ity can be seen in the way Loos creates a choreography of arrivals and departures:
through the frequent shifts in direction that oblige one to pause for a moment, and
through the transition between the dark entrance and the light living area, one gets
a sense of deliberately entering a stage set—the stage of everyday life. In the Moller
house (Vienna, 1928), for instance, the sequence of living areas is built around a cen-
tral hall (figures 40 and 41). After going through the small entrance, the visitor has to
turn left and mount a flight of six steps to the cloakroom. After the somewhat suffo-
cating feeling of the entrance, this feels like a first breathing space. The route con-
tinues: once again one climbs a flight of stairs—this time with a bend in it; only then
does one arrive in the huge hall that comprises the heart of the house. The rooms
with a specific function are grouped around the periphery of this high-ceilinged sa-
lon: a “ladies’ lounge” (Damenzimmer) abutting on the front facade and built a few
42
3
Reflections in a MirrorAdolf Loos, Moller House,
axonometry of the layout of
the interior.