“the universe of petra blaisse is composed of tissues and fluid devices – membranes, valves, apertures, diaphragms, pores, filaments, filters, channels and scrims – that move, constrict, dilate, rarefy, condense or form vortexes in response to cues, rhythmic patterns, or simply the intoxications of whim.” – sanford kwinter [1]

a young hare

photographer unknown,  image of inside outsides workshop

structures and veils

at first the idea of curtains was purely a visual game in the architect’s models and representations: textile scraps were inserted as placeholders, very decorative elements with large birds and flowers – a counterpoint to the clean, sculptural form of the white concrete building.  we soon forgot about decorations and colours and began to interpret the curtains as walls, facades, integral parts of the architecture, structures that complete a room.

as the public rooms [of casa da musica] became more and more colourful and decorated – to radiate colour into their surroundings, to implement local culture and to imply their use – we realized that all curtains should be colourless, more restrained objects.  spatial effects would only be triggered through structure and scale, with light, weight and movement.

as the requirements and expectations of the curtains changed, we did tests…

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