apartment today. Of the original interior, only part of the panelling and a built-in closet still exist.

The flat, which is located one floor above, is still preserved in good condition. It was designed most likely after the building was completed for Pavel Weiner, son of the building’s owners and his fiancée Lili Löblová apparently by one of Loos’ collaborators (Loos’ authorship or the exact date of the design cannot be determined).

The author of the design – seemingly Norbert Krieger, perhaps Heinrich Kulka – joined the living room with the dining room by a large opening and also maintained axial symmetry in the furnishings, placing a sideboard and a large mirror above it opposite the entrance in the dining room. He had both rooms fitted with wood panelling and grids stretched with fabric that covered the windows.

He also applied the bright colours that were characteristic of Loos in the apartment – blue for the built in wardrobes in the children’s room and red for the kitchen furnishings.

Both the Weiner family and Samuel Teichner perished during WWII. After 1948, the building was owned by Karel Weiner’s sister. In the early 1960s, the house was – probably forcefully – nationalized.

In 1991, it was returned to the heirs of its owners and listed as a cultural monument. At present, the Weiners’ apartment is not open to the public.

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Leopold Eisner’s apartment 1930 (demolished in 1974) Adolf Loos, collaboration with Kurt Unger Šafaříkovy sady 9 GPS: 49.7456461N, 13.3805000E

The no longer existent burgher’s house No. 9 Šafaříkovy sady was bought in 1902 by the Eisners, who established in it a shop selling butchers' and delicatessen equipment. In 1930, their son Leopold had the dining-room interior of a flat on the first floor of this building designed by Adolf Loos. At Leopold’s request, Loos was assisted by Eisner’s nephew Kurt Unger, an architecture student.

Adolf Loos subordinated the arrangement of the space to his characteristic symmetrical design. Opposite the entrance in the longitudinal axis of the room he situated a buffet counter and a mirror in a shallow nice. In the other direction, he balanced the two sash windows with a fireplace, above which he placed a large multi-paned mirror. He bordered this arrangement on both sides by doors to the adjoining rooms. While he set a circular table in the center of the dining room surrounded by Windsor chairs, he conceived the space below the windows as a seating niche with a built-in white leather-covered couch.

By orienting the sofa towards the room and applying opaque glass in the windows, Loos consistently turned attention to the interior. He had the walls of the room decorated with oak panelling combined with black and white marble cladding, which framed the entrance to the dining room from the library as well as the fireplace.

In 1939, Leopold Eisner managed to emigrate to Bolivia.

The building, which was confiscated by the Nazis, was restituted to him after the war but lost again during nationalization in 1948. Although the valuable interior was listed as a moveable cultural monument in 1969, the dining room furnishings were stolen in 1973 and the house was demolished a year later.

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Steffi and Josef Vogl’s apartment 1928–1930 Adolf Loos Klatovská třída 12 GPS: 49.7437708N, 13.3719431E

The Historicist house at No. 12 Klatovská třída (Klatovská Avenue), which became Pilsen’s main boulevard in the late 19th century, is remarkable – among other things – for the fact that Adolf Loos worked here twice. First, between 1907 and 1910, he redesigned the apartment with a bedroom, dining room, living room and bathroom for Otto Beck and his wife Olga, who were renting the second floor from the Friedler family. When moving into the apartment in the contractor Müller’s house at No. 2 Náměstí Míru (Peace Square) in 1928–1929, they relocated the actual interior furnishing of the apartment as well.

Probably at the end of 1928, Loos began working on the design of a new interior and furnished a surgery for the paediatrician Josef Vogl and his wife Steffi (Štěpánka), the Friedlers’ daughter, for the same spaces in the house on Klatovská Avenue. He made partial use of the original floor plan, making the living room the centre of the flat again and connecting it to a dining room. He composed the furnishings of these two preserved rooms in axial symmetry, placing two mirror-panelled walls opposite one another – one above the fireplace in the living room and the other above the bar counter in the dining room.

While using impressive travertine for the cladding on the walls of this room, the architect employed cherry wood and green wallpaper in the living room.

After the Vogl family’s emigration to Canada in 1939, the house was confiscated and used by the Reich authorities. After the war, most of the house remained in state ownership. In 1969, the building was adapted to the needs of a municipal housing enterprise; the representative part of the interior, however, had been registered as a cultural monument shortly before that.

Thanks to this, the built-in furnishings of the living and dining rooms have been preserved. The original look was returned to both rooms in a sensitive renovation that took place under architect Václav Girsa between 2003 and 2014. The free-standing furniture, which did not survive, was replaced by replicas. The reconstructed interior can be visited as a part of one of the Loos Interiors guided tours.

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Helena and Hugo Semler’s apartment 1931–1932 Adolf Loos, collaboration with Norbert Krieger Klatovská třída 19 GPS: 49.7432392N, 13.3724531E

In 1897, the house No. 19 Klatovská třída (Klatovská Avenue) was bought by the industrialist Simon Semler. After his death in 1922, his sons Hugo and Oskar commissioned the architect Adolf Hrussa to renovate the Historicist facade, indoor staircase and Helena and Hugo Semler’s own apartment. Hrussa’s design for the lady’s and gentleman’s rooms and a living room facing the street is reminiscent of some of Loos’ earlier realizations.

In 1930, Hugo Semler asked Adolf Loos himself to draft plans for another adaptation of the social rooms of the flat. The architect’s design of the ladies’ room (a music parlour) was implemented under the supervision of his collaborator Norbert Krieger in 1931–1932.

The furnishings of three residential rooms have been partly preserved to this day. The panelling and built-in furniture of the dining room and the gentleman’s room are made of wood with a prominent grain; the lady’s room is dominated by wall-cladding of light-coloured marble with a dark vein arranged in a regularly repeating pattern. The panelling is ingeniously broken up with doors, in-built shelves or an elm-wood ledge. Loos put mirroring spaces into play here as well, placing a bare brick fireplace – a motif taken from early 20th century English villa architecture – in a niche between two pilasters in the lady’s room along the longitudinal axis of the bar counter in the dining room. In 1932, Loos designed the never-realised plan of a two-storey roof top extension of the house with a maisonette flat for Jana and Oskar Semler.

In 1941, two years after Hugo Semler and his family’s forced emigration to Canada, German army staff headquarters were set up in the house. At the end of the war, the garrison commander Georg von Majewski committed suicide in the former Semler’s apartment after dramatic negotiations on German surrender. After the war, the building remained the property of the state and was used for army administration purposes until 2002. On the condition that the house would be reconstructed, its ownership was then transferred to the City of Pilsen, which opens it to the public occasionally.

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The apartments of Martha and Wilhelm Hirsch and their son Richard 1907–1908 / 1927–1930 / 1928–1929 (?) / 1937–1938 Adolf Loos / Adolf Loos – Karel Lhota / Adolf Loos / Heinrich Kulka Plachého 6 GPS: 49.7431775N, 13.3710892E

For decades, the Historicist facade of the three-storey house No. 6 Plachého Street concealed Adolf Loos’ first realised interior in Pilsen – a five-room apartment for the factory owner Wilhelm Hirsch and his wife Martha designed by the architect in 1907. Loos employed a layout based on joining spaces into larger units here for the first time. He merged the dining room with the living room, inserting a winter garden (a resting area) between them. He further emphasised the sense of flowing space by locating the children’s room and the parents’ bedroom along the same lengthwise axis.

Loos also used timeless precious materials – mahogany-panelled walls with Skyrian marble in the dining room and the winter garden and coffered cherry-wood panelling in the living room. Apparently, he had already planned to modify the porch situated in the courtyard. However, the generously glazed space with travertine cladding, built with the participation of Karel Lhota, was not completed until 1929–1930. As early as 1927, a boudoir was created in the adjoining room, which was probably designed by Lhota in collaboration with Loos.

It was at the same time that the design of the adaptation of a part of the second floor for the Hirschs’ son Richard – drafted probably by Loos – may have originated. The construction works probably took place in 1928–1929.

The initially bachelor’s flat with a bedroom and a living room facing the street had no kitchen, as the young gentleman was served by the parents’ staff. A room with a raised relaxation nook panelled in oak was furnished with furniture with a range of clever functional features. In 1937–1938, the Hirschs built an extension to the courtyard wing of the house with garages and other service spaces. The project, which also included modification of the garden with the addition of a gazebo with an air-raid shelter, was created by Heinrich Kulka.

Martha and Wilhelm Hirsch fled the Nazi regime via Israel to Australia in 1939, while Richard and his wife found refuge in Argentina. Most of the furnishings of the Hirschs’ apartment were lost during WWII and a 1962 reconstruction. A large part of the smaller flat furnishings was later moved to Prague, where it has been incorporated into a private gallery since 2010.

However, the built-in wardrobes in the bedroom have been preserved in Pilsen. Today, the house is in the ownership of the City of Pilsen, which opens Richard Hirsch’s former flat, heritage listed since 2014, to the public on special occasions.

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Gertrude and Willy Kraus’ apartment 1930–1931 Adolf Loos, collaboration with Norbert Krieger Bendova 10 GPS: 49.7412401N, 13.3702325E

One of the most impressive apartment interiors designed by Adolf Loos in Pilsen is preserved on the first floor of the Historicist apartment house at No. 10 Bendova Street. The architect, assisted by Norbert Krieger, prepared a generous adaptation project of the flat for the owner of the house, Gertrude Taussigová, daughter of the chemical plant owner Theodor Taussig. She married Willy (Vilém), a chemist and sales representative of her father’s firm, in 1931. In his design, which was realized in 1930–1931, Loos retained the traditional layout with the residential rooms facing the street. By removing partition walls between three rooms he created one unified and axially symmetric social space, applying fine materials. He had all the built-in furniture and the coffered ceiling made from polished mahogany, complemented with cladding of green cipollino marble. He optically divided the room using pillars with protruding glazed cupboards and had large multi-pane mirrors mounted in the shorter opposite walls of the rooms. The preserved furnishings of the corner bedroom are of great value as well and include built-in furniture with many original details and ingeniously designed storage space.

It was probably after their two children were born that the Kraus family extended the apartment to include three more adjacent rooms. In 1939, Willy Kraus managed to leave for London. His wife and children, however, failed to escape the Nazi regime and perished in the Holocaust. After the war, the house was returned to Willy Kraus, but in 1954, six years after the Communist coup, it was confiscated again. The original apartment was divided into three residential units and part of the furnishings was destroyed.

Despite this fact, the flat was listed as a moveable cultural monument in 1969. After 1989, the house was transferred to the ownership of the City of Pilsen, which had the interior renovated in 2014–2016. Authors of the project, Ludvík Grym and Jan Sapák, respected the original features, replacing the missing equipment with contemporary furniture. The highly valuable space, now open to the public, is a venue of many cultural events.

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Jana and Oskar Semler’s apartment 1932–1934 Adolf Loos – Heinrich Kulka Klatovská třída 110 GPS: 49.7332279, 13.3696424

The largest of Loos’ interiors in Pilsen – and the only implementation of Loos’ so called Raumplan concept, i.e. an arrangement of spaces with varied clear heights corresponding to their functions and importance, here – was created to order for Oskar Semler and his wife Jana. Originally, the couple intended to establish their own residential space in the extension of house No. 19 Klatovská třída (Klatovská Avenue) that belonged to Oskar and his brother Hugo (shortly before this, Adolf Loos had modified one of the social rooms in Hugo’s apartment there). Loos’ plan for Oskar Semler was never executed; however, when he and his wife bought a garden apartment house at No. 110 Klatovská třída, they commissioned Adolf Loos and his collaborator Heinrich Kulka with the design of their own flat again.

Although Loos probably drew the original layout of the Semlers’ apartment in 1932, due to his deteriorating health it was his collaborator Heinrich Kulka who developed the design. The architect divided the grandly conceived space, realised by the company Müller & Kapsa in 1933–1934, in three levels. The focus of the flat was the residential and representative hall spreading out over two floors and lit by large windows, from which a staircase ascends into a gallery with bookshelves and a red and gold coffered ceiling and on into the residential floor. On the ground floor the hall is complemented with a gentleman’s room, a terrace and a dining room. In the space behind the dining room the architect situated service rooms connected to the residential floor by a staff staircase. Kulka placed two children’s rooms connected to a governess’ room on the upper floor, as well as the lady’s and gentleman’s bedrooms with a separate hallway, a joint bathroom and a staff area. The apartment was also equipped with technical conveniences such as a dumbwaiter.

In 1939, Oskar Semler and his family emigrated to Australia and the house was confiscated by the Nazis and nationalized after the war.

Over the years, the Semlers’ flat was divided into four smaller units and a classroom and a significant part of the interior, including the furniture, was destroyed. However, most of the built-in features and panelling have been preserved. This was one of the reasons the apartment was listed as a cultural monument in 1969. Since 2012, it has been administered by the Gallery of West Bohemia in Pilsen, which opened it to the public and in 2018 started the decisive stage of its restoration and reconstruction of the whole object.

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Olga and Otto Beck’s apartment (adaptation) 1928–1929 Adolf Loos, collaboration with Bořivoj Kriegerbeck Náměstí Míru 2 GPS: 49.7315747N, 13.3707664E

In 1900, Antonín Müller and Vojtěch Kapsa, the founders of the Müller & Kapsa construction company, designed and built two houses with eclectic facades ornamented with medallions of prominent builders for themselves and their families. When Antonín Müller died in 1927, his son František had his own villa built in Prague according to plans

by Adolf Loos and Karel Lhota, and he leased the Pilsen house at No. 2 Náměstí Míru (Peace Square). The first tenants were Otto Beck and his wife Olga, who moved in the furnishings of three rooms from their former apartment on Klatovská třída (Klatovská Avenue) 12, also designed by Loos between 1907 and 1910. Loos then proposed the adaptation of the interior for the new spaces. He collaborated with Bořivoj Kriegerbeck, an employee of the Müller & Kapsa company, who oversaw the transfer of the furnishings.

As in the Becks’ former flat, the central feature of the new living room was a bare brick fireplace. Around it, the architects concentrated free-standing and built-in seating of various shapes. The walls had white lacquered panelling, with a contrasting upper band of fabric wallpaper. This was repeated in the bedroom, which was equipped with built-in maple furniture. The alcove with beds was wallpapered with light-coloured muslin, and the window curtains were of a similar colour.

The dining room was also furnished to conform with Loos’ propensity for symmetry, with a centrally placed table and a mirror on the axis of the entrance into the living room.

Loos was connected to the Beck family not only by his work, but also by kin – in 1929, he married their daughter Claire. However, the promising photographer only lived with Loos for a short time. In 1941, Claire and her mother (Otto Beck was already deceased) were deported to a concentration camp, from which neither of them returned. Olga Beck had managed to sell some of their apartment furnishings before the deportation, but the remainder was lost during the war. In 1948, the Müller house was nationalized and ten years later converted into the County Institute for National Health in Pilsen. A part of the Becks’ former apartment on the second floor was turned into a doctor’s flat.

The building still serves as a health care facility today.

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Leo Brummel’s apartment 1929–1930 Adolf Loos, collaboration with Bořivoj Kriegerbeck Klatovská třída 140 GPS: 49.7306328N, 13.3696475E

One of the smaller works of architecture by Adolf Loos in Pilsen is located in house No. 140 Klatovská třída (Klatovská Avenue). In 1918, the building was bought by the co-owner of a tannery, Moritz Brummel, who set up the headquarters of his company here. Six years later, his son Leo moved with his family into the first floor of the house. In 1929, Leo commissioned Adolf Loos, just as his brother Jan had done in the case of the reconstruction of the house No. 58 Husova Street (Karel Lhota was Loos’ collaborator there), to modify two rooms into a dining room with a relaxation area. The draughtsman and builder Bořivoj Kriegerbeck from the Müller & Kapsa company took part in the implementation of the design as well.

As in his other projects, the architect linked both rooms with a wide passage. He placed a large table and wicker chairs in the centre of the dining room with furniture from red and black stained spruce wood and had a surface of mirror panels mounted above the buffet along the shorter wall. Loos took pains to apply the principle of symmetry consistently. Therefore he covered a line of windows, which did not correspond with this symmetry, with a grid with a translucent silk fabric. The adjacent living room was dominated by a faux fireplace of Italian travertine with a built-in stove situated centrally along the longitudinal axis of the space. The walls of the room were covered up to the ceiling with green wallpaper. Loos used the furnishings in contrasting colours here to substitute for his preferred fine materials.

The Brummel family was expelled from the apartment in 1941 and three years later deported first to the Theresienstadt concentration camp and later to the Auschwitz extermination camp, from which only their daughter Eva returned. After the war, the house was restored to the Brummel family, which, however, was forced to give it up to the state in 1962. At present, the flat is privately owned and not open to the public.

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ADOLF LOOS * 1870, Brno † 1933, Kalksburg near Vienna

Adolf Loos was born in Brno in December 1870 into the family of a stonemason and sculptor. He spent his grammar school years in Brno, Jihlava, Liberec and Melk, graduating at the German State Technical School in Brno. He never finished the architecture studies that he began at the Academy of Applied Arts in Vienna and continued at the university in Dresden. A journey to the USA brought him new insights; the ideas of the architect Louis H. Sullivan led him to reflections on the necessity to reject ornament. In the year 1896, he settled in Vienna and founded his own design studio here the following year. As a Viennese intellectual he was widely published, sharply criticising Art Nouveau and bourgeois taste. However, his radical approach to architecture, embodied for instance in the completion of the Goldman & Salatsch department store in Vienna (1910), found patrons in Vienna as well as in Brno and Pilsen. In 1912, Loos established his own school of architecture.

In the early 1920s, Loos was appointed Chief Architect of the Municipal Settlement Office in Vienna, which led him to designs of economical family housing. After staying in Brno between 1923 and 1924, he spent the years 1924–1928 in Paris. There, for example, he realised a house with a studio for Tristan Tzara. He enjoyed more success in Czechoslovakia during the late 1920s, continuing on his previous activities in Pilsen, where he designed a number of interiors together with his colleagues.

In collaboration with Karel Lhota, he also designed Villa Müller and Villa Winternitz in Prague. He spent the final years of his life travelling to see his clients as well as visiting spas to seek cures for his weakened health.

He died in Kalksburg Sanatorium near Vienna in August 1933. A year later, his body was transferred to the Vienna Central Cemetery, where his last resting place was decorated with a tombstone made according to his own design. Loos claimed that a tombstone was, apart from a memorial, the only item of architecture which can be called art. His view that architecture is not art was adopted by a whole generation of functionalists. Similar to them, Loos also paid great attention to the functional planning of space – his concept of the so-called Raumplan nevertheless rested upon arranging individual spaces at different heights. There were many more issues in which the opinions of Loos and functionalist architects differed even more markedly – until the end of his life, Loos remained a formal purist, respecting the tradition of architecture, professing symmetry and admiring the natural ornament of material.

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NORBERT KRIEGER * 1901, Biała, Poland † 1982, Jerusalem

Norbert Krieger, known in particular as a student of and collaborator with Adolf Loos, was born in Biała, Poland in 1901. He spent most of his childhood, however, with his family in Vienna, where his father Alfred was a merchant, and where the young Norbert attended lectures and seminars by Adolf Loos at the progressive Schwarzwald-Schule. With the exception of a short stay in Brno, Krieger spent all of the 1920s in Vienna, working mainly as an interior designer. He came to Pilsen in October 1930, apparently at Loos’ invitation. In spite of many complications he had to face due to his Austrian citizenship, he worked as an assistant at the cabinet-making workshop of Jan Mráček, who cooperated with Loos on realizations of his interior designs. He took part in furnishing the ladies (music) parlour in the apartment of Hugo and Helena Semler, and the dentist’s surgery of Samuel Teichner in the Weiner commercial and apartment building on Republic Square, as well as in adapting the flats of the Kraus and Naschauer families.

In the years 1932–1933, Krieger – of Jewish origin himself – adapted the interiors of house No. 3 on Husova Street for the needs of the “Union Lodge” of the Jewish I.O.B.B. organization, whose members later approached Krieger for renovations of their private family residences as well. He designed residential interiors until 1939, when he moved to Palestine. His wife and daughter survived the war years in Pilsen, where Krieger returned for them after the war. In 1946, they moved to Jerusalem together. In 1982, Norbert Krieger died in this city as well.

BOŘIVOJ KRIEGERBECK * 1901, Pilsen † 1975, Pilsen

Bořivoj Kriegerbeck was born to Marie and Daniel Kriegerbeck in Pilsen in 1891. In 1911–1912, he completed his studies at the Master School of Civil Engineering at the Pilsen Technical School and since 1918 was an employee of the Müller & Kapsa company. It was thanks to his work for this successful construction firm, which implemented several designs

by Adolf Loos in Pilsen, that he received the opportunity to work with the famous architect and his students and colleagues Norbert Krieger, Heinrich Kulka and, to a limited extent, Karel Lhota. After 1928, he often redrew Loos’ sketches and was involved in two realizations – moving the social zone of the Becks’ apartment to František Müller’s house and modifying two rooms in Leo Brummel’s apartment.

In 1930–1931, on the basis of Loos’ instructions that the architect was giving him during their meetings in Prague, he was developing a project of a typical family house as an economical wooden building. According to his own notes, he also collaborated with Loos on other designs for houses and country houses in the years before his death (1933). In addition to numerous notes, he also made an inventory of Loos’ Pilsen work and apparently provided documentation and information about it to art historian Věra Běhalová, who in the late 1960s made a significant contribution to the heritage protection of most of Loos’ local realizations.

He also corresponded with the historian of art and architecture Zdeněk Kudělka, who repeatedly conducted research of Loos’ work in the 1970s and 1980s. Bořivoj Kriegerbeck died in Pilsen in 1975.

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JINDŘICH / HEINRICH / HENRY KULKA * 1900, Litovel † 1971, Auckland, New Zealand Jindřich Kulka was born in Litovel into the family of a Jewish drapery merchant in 1900. Later on the Kulkas moved to Vienna, where Jindřich (Heinrich) finished secondary school and from 1918 studied architecture at the Technical University. However, he did not complete his degree. In 1919 (or 1920), he began attending Loos’ private school of architecture.

Loos soon hired him in his studio as a draftsman and later appointed him his assistant. Kulka took part in the project of Villa Rufer in Vienna, where Loos applied the principle of Raumplan for the first time. Kulka soon used this principle himself in the design of a smaller cubic house (“Dice” or “Würfelhaus”). From 1924 to 1927, Kulka divided his time between Vienna, Stuttgart and Paris, where he headed Loos’ local office and collaborated, for example, on an unrealized house design for Josephine Baker. In 1927, he married fashion designer and artistic weaver Hilda Beranová.

The following year he returned to Vienna to become Loos’ partner and head of his studio. (He may have also started working independently at that time.) He was involved in several of Loos’ designs and led the construction of houses for the Werkbund Estate in Vienna according to Loos’ instructions. In 1929, Kulka was Loos’ best man at his wedding to Claire Beck, and a year later, on the occasion of Loos’ sixtieth birthday, he prepared his first monograph, in which he used the term “Raumplan” for Loos’ interior layout for the very first time.

After the death of Adolf Loos in 1933, Kulka was commissioned for a number of private house designs in Czechoslovakia. In them he further developed the Raumplan and other Loosian motifs in them. In Pilsen, a maisonette apartment of Oskar and Jana Semler on 110 Klatovská Avenue and an extension of the courtyard wing of the Hirsch family’s house in Plachého Street were built according to his projects. Kulka also prepared the design of Samuel Teichner’s country house in Špičák near Železná Ruda. After the annexation of Austria in 1938, Kulka was not allowed to practice his profession due to his Jewish origin. He briefly lived in hiding in Hradec Králové with his wife’s relatives, after which he emigrated to the United Kingdom and in 1940 to New Zealand, where he was followed by Hilda and their two children. From 1940 to 1960, Kulka worked as the chief architect of the important construction company Fletcher Construction in Auckland. There he designed more than 100 private and commercial interiors, office buildings, production facilities and religious buildings, significantly contributing to the spread of modern architecture on the island. In his own architectural practice, he focused mainly on private house projects; nonetheless, even in these designs, he continued to adhere to Loos’ school. He died in Auckland in 1971.

KAREL LHOTA * 1894, Prague † 1947, Prague

Karel Lhota was born in Prague – Královské Vinohrady in 1894 into the family of the architect and teacher Josef Lhota, who held the position of director of the Technical School in Pilsen from 1904. The young Karel attended the State Grammar School in Pilsen in the years 1905–1912.

After that, he returned to Prague and graduated from the University of Architecture and Structural Engineering. He took 11 years to finish his studies as he had to do his military service (1914–1917). He undertook study journeys to Germany, Belgium, France and the Netherlands. In the first years of his career he was active in Slovakia and primarily in Prague and Brno, where he met Adolf Loos.

In 1925, Karel Lhota started teaching at the Technical School in Pilsen.

He soon became a significant personality not only in the field of local architecture and urbanism, yet also in theatre, scenography, or fine art. Together with his contemporaries, he systematically advocated the modern architecture of austere shapes. He spread his views among the public through lectures and exhibitions of the Association of Visual Artists of Pilsen, but also through his teaching and publishing activities, especially in the periodicals Architekt SIA and Pestrý týden (“Colourful Week”). These activities overshadowed his architectural practice to some extent. There, the projects born out of collaboration with Adolf Loos particularly excelled, e.g. the construction of the Müller and Winternitz villas in Prague, and in Pilsen mainly the reconstruction of the house of Jana and Jan Brummel and Hedvika Liebsteinová.

In the years 1932–1942, Lhota worked as a professor at the I. State Technical School in Prague, later he was employed as an inspector of professional schools at the Ministry of Education and National Enlightenment. In the year 1939, he was awarded the title of Doctor of Technical Sciences by the Czech Technical University in Brno for preparing the town development plan of Vysoké nad Jizerou. Due to a serious illness Karel Lhota retired in 1945. He died in Prague in 1947.

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YEHUDA KURT UNGER * 1907, Falknov nad Ohří (Falkenau a/d Eger, today Sokolov) † 1989, Israel

Kurt Unger was born in Falknov nad Ohří in 1907 into the family of lawyer Ludwig Unger. From 1924 to 1931, he studied architecture at the German Technical University in Prague. While living in Prague, he began to sympathize with the Zionist movement. A year before graduating, his uncle Leopold Eisner introduced him to Adolf Loos and arranged for Loos to invite him to collaborate on the design of the Eisner's apartment dining room in Šafaříkovy sady in Pilsen. Unger also contributed to Loos’ designs for interior modifications of Dr. Simon’s sanatorium in Karlovy Vary. In 1931, he spent several months on the French Riviera with Loos and his wife Claire. He was to assist in the implementation of Loos’ project of the Cap d’Antibes hotel renovation; however, the plan was dropped.

In the same year, he also collaborated with Loos on the interior design of Samuel Teichner’s dental surgery in the Weiners’ house in Pilsen, on the project of the Mitzi Schnabel house in Vienna and also on several unrealized designs: a rooftop apartment extension to Heinrich Jordan’s residential house in Brno, Dr. Fleischner’s house in Haifa, an apartment house with small flats in Prague-Vinohrady or the modification of the residential house projects in the Werkbund Estate in Vienna. In the autumn of 1931, Unger joined the military service, ending his work for Loos the following year. Nonetheless, he remained faithful to his ideas.

His most important realization in the Czech lands was a family house in Falknov in 1935, which Unger designed for his parents and in which he applied Loos’ Raumplan. The following year, Unger left for the United Kingdom, from where he moved on to British Mandatory Palestine in 1937. He settled in Haifa and adopted the first name Yehuda. From 1941 to 1945, he served in the British Army. After the war, he returned to Haifa and continued his architectural work. He worked as an interior designer for The Cultivated Home furniture shop. On a number of projects, he collaborated with his friend Paul Engelmann, a native of Olomouc and another of Loos’ pupils and collaborators. They also both sought to spread their teacher’s legacy in the local architectural community. Unger also promoted Loos’ ideas during his several-year teaching career at the Faculty of Architecture of the Technion Technical University in Haifa.

He died in 1989.

Selected literature

· Beck-Loos, Claire. Adolf Loos – A Private Portrait. Los Angeles: DoppelHouse Press, 2011. · Behalova, Vera. “Dokumente der menschliche Kontakte.”

Alte und moderne Kunst 15, no. 113 (1970): 20–23. · Behalova, Vera. “Pilsner Wohnungen von Adolf Loos.” Bauforum 3, no. 21 (1970): 49–56. · Behalova, Vera. “Beitrag zu einer Kulka-Forschung.” Bauforum 7, no. 43 (1974): 22–31. · Domanický, Petr, and Petr Jindra. Loos – Pilsen – Connections.

Pilsen: Gallery of West Bohemia in Pilsen, 2011. · Domanický, Petr, ed. Pilsen – guide through the architecture of the town from the beginning of the 19th century to present day. Pilsen: Nava, 2013. · Herzner-Kaiser, Dagmar. “Heinrich Kulka.” Architektenlexikon Wien 1770–1945.

Accessed October 29, 2020. http://www.architektenlexikon.at/de/340.htm. · Kristan, Markus. Adolf Loos. Wohnungen. Vienna: Album Verlag, 2001. · Kulka, Heinrich. Adolf Loos. Das Werk des Architekten. Vienna: Anton Schroll, 1931. · Kulka, Heinrich. “Bekenntnis zu Adolf Loos.”

Alte und Moderne Kunst 15, no. 113 (1970): 24. · Getty Research Institute. “Library Catalog.” Accessed October 9, 2020. https://primo.getty.edu/primo-explore/ fulldisplay?vid=GRI&docid=GETTY_ALMA21112983460001551&context=L. · Long, Christopher. Adolf Loos. Poslední domy / The Last Houses.

Prague: Kant Publishers, 2020. · Meder, Iris. Offene Welten. Die Wiener Schule im Einfamilienhausbau 1910–1938.

Stuttgart: Inst. für Kunstgeschichte, 2004. · Rukschcio, Burkhardt. Apartment for Richard Hirsch.

Prague: Adolf Loos Apartment & Gallery, 2013. · Rukschcio, Burkhardt, and Roland Schachel. Adolf Loos.

Leben und Werk. Salzburg and Wien: Residenz Verlag, 1982. · Szadkowska, Maria. Adolf Loos – Works in the Czech Lands.

Prague: City of Prague Museum – Kant Publishers, 2009. · Unger, Yehuda Kurt. “Meine Lehre bei Adolf Loos.” Bauwelt 42 (1981): 1882–92. · LV [Valdhansová, Lucie]. “Adolf Loos.” Pilsen Architecture Manual (PAM).

Accessed September 8, 2020. https://pam.plzne.cz/en/architect/3-adolf-loos. · Warhaftig, Myra. Sie legten den Grundstein. Leben und Wirken deutschsprachiger jüdischer Architekten in Palästina 1918–1948. Berlin: Ernst Wasmuth Verlag, 1996. · Wilkof, Shira. “The Papers of Paul Engelmann (1861–1965) and Yehuda K. Unger (1907–1989).” Franz Rosenzweig Minerva Research Center.

Accessed September 8, 2020. https://rosenzweig.huji.ac.il/sites/default/ files/rosenzweig/files/unger_-_engelmann_finding_aid.pdf.

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Archive materials and sources

· Building Administrative Department of the Municipality of the City of Pilsen · Gallery of West Bohemia in Pilsen · National Heritage Institute, Regional Office in Pilsen · Olomouc Museum of Art

Reproductions of sites/items and historical photographs © Gallery of West Bohemia in Pilsen · p. 16 (below): Adolf Loos, Steffi and Josef Vogl’s apartment, 1928–1930.

Photo: around 1930, architect Karel Lhota’s archive. · p. 27 (above): Adolf Loos, Olga and Otto Beck’s apartment, 1907–1910.

Photo: before 1928, architect Karel Lhota’s archive. · pp. 26–27 (below): Adolf Loos, Olga and Otto Beck’s apartment (adaptation), 1928–1929. Photo: around 1930, architect Karel Lhota’s archive. © National Heritage Institute, Regional Office in Pilsen · p. 16 (above): Adolf Loos, Steffi and Josef Vogl’s apartment, 1928–1930.

Photo: Jan Gryc, 1983. · p. 20 (right): Adolf Loos, Richard Hirsch’s apartment, 1928–1929 (?).

Photo: Viktor Douba, 1966. · pp. 22–23: Adolf Loos, Gertrude and Willy Kraus’s apartment, 1930–1931.

Photo: Viktor Douba, 1967. © Olomouc Museum of Art · pp. 8–9: Adolf Loos – Josef Lhota, Reconstruction of the house of Jana and Jan Brummel and Hedvika Liebsteinová, 1927–1929. Photo: undated. · p. 20 (left): Adolf Loos, Martha and Wilhelm Hirsch’s apartment, 1907–1908. Photo: undated. · p. 24: Adolf Loos – Heinrich Kulka, Jana and Oskar Semler’s apartment, 1932–1934. Photo: 1933. · pp. 28–29: Adolf Loos, Leo Brummel’s apartment, 1929–1930. Photo: undated. · © Kulka, Heinrich. Adolf Loos. Das Werk des Architekten. Vienna: Anton Schroll, 1931. · pp. 14–15: Adolf Loos, Leopold Eisner’s apartment, 1930. · © Forum, 1932. · p. 19: Adolf Loos, Helena and Hugo Semler’s apartment, 1931–1932.

Editor’s note We have included in the Loos trail – at least for the time being – only the implemented works of Adolf Loos and/or his collaborators. The texts in this brochure are based upon articles published on the Pilsen Architecture Manual (PAM) website (pam.plzne.cz/en). In some cases it is difficult to pinpoint the period of origin of projects and their realization, and so the dates given for each work include both the time of their design and implementation. In this respect, this brochure and trail differ from other paths of the PAM project, where the dates mark only the duration of the realization works. It is also difficult to determine the extent and exact nature of Loos’ collaborators’ participation in individual contracts. In this case, too, we deviate slightly from the project methodology and, with justified exceptions, refer to the form of involvement of Loos’ colleagues (in general) as collaboration.

Acknowledgements Acknowledgments for their kind support in preparing the publication and the Pilsen Architectural Manual path itself, providing or mediating documentation, enabling access to the interiors, cooperation and long-term support go to Martin Baxa, Michal Brummel, Petr Domanický, Karel Drgáč, Anna Gaierová, Zdeňka Heroutová, Jan Kaisler, Jana Komišová, Zuzana Koubíková, Jiří Kozohorský, Petra Křížková, Josef Losos, Petra Martinová, Karel Matásek, Roman Musil, Marta Perůtková, Terezie Petišková, Jan Souček, Jindra Štěpánková, Kristina Štěpánová, Karel Zoch and others.

Our special thanks go to cooperating institutions as well: to the Brno House of Arts, City of Pilsen, including the Building Administrative Department and the Presentation and Marketing Department of the Municipality of the City of Pilsen, Gallery of West Bohemia in Pilsen, Ministry of Culture of the Czech Republic, National Heritage Institute, Regional Office in Pilsen, Olomouc Museum of Art, Pilsen Region, and the State Fund for Culture of the Czech Republic.

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Pilsen Architecture Manual (PAM): Adolf Loos Guide to the works of Adolf Loos and his collaborators in Pilsen Author of the concept, editor – Petr Klíma Texts – Petr Klíma, Lucie Valdhansová, Anna Waisserová Photographs – Petr Jehlík (2014–2015), Matěj Hošek (2020, p. 27) Graphic design, typesetting – Bušek+Dientsbier Translations – John Comer, Marie Paulusová, Filip Miller, Skyland Kobylak Maps – Správa informačních technologií města Plzně Printing – Dragon Press, s. r. o., Klatovy Conceptual and methodology model of PAM – Brno Architecture Manual (BAM), bam.brno.cz/en Additional partner projects – Litomyšl Architecture Manual (LAM), lam.litomysl.cz/en/ Hradec Králové Architecture Manual (KAM), kam.hradcekralove.cz/en/ Zlín Architecture Manual (ZAM), zam.zlin.eu/en/ Jičín Architecture Manual (JAM), am.jicin.cz/en/ Published by Pěstuj prostor / Foster the City, Táborská 10, 326 00 Pilsen, in 2020.

ISBN 978-80-907808-7-3

This guide has been published with the kind support of the Ministry of Culture of the Czech Republic, the State Fund for Culture of the Czech Republic, the City of Pilsen and the Pilsen Region.

pam.plzne.cz pestujprostor.plzne.cz

Guided tours of interiors designed by the world-famous architect Adolf Loos in Pilsen: every Friday, Saturday and Sunday.

Guided tours: Kraus and Vogl apartments Brummel house Information and tickets: Tourist information center Nám. Republiky 41, Pilsen

www.adolfloospilsen.cz

pam.plzne.cz

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