Rauplan Concept In Urbanisme

Adolf Loos was born in 1870. He worked as an architect from 1898 until he died in 1933. Adolf Loos 's career covers from early century to the first world war, and continuously to Depression. He lived in Vienna until 1924. Since he has been active mainly in Paris. His special contribution to modern architecture summed up under the title of "Raumplan" frequently. Adolf Loos firmly believes that the evolution of the architecture is a selective development. He thinks that design is a choice to inherit the tradition. There is no clear definition of raumplan. Evidence suggests that as more aspects of his work are described, the concept of raumplan is also expanded. This is an inclusive concept. This essay argues that Adolf Loos’ “Raumplan” concept

Moreover, Beatriz Colomina(2008) states that the inward sight is a kind of "voyeuristic look" which means that there is a difference between the space in which the body is in and the space in which it is peeped. From this point of view, the Haus Moller has few windows with curtains for daylighting, and the spatial arrangements and furnishings are designed to keep people away from the windows. Furthermore, because of the inward protruding columns from the load-bearing walls, there is a capacity of furniture and fireplace to form a "niche" space. Thus the central space is liberated, and the sofa fixed in front of the window then it has the inside control line of sight.Adolf Loos perseveres in the traditional understanding of "Raum", which is referred to a space like a room. Accordingly, the house is made up of rooms of different sizes and functions, which were connected with doorway to ensure the independence of spaces.On this basis, the addition of the staggered floors makes further strengthens of the separation of the upper and lower boundary. Consequently, it secures the two conditions required for "a voyeuristic look", the door opening intermediary and the room

In fact, this is an embodiment of Adolf Loos play with symmetry in Haus Moller. As this axonometric of living level shows that a huge cube with two windows which is placed on the garden side of the house is the emphasis on symmetry (Fig.4). In general, the door should be
Fig.4 axonometric of living level opened in the middle of this symmetrical structure. Whereas, Adolf Loos has designed an introductory staircase next to the cube. Additionally, the room which is connected to entrance gives the feeling of symmetric, though the door is a deviation to right and the whole building has a continuous staircase provides strong orientation for visitors.

This essay has argued that there is Adolf Loos’ “Raumplan” concept of is applied successfully in Haus Moller. Firstly, it argues that each room is independent and colluding with each other, and there is a spatial relationship between each other which mainly express the raumplan. Secondly, it offered that different functions of rooms appear on the same facade which diverges from the goal of raumplan because of the symmetry. Finally, it refuted the counter-argument that the symmetry of vision gives the understanding of raumplan. To conclude, Adolf Loos’ “Raumplan” concept of Haus Moller is operated