The Raumplan stairs wraps around the boudoir, in turn the house and its interlocking volumes wraps around the Raumplan stairs, creating a double layer of protection for the boudoir, the heart of the Muller House. 
Volumes repeated in the detail of the interior to the house as a whole which reflects Loos's use of formal devices which allows the house some precedence. 
Masculine exterior and feminine interior windows. The interior windows appear as we move from the upper private parts of the house to the lower public stage of living and dining. A stage for protest and drama expressed through material and volumetric complexity. Moving from a fascist arrangement of spaces to the more dramatic and theatrical spaces in the entrance and raised ground floor.
The garden flaura is bought into the interior of the living room; This represented the complex personality of the Modern Man which was masked by the masculine inexpressive exterior. The deeper you go into the house, the more feminine and intimate the material and spaces become. This drawing is a reading of Beatriz Colomina's idea that Loos built the exterior and interior as one skin, there is no separation.
Loos mentions that external ornamentation is not necessary for the Modern cultivated man, so his exteriors are bare and simple looking, but the bareness becomes an ornament itself. This model turns the living and dining areas inside out, and shows how his work, in contrary is an ornament itself.
The formal devices breakdown as you move from the rigid private area of the house to the chaos and drama of public spaces, and a new hierarchy, the Raumplan is created. The drawing below illustrates this, where the theatre box, the boudoir seats, are separated from the rest of the house, watching the drama unfold.
The set of photographs of my model are inspired by Shosanna Dreyfus from Inglourius Bastards, where she sets the stage on fire and kills all the Nazi leaders. 
