“My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades, sections. I design spaces. For me, there is no ground floor, first floor etc... For me, there are only contiguous, continual spaces, rooms, anterooms, terraces etc. Stories merge and spaces relate to each other. Every space requires a different height: the dining room is surely higher than the pantry – thus the ceilings are set at different levels. To join these spaces in such a way that the rise and fall are not only unobservable but also practical, in this I see what is for others the great secret, although it is for me a great matter of course...
It is just this spatial interaction and spatial austerity that thus far I have best been able to realize in Dr Müller's house.” (stenograph of a conversation between K. Lhota and A. L., Plzeň, 1930)

The basis of the Raumplan structure is formed by four reinforced concrete pillars, which carry the reinforced concrete floor decks that divide the house into two parts. The upper part is designed in the classic manner; Raumplan is employed in the lower part, the individual rooms hanging almost bat-like in a cascade off the deck.

Each room in the Villa Müller is not only distinctively formed, but also uniquely clad. One experiences the interior of the building as a sequence of linings. Like slipping in and out of fine dinner jackets, lining succeeds lining. Given Loos’s preoccupation with issues of cladding, there is value in scrutinizing the Villa Müller in literally the most superficial way, by tracking the thin and textured veneers that make up the interior. The cladding reveals the full scope of Loos’s position: the textile origins of the enclosure, the two-faced nature of the wall, the empathic aura of the interior, and the authority of technique.