It was designed by Adolf Loos as a residence for František Müller, co-owner of the Kapsa-Müller construction company from Plzeň.

Soon, the architect Karel Lhota set František Müller up with Loos to design the villa.

In 1968, after the death of Milada Müllerová[note 1] the most important parts of the Villa fittings and collections were purchased by the Museum of Applied Arts and the National Gallery.

[2] Known as an innovative landmark of early modernist architecture, the Villa Müller embodies Loos' ideas of economy and functionality.

The spatial design, known as Raumplan, is evident in the multi-level parts of individual rooms, indicating their function and symbolic importance.

He also wanted to distinguish between the outside, where the view could be seen by the public eye, and the inside, the private spaces of those who lived there.

Colomina's essay, The Split Wall: Domestic Voyeurism, discusses the possible purpose of Loos' opaque, covered windows in the house.

Loos designed a raised sitting area which Colomina interprets as the theater box as well as the 'female' space because of its domestic character.