Reading Between the Lines

For me what is fascinating about reflecting back on an essay such as 'The Split Wall: Domestic Voyeurism' is not so much what it says, which is quite a lot, but what it leaves out. Moreover that once I understand what it leaves out, it gives me a good number of clues as to it's importance.
Straight off I'll suggest it's importance is that it marks a moment when looking (or consuming) architecture becomes more of a concern than producing it in the traditional sense, and even dressing becomes more important than structure.
Further, and rather obviously, that moment when reading between the lines became more important than the lines themselves, and the whole post-structuralist/deconstructivist behemoth took off within architectural theory, and did so with conveniently populist wings, for exciting things like 'sexuality' and 'space' were suddenly conjoined in a legitimate academic book title, the first of it's type many of us eagerly placed on our shelves.
Not for a moment can I suggest this was unnecessary, it was entirely so, but for anybody interested in what got left out, now that the behemoth has crashed, and it's the debris we are looking at, it's worth inspecting Beatriz Colomina's (above) undoubted cunning.
She does not dwell on Adolf Loos sexuality, his predilection for much younger girls (shared by his friend Peter Altenberg) especially dancers, or his two convictions for pedophilia or the syphillis that eventually contributed to him keeling over at such a relatively young age. She doesn't look at his Elephant trunk table and see eight young ladies legs (as I do). Nor does she delve in to his fascination with Josephine Baker.
On Corbusier, she does not dwell on the paintings and drawings that are markedly erotic, even those of Josephine Baker (how she could resist enjoying this remote threesome I have no idea). Neither is there much interest in Le Corbusier's sexual personae, a man whose early life (at least) was plagued with neurosis regarding the brothel and the delights that lay within, and the strength of his erections. She even manages to dispose of interest in his 'five-points' that so emphatically demand 'long windows', preferring to see them as a more cinematic device.
Perhaps such material is tittle tattle, but in remarking upon it I'm going back to the old fashioned empathy that traditional, pre-poststructuralist, thinkers brought to history; the grand narrative and the assumptions that came with it. Perhaps I'm a bad boy to do so, but as I said, we are now looking at a field of debris, and we just might have to put Humpty Dumpty back together again.