Villa Muller, a building designed by Loos in 1930, for the owner of a company that specialised in reinforced concrete (Architectuul, 2015), displayed this ideology. His 1908 essay ‘Ornament and Crime’ demonstrated his opposition to decoration, and his belief that materials should be showcased and not concealed by unnecessary cladding and ornamentation. Despite his impact on modern design, many contemporary designers challenge his work, continuing the critical discourse by using modern techniques - Blaisse’s Casa da Musica design features imagery of gold pixelated wood-grain applied to the surface of plywood, thus defying Loos’ (1898) principle, with specific reference to wood. This lack of purity contradicts Loos’ ideology as he declared his preference to the English tramcars with their “pure colors” (Loos, 1898, p. 243) furthered his point stating, “wood may be painted any colour except one - the color of wood”, with the example of the Rotunde, as its wood cladding was painted to appear like mahogany. In a period in which Vienna experienced enormous development, due to the Austro-Hungarian Compromise of 1867 (Cordua, 2016), Loos’ ideologies contradicted those popular within the traditionalist capital. 244), using the example of skin-coloured women’s stockings. A fundamental premise of Loos’ manifesto, ‘The Principle of Cladding’, is the idea of purity and truth to materials - he stated that “the principle of cladding forbids the cladding material to imitate the coloration of the underlying material” (Loos, 1898, p.
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