The design that Loos created for Baker evokes the same narrative that her stage persona did. It is showy, exotic, and fantastic. This, however, is somewhat of a prison. Baker, though able to exploit it for her own benefit, is subjected to racism, sexism, and the intersectionality of both. Loos’s house similarly traps her. The design is opulent; it is massive and grand. It is also voyeuristic and an ode to a Belle Epoque sex symbol. In this sense, the house is a prison to Baker, forcing her to continue to live in the white man’s perception of her. This jail-like tension is not helped by that lack of windows on one of the facades, or the uniform black and white striped façade that recalls old-prison uniforms. As well, the house is massive with few openings, and not well integrated with the outdoors, contrary to the classic Juliet balcony prevalent throughout so much of Paris. This continues the notion of a house that traps its inhabitants.

For my interventions on the house, I would like to improve the home’s interaction with the outdoors by cutting holes in the façade and the plan of the house to create a series of balconies and courtyards. Opening the house in this way will improve the natural lighting in the house and give more of a sense of freedom. Doing this will create separations between the public and private areas of the home, making the home fit for entertaining yet private at the same time.