the smallness of a theater box would be unbearable if one could not look out into the large space beyond”. While Kulka, and later Mlinz, read this comment in terms of the economy of space provided by the Raumplan, they overlook its psychological dimension. For Loos, the theater box exists at the intersection between claustrophobia and agoraphobia. This spatial psychological device could also be read in terms of power, regimes of control inside the house. The raised sitting area of the Moller house provides the occupant with a vantage point overlooking the interior. Comfort in this space is related to both intimacy and control.
— Beatriz Colomina, The Split Wall: Domestic Voyeurism (via blaaargh)