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“My windows hung with lace curtains (Valenciennes, Venice, Bruges, Scotland) combined according to the formula: = m (m - 1) (m - 2) … (m – n + 1).” These are the words of Bourgeois, the fictive character in Le Corbusier’s seminal book The Decorative Art of Today (1925). Le Corbusier’s witty attack on curtains was common in the dominant rhetoric of...
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Context 1
... room. The house that Loos designed for Hugo and Lilly Steiner (Vienna, 1910) is another example of this (Fig. 3). The living room, the dining room and the music room on the ground floor served as a large room when the curtains were drawn aside. The Tristan Tzara House in the Montmartre section of Paris (1925-6) illustrates a similar intention (Fig. 4). Naturally, curtains first and foremost provide a division of space and privacy among other things. The curtain is not static and maintains the intrinsic possibility of movement. It lowers and rises, its immobility is only passing and its opening ephemeral. This is what distinguishes it from mere drapes, which remain open, like a tent ...
