The villa entrance is located beneath the level of the access routes, two equally graded slopes. The shallow recess is entirely clad with smooth yellow travertine. The oak door has its original brass handle ending in a black ball. Close by stands a stone bench set between two travertine cubes. The apex of the cube on the right bears a bowl with pelargoniums, which cover the aperture for sending coke down into the coal cellar. The cylindrical shade of the ceiling light is of opaque, milky glass, and it is set into a sheet brass sheath; it was made by the Prague firm of Franta Anýž & spol. to a design by Adolf Loos.
The corridor is arresting at first sight for the polychrome harmony of the emerald green and deep terracotta colours. The walls of the surprisingly narrow passage are clad to their full heights by large, green tinted opaque glass tiles. Earthen coloured tiles cover the floor. The harmonious colours are offset by the deep red colour used on the radiator. To the sides of the entrance are two, white painted doors. To the left of the entrance is the former reception room, where guests were received when it was not necessary for them to come into the private parts of the villa. The doors on the right lead to the service areas of the house. Along the axis of the corridor are glazed, double loose-leaf doors with glass handles, leading to the hall.
The reception room (now office and cash desk) is located to the left of the entrance. Neither the original fittings nor photographic documentation of them have survived. There is, however, written evidence for the colours of the room: the walls were purple and the furniture lacquered yellow. It is also known that on one wall there was a map of the Czechoslovak Republic. Information on the colours used in the reception room was drawn from the diary of builder Bořivoj Kriegebeck and Claire Loos's book Adolf Loos Privat, published in Vienna in 1985.
Surveys confirmed that the walls were indeed of a dark purple colour, which was restored during reconstruction. The change in the use of the room, and the fact that the furniture had not survived, permitted use of a new interior design by architect Stanislav Picek.
The villa service area, which brings the first tour circuit to a close, is accessible through the door to the right of the entrance.
The hall has, in turn, its own unique colour scheme: muted red, white and dark blue. A dark red oriental carpet covers the terracotta tiling. The wooden panelling with the repeated motif of an irregular square is painted white. The ceiling is dark blue, while the radiators are painted a rich red. The basic colours are complemented by the golden yellow silk curtains and the white shades of the ceiling lights, similar in shape to the lights in the corridor and in the entrance porch. Opposite the entrance of the hall is a bench similar to that in the porch, between two cubes - Loos' favourite element, repeatedly used in his interiors.
The bench was given matching, upholstered cushions. An oriental carpet of a similar type and colour as the original was eventually procured from an antique dealer. In period photographs a painting is seen hanging above the bench, which it has not been possible to identify, as the photographs are not sufficiently clear; for this reason the space in which it was hung has been left empty.
The guests' cloakroom is in a recess in the hall. Original, rough Japanese mats cover the walls of the broad niche. On the white lacquered running slat are a series of chromed pegs. In the lower part of the shorter wall of the cloakroom is an umbrella stand, above which is the original ground glass mirror; in the opposite wall is the door to the amenities.
The amenities (toilet and washbasin) were heavily damaged, and during restoration were returned to their original state. The basin, of the English make Twyfords, was in particularly poor condition; while the English factory still exists, basins of this type are no longer manufactured. For this reason, sculptor Pavel Jarkovský, in co-operation with Ideal Standard in Teplice, created a copy. The tiling was missing in several places, and was filled out using similar pieces obtained from other buildings dating to the 1930's. The mahogany details were made new, preserving their original material and shape.
Entrance to the social area of the house is via a short, right-angled staircase leading from the hall to a low recess opening into the living room. The staircase and recess have the same panelling as the hall. Beneath the ceiling of the recess is an original strip of English wallpaper with a floral pattern, and in the corner a low niche is closed with blinds. The private staircase that immediately joins the lady's boudoir on the mezzanine to the dining room also gives into the recess.
The living room, also called the residential hall, is exceptionally large, measuring 11 x 5.6m, and 4.3 m high. Adolf Loos used the contrast between the smaller dimensions of the entrance recess and the large room to create a moment of surprise that affects everyone entering. The extent of the room is augmented by the absence of a single longitudinal wall, these being reduced to load-bearing pillars which thus enable other parts of the house to be seen - the dining room on the mezzanine and the staircase to the upper floor. The living room contains seating concentrated into two groups along the shorter walls. The central space within the living room was left free by Loos, cleared of furnishing, which again strengthens the overall impression of size.
Loos' original spatial conception, known as Raumplan, is clearly visible in the living roof of Müller Villa: it has no doors, and its space is freely linked to the small entrance recess and via this to the entrance hall. Neither is the dining room separated by doors, this by contrast separated from the living room by a height differential. Finally, even the start of the stairway to the upper floor is not separated from the living room by a door. The one longitudinal wall is broken by the windows and door to the balcony. All of the windows in the living room are marked by their unusual, Japanising details of the crosspieces, partly veiled by the bright yellow silk curtains that appear throughout the villa with the exception of the family bedroom.
The colour scheme of the space is unusual. Loos had an exceptionally refined sense for colours, which made it possible for him to use even unusual colour combinations, as he chose appropriate colour values. Original colour combinations have already been seen during the tour of the interiors in the reception room, corridor and hall; in comparison with these, the scheme of the living room has a softer feel, even though green and purple or pink can be found in here in unusual conjunction. The rare, greeny-grey, lightly veined Cippolino de Saillon marble used to clad the walls and load-bearing pillars gives the main tone; the colour of the marble is offset by the golden yellow curtains. The dark, coffered ceiling of the dining room, visible between the pillars provides a counterweight. The ceiling of the living room itself is white, this whiteness providing a contrast to the colours of the oriental carpets.
To the left of the entrance, in the middle of the seating in the corner, is a large settee covered in dark purple velvet, standing between two marble-clad cubes. This blends in with the light tones of the floral decoration on the large, fully upholstered armchair. The colour of the wood of the other pieces of furniture complements the colour scale.
The short wall opposite contains a fireplace, within which is set a cast Neo-Classical relief depicting the fable of the stork and the fox; according to Mrs Müllerová’s records it comes from the fittings of the Palais Royal in Paris. The fireplace is faced with cut, white-pointed bricks, the earthy colour of which stands out in particular because of the proximity of the differently coloured marble facing. The brass radiator covers are of a colour comparable to the brass tabletop in front of the fireplace. The table has seating on both sides.
Their unusual shape links the pair of low, fully upholstered chairs that differ only in the colour of their velour covers: one is salmon pink and the other grey-green. Until recently Adolf Loos was credited with having designed these himself, but in 1989 Eva B. Ottillingerová drew attention to the fact that as early as 1900 the magazine Dekorative Kunst had carried photographs of similar chairs, citing L. Bernheimer as their design but describing the chair as an English import. The same researcher discovered another depiction of a similar chair in the magazine The Studio from 1901 – here it was part of an advertisement for its manufacturer, the London firm of Hampton & Sons, and is described as a ”New Shaped Easy Chair”, although the designer is not named – and a third in an undated, c.1900, price list for the Viennese firm of Friedrich Otto Schmidt, where it is called a ”Knieschwimmer-Fauteuil”. Ms Ottillingerová further notes that around 1900 Adolf Loos worked for Friedrich Otto Schmidt as a consultant. It is thus likely that Loos initiated the manufacture of chairs of this type, as he was a great admirer of English seating. Both of the chairs in the villa were in fact supplied by Friedrich Otto Schmidt in Vienna, while the other living room furniture was made by the Prague firm of Emil Gerstel and the fan-backed chairs by S.B.S. Brno.
It is interesting that almost every seat in the living room is a solitaire, this according with Loos' opinion that "everyone should find seating according to their mood and preference", It is also notable that the majority of the furniture is very low, and many people have difficulty rising from such low seats. Loos refused to accept such objections, saying that this "depends on habit. Anyone who travels in a low-slung automobile will be able to rise from my chairs."
Loos left the longitudinal walls almost without furniture. On one side he placed only two chairs, and on the other a commode with an undulating front and a rattan chair with upholstery of a floral pattern. Two aquaria were set into the parapet of the wall adjacent to the dining room, bringing the vibrancy of a changing picture into the interior. In the middle of this wall, on the landing of the stair leading to the upper floor, Loos placed a bronze bust of Antonín Müller, the builder's father and founder of the Müller–Kapsa company. The outstanding Czech sculptor Jan Štursa created the 1922 sculpture.
In all of his interiors, Müller's living room being no exception, Loos took the opportunity to use various types of lighting. He claimed that it is good to select lighting according to the needs of the moment or to the individual’s mood. This is reflected in the lighting installed in the villa's living area. The large ceiling lights made by the Prague firm of Franta Anýž & spol. were placed by Loos above the corner seats. The middle of the room has no central lighting, and is lit only by two bracket lights on the pillars between the windows, and shaded by the silk curtains. The corner seating with the purple settee could be lit by a ceramic table lamp with a parchment shade that stood on the cube at the side. There was intimate lighting by the fireplace - provided by the muted aquarium light or a fire in the hearth.
In the living room there are a total of five Oriental carpets. Loos selected these from Dr. Müller's extensive collection, and grouped them himself. The same approach was adopted in selecting paintings - these too he chose, grouped, and established the heights at which they were to be hung. Dr. Müller possessed an exceptional collection of paintings; to cite only a few examples, including three pictures by Adolf Kosárek, the same number by Julius Mařák, six by Antonín Slavíček and twelve by Jan Preisler.
Loos hung three pictures over the purple settee: in the middle Adolf Kosárek's Zimní večer ("Winter evening", oil on canvas, 1859), to the left Antonín Slavíček's Letní den ("Summer day", oil on canvas, 1906), and to the right one of Slavíček's last paintings, Letní krajína ("Summer landscape", oil on canvas, 1909). Initially, only a single painting was hung on the opposite wall - a large Alpine landscape by Antonín Hudeček - as shown by photographs taken soon after the villa was completed. Later photographs, however, apparently taken in 1932, show three paintings above the fireplace - Hudeček's Alpská krajina ("Alpine landscape", oil on canvas, 1916-17), now lost, remained in the middle, with a study of folk costume by Augustin Němejc (oil on canvas, 1905) on the right, and to the left a study of nude that cannot be identified from the photographs known. Because only the folk costume study could be traced it was decided that the reconstruction should take its inspiration from the first, older photograph showing the wall, and that only a single painting would be hung above the fireplace. In place of the lost Hudeček another picture was chosen from Dr. Müller's collection, of similar dimensions and genre: Otakar Lebed's Jihočeská krajina I. ("South Bohemian landscape I", oil on canvas, probably 1897). The last painting in the living room is Jan Preisler's Smutek ("Sorrow", oil on canvas, 1904), which hangs beneath the window from the lady's boudoir.
The dining room. From the large, light and airy living room a short stair leads directly to the dining room, which is surprising in its lack of light and small dimensions. This impression is heightened by the dark mahogany furniture and the coffered ceiling divided into squares. The most interesting piece of furniture here is the round table on a central, octagonal foot. The syenite tabletop is of a size appropriate for six persons - it has a diameter of 110 cm. The tabletop can be enlarged by the addition of one or two extra mahogany rings to a diameter of 170 or 230 cm, creating enough room for 12 or 18 diners. In its construction, the table is a masterpiece.
Of the eighteen original chairs only fourteen have survived. Loos employed Chippendale chairs designed in England in the 18th century, and the construction of which he regarded as unsurpassed. A single chair was brought from England, and the others are copies made in Prague by the firm of Gerstel, who also created the other furnishings in the dining room.
An important functional and aesthetic element of the dining room is its lighting. The central brass light fitting above the table carries four bulbs, covered on the lower, visible side by a round pane of matt glass hanging from four brass chains. The lighting of the dining room is rounded off by concealed lights, set into the walls.
The dining room is extended by a wide bay window to the sides of which are two mirrored display cases. The ground glass shelves are set on perforated metal mounts, and originally flowers would have been placed on them. Mirrors that optically enlarged the bay space covered the backs of the cases.
Three serving tables of different sizes, made perhaps to designs by Loos, were apparently originally part of the dining room. Two of these are now installed in the living room, while the third has been lost.
The dining room has two open sides – the one adjacent to the staircase leading to the upper floor could be closed with hangings, while the second linked the dining room space to the living area. Along the only solid wall stood two mahogany cupboards, the single lead doors of which had brass handles finishing in ivory balls. The cupboard on the left hid the access to the pantry, while that on the right contained crockery, some of which was monogrammed MK and came from the possessions of Milada Müllerová, née Krátká. Between the cupboards is a folding table with a syenite top.
Behind the cupboards and above the folding table is the only solid wall in the dining room, and here Loos installed a group of pictures by Jan Preisler. On all of the period photographs it is possible easily to identify the two pictures hung in the upper row: to the left Studie k obrazu z většího cyklu ("Study for a picture in a larger cycle", oil on canvas, 1902) and Dívka s kobylou a hříbětem ("Girl with mare and foal", oil on canvas, 1906). Because the lower row was not captured in the original photographs, the reconstruction uses a possible combination: Preisler’s Pokušení ("Temptation", oil on canvas, 1916 17), Žena a jezdci ("Woman and riders", oil on canvas, 1912) and Studie k Milencům ("Study for a lover", oil on canvas, 1905) were selected from Dr. Müller’s collection. A copy recently replaced the final picture mentioned.
The pantry and its reconstruction. — The access from the dining room masked by the cupboard door leads to the surprisingly small space of the pantry, from which the kitchen can be reached. The whole height of the pantry wall is set with white lacquered fitted furniture; the complete absence of horizontal surfaces is made up for by folding leaves. Into the fitted furniture, made by the firm of S.B.S. Brno, a Frigidaire refrigerator was placed that survives down to today. The pantry fixtures, including the xylolite floors, have survived to a great extent without damage, and thus were only lightly treated by restorers.
The kitchen is dominated by a range with hood. The range was originally for gas, but after several months was changed at Mrs Müllerová’s request for an electric model. The exceptionally large hood, attached to the dumbwaiter shaft, has a narrow shelf on its lower edge on which stood a series of white, enamelled containers for loose foodstuffs and spices, undoubtedly purchased from the Prague firm Neff. There were other storage containers for loose foods in the kitchen – others, of an aluminium pullout type, produced by the firm of Gebrüder Haarer in Frankfurt am Main, were incorporated by the kitchen furniture maker into one of the shelves.
In the wall opposite the range is the washing area. The washing table has a double sink made of sheet copper set into a table-like supporting structure made of iron, nickel-plated and on the visible side covered by enamel panels. The masonry dividing wall is partly hidden by a large, stoneware Twyfords basin and an electric boiler.
The built-in kitchen furniture consists of cupboards and shelves made of a light wood painted yellow; the work of S.B.S. Brno. The radiant colour of the furnishings is complemented by the muted colours of the remaining fittings: the dark blue linoleum covering the table and the restrained red xylolite floor.
The kitchen has two windows with extraordinarily high sills, their location confirming Loos’ opinion that while working it is not necessary to see what is happening on the street outside. In addition to the door to the pantry the kitchen also has a door onto the service stairs, which give access to the pantry, the entrance hall and the cellars, as well as to the servant’s quarters on the upper floor. Tours, however, return through the dining room and up the main stairs to the next floor.
The main staircase and gallery form the imaginary axis of the house. From the living room the staircase to the dining room, the lady’s boudoir and the library, and further to the bedroom, children’s rooms and guest room, terminating in a service gallery. The staircase has oak treads covered by a moss-coloured runner. S.B.S. Brno made the wooden banisters of the stairs and gallery in a combination of light and dark stained wood. The stairs are lit by ceiling lights; skylights give onto the terrace.
The main staircase and gallery form the imaginary axis of the house. From the living room the staircase to the dining room, the lady’s boudoir and the library, and further to the bedroom, children’s rooms and guest room, terminating in a service gallery. The staircase has oak treads covered by a moss-coloured runner. S.B.S. Brno made the wooden banisters of the stairs and gallery in a combination of light and dark stained wood. The stairs are lit by ceiling lights; skylights give onto the terrace..
The library, or the ‘gentleman’s study’
The floor of the room lies at a different level to the landing on the staircase, from which it is reached by several steps. Next to the entrance is a large writing desk with an unusual left-hand side for sorting correspondence. Dr. Müller could drop letters through a narrow slot like a letterbox; on the other side of the table was a small door through which the correspondence was collected. The builder Kriegerbeck commented, regarding similar oddities which Loos loved, in his diary: ‘Loos likes to think up some prank’. Next to the desk Loos added a leather-covered swivel chair made by the Viennese firm of Dworsky.
The library cupboards are built into both of the side walls. Green silk curtains close their upper, glazed sections. In the lower part of the bookshelves, behind double doors, are armoured safes masked by two massive, leather covered couches. A Dutch tiled stove is set into the wall, above the cornice of which is a large, split mirror. On the shelves to the sides of the fireplace Dr. Müller installed his ceramics collection; the majority has not survived, and the missing pieces have been substituted by ceramics from the collections of the City of Prague Museum. On the floor, which is covered by green felt, an Oriental carpet lies in front of the fireplace. The library furnishings are mahogany, as is the downstand beam; both the furniture and the beam were made by S.B.S. Brno.
The lady’s boudoir can be reached from the corridor or directly from the living room via a private stair belonging to the lady of the house. Most unusually, the room is divided horizontally into two levels, linked by a short flight of steps.
In the upper part of the boudoir are a glazed case, built-in bookshelves and a recess with an inset couch and a round, Oriental table with a loose brass top. The original French, quilted cretonne cover with a floral pattern has survived on the couch. Above the couch is a window looking out over the living room, which can be opened - as on a train - by sliding it down into the wall. The window facing outdoors has a surprisingly high sill - according to Loos, it was not necessary for the lady of the house to see what was going on in the street. The relaxing corner is complemented by a standard lamp with a parchment shade.
Several steps lead down into the lower part of the boudoir, the two sections of the room being divided by an open bookcase. The settee with loose flat and rolled cushions has a cover similar to that above, and again, it is the original material. The boudoir further contains an egg-shaped rattan chair with floral upholstery, which unlike its counterpart in the living room has no arms. At one point a jewellery box stood beneath the window, but this has not survived.
The furniture and panelling of the lady's boudoir are made using rare lemonwood veneers with a warm, golden colour. They were made to Adolf Loos' design by the Prague firm of Emil Gerstel. The whole floor of the boudoir is covered by a green felt, covered in the lower area by an Oriental carpet.
Five prints with erotic themes hang in the lady's boudoir, and again these pictures are from Dr. Müller's collection. Two of these, Pierre Antoine Baudoin's "L´epouse indiscréte" and Watteau's "Italienische Serenade" were hung by Loos in the entrance to the room, above a low bookcase; the other three were places in the lower part of the boudoir, over the settee. The first two of the latter could be identified from photographic documentation as La baiser à la dérobée and Le verrou (both by Honoré Fragonard), while the third, which was probably Balancoire (again by Fragonard) cannot be reliably confirmed.
Loos installed an interesting light fitting, made from a rock crystal block, on the low parapet of the steps joining the upper and lower parts of the boudoir. Traditionally it is said to have been made to his design.
The very spacious bathroom contains its original bath, a double sink with a mirror and a toilet. The cabinet in the wall, the wall hangings and the majority of the armatures have survived. The bidet, which has not been preserved, was substituted during reconstruction by an example of similar date and type. The minor fittings that were missing were reproduced, including the cistern and flush of the toilet, the cups and the soap dishes.
From the bathroom there is direct access to the Müllers’ bedroom - the largest room on this floor. The bedroom has a wide window with a door to the balcony and four other doors leading to the corridor, the bathroom, and the lady's and gentleman's dressing rooms.
The bedroom walls are covered in their original, carefully restored English wallpaper with the historicist decor of a seaside landscape with figural staffage and boats. The same wallpaper covers the top of the bedside tables and the top of the round table. The bed hangings and counterpane were made using an identical pattern during reconstruction.
The original softwood furniture with pearwood veneer has been preserved - the beds, bedside tables and the structurally interesting round table with a double top, the upper part of which is considerably smaller than the lower. For a long time it was unclear whether or not Loos designed this furniture; his authorship of it was supported by the discovery of an original architectural study in the archive of the Museum of Decorative Arts. Even now, however, the firm that actually made the furniture remains anonymous - although judging from its style it may have been S.B.S. Brno, who made the furniture for other rooms in the villa.
Not a single photograph of the bedroom has survived, and thus the placement of the beds and bedside tables was initially somewhat speculative. It was later found that the beds and bedside tables were in fact shown on one of the original plans. The accuracy of their placement was confirmed by the survey, which traced all of the surviving electrical wiring. From the documentation it is thus clear that Loos put a lamp with a fabric shade on each of the bedside tables - the sockets for both were found by the survey. The freestanding lamps were reconstructed from photographs of others of Loos's interiors. The bedroom also has a central ceiling light with a low, cylindrical shade made of milky glass set into a round brass sleeve.
The location of the other furniture is not based on documentation, and is only hypothetical. The aforementioned round table with two tops of different sizes was, together with the two chairs decorated with a rhomboidal wooden lattice pattern on their backs, placed in front of the bed.
It is likely that the bedroom also contained a closet for bedroom wear. In their Plzeň apartment the Müllers had an interesting leather-covered closet for this purpose; this has unfortunately not survived. The chest of drawers in a historicist style comes from the Müllers’ effects but probably came to the villa as part of an inheritance after Loos' death, as a number of items came to the villa in this way the placing of which Loos could not calculate with.
The gentleman's dressing room is reached from the bedroom. Its furnishings and the wooden panelling on the walls were created by the architect Jan Vaněk for S.B.S. Brno. Adolf Loos was glad to collaborate with this firm because its level of craftsmanship guaranteed that the fittings made were perfectly suited to their function. Jan Vaněk was a specialist in the design and manufacture of storage spaces of all kinds.
The furniture and panelling in the dressing room are made of oak, and the closet insides have a mahogany veneer. To create interesting colour and structure in the furniture surfaces, Vaněk used oakwood veneers. To the left of the entrance are wardrobes with sliding doors; they have shelves inside and chrome metal pegs for storing shoes. To the right of the entrance along the wall is a hanging closet with chrome metal coat hangers and sliding shelves of the English type for keeping clothes. On the inside of the door is a large mirror. The settee, toiletry table beneath the window and Windsor chair did not survive - those displayed are reconstructions.
During the reconstruction the original fittings were professionally cleaned and restored to let the beauty of the woods used shine through.
The lady's dressing room can be reached from the bedroom and from the children's room. The maple veneer furniture was again made by S.B.S. Brno. The long, oblong room seems to glow in the warm, golden colour of the maple veneer. The shorter wall at the head of the dressing room appears as originally intended: the three unequally deep wardrobes forming the three-sided end of the room. The wardrobes have single doors with large mirrors, which without doubt could take the role of a tripartite toiletry mirror with moveable side leaves. The shallow middle wardrobe at the end of the dressing room has two deeper wardrobes beside it, built on a pentagonal plan and with pivoted chrome hangers joined by chains and a range of pegs for hats. The unusual resolution of the end of the room has a panelled ceiling, the lights being set into the panels . The row of cupboards along the long wall excels as a functional solution for the storage of clothes and washing. Here, as in the gentleman's dressing room, architect Vaněk used practical sliding shelves of the English type.
In front of the window is a toiletry table with its original opaque, white glass top. The lower part has eight pegs on each side. The central part of the table can be lifted, and has a mirror on its underside. To both sides of the toiletry table are tall, single-wood, angular cupboards; that on the left has chrome metal pegs, that on the left has chromed metal shoe hangers. Opposite the door to the bedroom, on the left side of the door to the children's room, is a single open cabinet that was apparently for dressing gowns.
The table lamp, with its subtle chrome construction and broad, cylindrical, milky glass shade, comes from the original furnishings. Adolf Loos chose himself it himself from the catalogue of the Prague firm of Franta Anýž & spol, by whom it was designed in 1928.
The dressing room has a parquet floor with an oriental runner. The upholstered, oval rattan chair has not survived - it was remade from original documentation. The other, original furnishings were cleaned and restored. Several missing chrome pegs were replaced.
There are two children's rooms - a bedroom and a playroom - linked to each other by a doorway. Both rooms have their own access to the gallery on the main staircase. The master bedroom can be reached from the children's bedroom via the lady's dressing room, and the balcony above the dining room bay can also reached this way.
The furniture in the children's rooms is made of soft wood in smooth, geometric shapes, lacquered in bright yellow, blue and green; it was made by S.B.S. Brno. The metal beds did not survive, and were remade according to the documentation available; they are lacquered a dark red colour, matching the radiators. The linoleum - which for reasons of hygiene had no carpet over it - was also red; while that now in the room is new, it was supplied by the firm of DLW, who were suppliers of the original.
Linoleum also covers the upper surfaces of two identical square tables in the two rooms. The chairs and Windsor armchairs made of a dark stained wood were not preserved, and have been remade. The folding lamps with their biconical parchment shades, again identical in both rooms, are also new. The lamps on the bedside tables in the bedroom, with round shades of a milky glass in a brass sleeve, were obtained from a building of similar age. The inner fittings of the cupboards, lined with mahogany veneer, have not survived.
The red school board was again mounted on the playroom wall, and a large couch with striped upholstery placed in the room. The two-part hangings separating off a recess containing a washbasin and a third bed are made of the same material.
The guest room. After Mrs Müllerová's death, this room and that adjacent to it, formerly the servant's apartment, were joined together - the only structural alteration to have interrupted Loos' original interior layout in the villa.
The walls are painted a colour that precisely matches the original tones as identified by intrusive survey. The fittings within the room were not preserved, but because it was decided to site the Adolf Loos Study Centre in the space, this was in this instance actually advantageous. Architect Stanislav Picek designed the fittings of the newly created centre.
Since no fittings survived in the neighbouring servant's apartment either, architect Picek placed the support area for the Study Centre here, comprising the centre manager's office, a kitchenette and other facilities. The non-original link between the former guestroom and the servant's apartment was retained, as it was found to be practicable. In order not to interrupt Loos' plan, Picek hid this access behind a cupboard door. He further equipped the whole Study Centre with the sensitivity of an architect well aware that his designs were complementing a complete architectonic work of exceptional artistic value.
The top floor of the villa can be reached only via the service stair and the elevator, which is no longer in service. The staircase has oak banisters and treads, covered with a green felt runner. There are only two rooms on the whole floor: the summer dining room and the former darkroom. The remaining area is accounted for by the extraordinarily large terrace, which covers over two thirds of the villa area in plan.
The Japanising character of the summer dining room is clearly underscored by the coloured Japanese woodcuts by Sakino Hokusai and Gototai Kunisada, which were already in Dr. Müller's possession when he was living in Plzeň. Adolf Loos was inspired by the woodcuts to conceive of the design for the whole room, which contains original Japanese lanterns, mats and wicker furniture with Japanising upholstery motifs. The woodcuts hang on original, three-ply wallpaper. The furniture displayed is made of softwood lacquered in green and black, and was manufactured by S.B.S. Brno - who also made the table, similar in shape to that in the dining room.
The couch is upholstered in a horsehair fabric and was apparently cooling on hot summer days. The cover was treated during restoration and the furniture finish renewed. The original lamp with a motif of autumn flowers did not survive, and a replacement was imported from Japan. On the basis of the documentary evidence and absolutely identical peace was located the Setagaya Art Museum in Tokyo, who also negotiated its purchase. The original Japanese mats on the floor did not survive, either, and replacements were again imported from Japan, this time by the Viennese firm of Schmidt. The upholstered wicker chairs are also copies made according to the documents available.
The renovation of the original wallpaper, found beneath a later, large pattern wallpaper, was extremely difficult. The original wallpaper consisted of three layers, in part locally flocked. The foundation consists of paper coloured silver with a tin emulsion. The other two layers comprise natural fabrics; while in the lower layer the fibres are laid in horizontal rows, in the upper they are laid vertically. It was the need to preserve the original natural fibres that made restoration so complex; nevertheless, the restoration team led by painter Tomáš Hejtmánek managed to do so with sensitivity.
The interior furnishings are complemented by etchings, but because the originals have been lost copies of a different series from the National Gallery in Prague have been substituted.
The terrace is reached from the staircase landing and from summer dining room. It offers beautiful panoramic views, in particular a vista of St Vitus' Cathedral at Prague Castle framed by an unpaired window.
The reconstruction of the terrace was exceptionally complicated. Its surface layer had at an earlier time been repaired in an amateurish fashion and further layers added over the top in order to treat the insulation layer. The damage caused was so great that in the end it was deemed necessary completely to remove and re-lay the surface, including the insulating trough. In order to ensure that rain could not damage the rare interiors during the course of work a temporary span roof was erected to protect the terrace for the whole period of structural repair. During the repairs the non-original, temporary roof over the corridor skylight - characterised by Mrs Müllerová in a description of damage dated November 8th 1965 as a "dog kennel, to prevent it raining inside on the stairs" - was removed.
The long non-functioning water supply to the terrace was not restored, but nevertheless a shower similar to the original was placed here again.
The former photographic darkroom now contains an exhibition on the villa's designers, Adolf Loos and Karel Lhota, life in the villa after its completion, and the original fittings and their renovation.
Part of the exhibition comprises small items that belonged to the Müller family, but which for reasons of security could not be left in the interiors. Among these, for example, are Dr. František Müller' silver toiletry set, monogrammed FM, and several toiletry sets which belonged to his wife. A clear, ground glass flagon with a band of gold painted tendrils, made at the Meyer Glassworks at Adolfův huť in the Šumava at the end of the 19th century, is of outstanding artistic value. Two original goblets from a set designed by Adolf Loos and manufactured by the Viennese firm of J. & L. Lobmeyr in the Kamenický Šenov glassworks in 1931 are also very rare. A large collection of glass with a grindstone has not survived, but the Lobmeyr heir, Mr Petr Rath, nevertheless generously donated the outline of this collection to the exhibition in the Müller Villa.
The original fittings survive in the boiler room - two Strobel boilers with their original accompanying components. The fittings are not functional, as during reconstruction the central heating was converted to gas. The boiler room, restored with even its original finish to the lower part of the boiler and pipes, and including the original wall colour, is preserved as evidence of period technical equipment.
Laundry and drying room. Both rooms were both equipped to standards that were very modern for their time, with an electric washing machine and spin-drier, gas-powered clothes drier and an electric ironing machine. These original fittings have not been preserved, but the original layout of the two rooms is clear.
The remaining rooms serve as the modern service and utility areas – the building security staff is based here, and thus these areas are not part of the public tour.
The cellars lie at the same level as the other basement rooms. Their functional fittings – masonry troughs for keeping potatoes and vegetables, and a brick wall designed for the keeping of wine bottles (a wine rack) – have survived.
The garage was designed for two cars. Dr. Müller’s own car has not survived, and is now known only from photographs. A transfer of the original plaster from the facade is kept in the garage today.
The garage doors open onto the garden, and it is here that tours finish.