“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 
15/06/2012 § 3 Comments
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 for each room and each function; from one material to another; from whites to blacks, thin and thick, rigid and fluid. this process was useful because by going through these many tryouts, the entire team learnt that even the smallest shift in position, scale, material or structure has a considerable impact on the performance and potential of a room. it is always a delicate balance: solving too many issues with textile – making them too present – could work against the stark structural character of the building.
in the end we made six separate curtains for the large concert hall [casa da musica] – three layers on each side – measuring between 13 and 15 m in height and 22 m in width; three curtains for the small auditorium – measuring between 12 and 7 m high by a 17 m wide; and two curtains for the rehearsal studios below ground, measuring up to 8 m high by 65 m wide.
some of these layers hardly claim any space and disappear as quietly as they come. others, however, have a three-dimensional rhythmic structure and take up space as much as they are space in themselves; walls of varying degrees of transparency and mass that fold upwards into ceilings or sideways into hollow walls. each of them adds to the acoustic and atmospheric definition of the rooms, together with sound-reflecting and absorbing surfaces, orchestra pit and public – with all planes, forms and volumes, hard and soft, porous and massive.
– petra blaisse from her studios book ‘inside outside’ 
test fifty times, build once
a young hare
 Kwinter, Sanford. “The Garden and the Veil.” Inside Outside. Ed. Petra Blaisse. Rotterdam: NAi, 2007. 500. Print.
 Blaisse, Petra. “Curtain as Architecture.” Inside Outside. Rotterdam: NAi, 2007. 365 – 358. Print.
[image] today’s image can be found on page 408 of petra’s beautiful publication inside outside. unfortunately i have not been able to find the photographers name. so no credits can be given. yet…
[more blaisse] for more oma – blaisse collaborations mentioned here on ayh check out this post on the dutch house.