The site-specific installation engages ideas explored by Le Corbusier in his late architecture, which often incorporated overtly musical elements. “The design came out of a personal interest in the collaboration between Le Corbusier and Iannis Xenakis. During their period of close collaboration, they tried to treat architecture as a platform for music, or as a listening machine," says Suzuki. "Most significantly was the Philips Pavilion for the 1958 Brussels World Exhibition," Suzuki adds, "where Xenakis’ musical composition itself became an architecture.”
Compared to the robust concrete of Le Corbusier's church, Suzuki's intervention is downright skeletal. The bare bones approach is new for Suzuki and signals a change in his practice, he says. “This was the first time I did a non-technical project. Typically, I use a lot of technologies with components of electronics, kinetics, and robotics. This time, the focus was on architecture and structure, with the goal of creating a platform through which anyone could participate.”
