Investigating my interest in the chair and its’ evolution and what it meant through time, societies and cultures.
I was also looking into our need for furniture: the need for it implies that architecture is incomplete or obsolete. It has been created to fulfil our need to inhabit all dimensions of space.
My interest for body language sciences stemmed from investigating postures: what does the posture we adopt say about how and what we’re feeling, about the nature of our interactions ?
In studying Verner Panton’s Visiona 2, I was looking at how he achieved the melting of floor, ceiling, wall, furniture and texture together and how the selected postures allowed by the “texture” together with the colour created a particular atmosphere.
In this studies, I was looking at the ways in which space complements music, and in particular how architecture helped music evolve. In short: if these spaces hadn’t been built, these music genres wouldn’t have existed.
The point is to look at which space complement which type of music and why?
In parallel, I was looking at spaces that have been built from music, and for music. In this case the Philips Pavilion in 1958 designed by Xenakis and Le Corbusier. The design stemmed from Xenakis’ Metastasis composition’s score.
Unlike John Cage, Xenakis’s compositions weren’t aleatoric, they were based on a stochastic mathematical process that “calculated” music.
The space was designed to be an “audiovisual” experience and for the experience to be rythmed by music: visitors were to enter by groups of 50 at intervals of 10 minutes. In the transitional entrance space, a transition piece was played in a space of darkness; from there they would enter a space of light, sound and visual images, and finally leave through what they referred to as a “digestion exit”