TQ 'I'ELEGTROlHC POEM, II IN TEE IBILIPB PAVILIOli

The ailv, 'r:l and. lUBtrotw Phil.1ps Pav:Ulon looms betore tlIe

visitor to t.he .lk"1moela g InterID!ticDBlExhibit,i,on like' a. giant; &bell

of' bi~arro shape trom some a:xoUc ses.-bed.Involunta.ril;y .. th!l' risitol"

i.s :Btr1U!:k andhiB attention c~ptu.red by tbe gent17' curving surfaces

of tbj..s lugb lyremarka hIe '5'!rl.ld~ lri th :I. tf! po int • .d. peaks r:is illlS' tel he1gJtl,t of' sOllie 10 f'setoTh,8 butid..1.ngg &a well as the 'iE.lJe 0 trcni a Fo.m" J?e,;ri'ormed 1.n it,; i,~ the cl'eaU,on of L Oorbusil!!l;:r~ the cel.,,'bl",atediFreno.b.,Swi.s s al"chit. c,t ~ The Poem i a the' Fa vi I ion, • S o:nl.y axhi b 1 t a.nd in 1.1::13 9J'Dtbesia of art e.nd the la.test 5j,e.1.ent:1f1a s.nd t.ob.:n1ca.l a.ohi.Vlim8nts~ it 1s a,e snc.a. t the Il hpo 1 955 n t.h& 1: 18 .really Wli q u. "Every da,tb,ousa:ndBupon 'thou.Be.nds of vis ,I tors :6 t:rea.m into th" Fh:llipa P&vilioD, .M,Cih~ not only fori ts da.ring d.esign a.nd e.:ltre.o~.r;y 00l1utruct10nl! but a.180 for thfl 9tr~ and .,~tra~ga;n,t ligb:t-smd.-solmd shoO. given ::!lJts:ide of it, haa become on .• of th.e' most discussed. att:r.Pi'I"ctionB of tb", E:dli.bi tl O,n "

T.ru!. vi;9 f tor walks in t.o Bl1 a.lmos t empt'Ji' I!'ll(l los IU'!! bCl1md.1i1 by bue, ,and lof'tJ' wllst.l'!.a t ClU'VtI over his head. :intD saCldl'l!l Sur.fWlIIB finally sweep, IIp to thr.e ap1c,e.9, thue foming narrcrirlng eM :cJn.';yB,

as it ",ltre., &n-pl'i~lId ~ be gazes abQut him, seeking a clntrRl point J but thfl und.rl;ying idea i!!, diff:1cul t 'to g:rr:>lUtp Peerl-nl' i:rJ.to tn., 9.111- a1:l.I;:uI:JiU'i ty a b DV-e t in one o:t' the B. pi cas he' a uddenly re OClmll..!l! flli! the 1001'ge -9 ca.l e .mod.e 1 of en a. tom, hanging 'bY' &. 1:1 oorce 17 Vl:.B i tile thra ad j) tiB Igle.n.clI!!I wan.i8 I'll to B 8~COlld 8. pax and the ~e he' di,s cove 1'111 ,f!, nuie fig!.tte D To 8 tart 'off' •. :1 th" the V'U! tOT is only ball aware of' whai

'he fU!!.e;e :for the d'la. thly qUJ.et int!uiol' d.oe Bl not yield up its. 9!1!!UlI't! t ,at fiTst IgllUlClil ~ At till,s at~e he 'IllondlI's, whether "the mod,el. and the f'1:gurw al"., !!manti to s,ymbolla, _ Y&tt.-:r .a.nd, Mini ~I6, .L 10 a. qU8stion of' ll\lman d.f'.l1icelliili,sness fe.cing the threa:t of dangeil'?' While the oba.cr'Vl!Il'~ hiB hea.dl full of all t.ha.t he bas !!Jeen in ethel' pavili,O'.D.,s" is st1ll asking kimgelf what is gal.;.!t to happen~ l,h. "Poem!' ~ta.:rtB; a wave

of' 1maga'H p souna.u ~ light !Ul:,d c:olour breaks over hi,m e

It only la.sts eight lIlI'lnutes f this ea.tarBct, of optioal Bud aeCCMl.iUI,t 110 "f.fe c;ta thfl! 'it., cbangi;ng se C o:nd b7 a ~ C o.na. apd Sot .vel1shcrter iatel"V&la t :rill UlD the S'CB..Otl that a ll:Iom'l'!lnt ago wss Qui ta 1:1fllleB6~ penat.l'at:lng into i "!;s f'ur~h!lst. con ers Gigen:tie p1.c~es a.ppear CiD 'the a.sJ7W!le tri 0. OUl"Vi!I' a. wall a tha. t C on;vers e a b ... r.,8 one t a head.

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There are lbirdB i f i Bnes .~ re];lt 11 B8, maslm, 'i ske 18 t,one j ide 1a , girl s, looklll:8 mrlmully uJwa:rd.~ building-sand steel st:ruct'W'es ue aekew~ m:ushroo.m exp,losiol'ls and ruins ~ crippled chi luau ~ "but a.lsc fi lm,-'st Ulil ~' 1W en. tOl:"~"1 too 10 a.nd ma.n.y othel'" symbols, or a.C9tl'act com,post tiona ay-mcolhing wD. ole epoch!::i, ~ All th.ia is 1m. ti:lnded, to l'eiI presen.t thii dre;matio: :srro,l'Y of man'1cind ~ 5 dav$lo,P.ment :right up to the weRe», t, dn,y. It, i a .n Baa c ccari l.y lSI; BOrne wha t ake'b,o.hy B,c:m o-unt ,~lbut the oV19r all eff e~ 0 t (';Jf t1119, eelec,tion of p1et'llres :1:9 ttl ~e :U clear hOtl'fsinea ;l,ts

erea ticnll. hu:.ma.n ttY' ha.e ,f,; tnJ. Mle d. for ha.';r.m.ony ,all dbapp theSiS an Ii def'endedita'elf' ,ag,ai.nBt :l;!orl"QW a.nd. oa. tantl"Q phe j h:owit ha~ beento:rn bllck a.mi forth between lova aDd hate ~ betwElElIlt the eleva tell and

un at taina'b le id.eal an d the ine vi t a. D 181 tr.rU ill. ti ans of' EIIvaryday III e ~

Le. CorbuarleZ" S eloenari.'o cg.m.pl'"ie'El~ L'leVI:mp.ictQF'.ial seq;u.Eln,C,€!B. nalll,E)'l,y u The Form & t ion of tb.eEerth II ~ IlMatt e r ,and, .Mind! i • II Out of the ne<, tits In to the D'a,wn i, ~ fiMma. made lIH.I. t I] .n 1mB e If G ode ,t ,~ r':Men 'bui ld. the 11' YHill' 1tl i'i. 1~Hal'meny'!l' and.iiThe:Hel"i tagS! Oif Pfl~ ted'&yil. The .ap~tl!Ji.eos is of thel ~IElect;ronio Poem u COItC.E:H'l'i.9 ... hemiaaio]l 01' h1!lllJll,lili ty= tha task of' IfireSer 'Vin gW:he. t he,a tie IELtI. 8!oq'Uir'I3'd and €If' ha.n;liing it an to po 8 t,e J'l ty iii! .s;rI!llDQU:2lBd 'by-the geatUTBIIf a hand. that reosiveeand oastoW8 ~

If'there wera~otb.:b1g to see lliI. the pan lion buttnesEI 'l:ilac'k; md m:hi'te image I!i ,.they WtQ,uld. not be a..n.¥thing on:t of the ordillil.ry; ther would be aBort of fl1cttll"'eoo@kv nothinH mQl~e end nothi.ng less a It is: (m,ly theBU.n lia:ry el em.en tEl prC)vi.ded biY alQctro-aoou.8 ti os and ele,ct:.rcrdo c ont,!'al tsc:.b_1]I'.liiq nas that - SI tra.n:ge aa it mey aee,m: ~ 1'9e11Jl" ~.piAitb.e kalaidoBoopeto life w one Wllf would be pOintleas ri thout the eth,e]."~ and the tW() thIngs togethelr lllculd be netb.ltng' if tne whoLe ware not t.ak~place .inside th.a:t .mystical archi.teotm:'al aha.pie •. It

i.e !!Inl;, by vi'I'tue of" the pla.oawileJ:'B it i,13 ,9tagedi. tha. t tbe ~'Elaotron,'jg Poem, III 1a en inetrume n t of all UBi Oin, in t e rpre ta. t:i an and. proll:ooD.c em en t tha. t :1B as: ke,en sa a Sl.U:'geon I Ii ae alpel" and as moxQ,!lnt aD many '!lD Wlpala taob lehu th ..

On. entering' the Pe.vilion~ the vi,!:Ii t'or notices oartR1n da.rk pat ChatEl 01ll., the walle; they 'obvioua ly hB;ve ,Ii pUr'pODell ~ bi1JLt '!¥he. ti t i~ he ia Ul1&"tIle to gae BB '. They pr~:rVieta 'be, H'\I~aIlet:Lkel',S, frGl.m lifh'ioh

aLa e tlt'onic JIlUS: i.e 'is now poUring for thB Kea.rd. f' or' the :f ira t ti llLe b'F a willing al'tdl att'er:!tivEl l1staner~ i tall BOUliI.U extremel,. odd ani ya:t;, ~ a.t the, Ba.me time. thismusi,if,l take e yotl.1nt,Cl B.. w~ld of' wondar;i.t

i.s rat1:lEir like i!l. trip to, aQotne r pl,.an.et. Jwh1ch make 13, yO\1 i'righ,te;ned bu:t ourioua .. On, the other hanligthe iOOiffel:I'iI:l'nt vis! tOO" he.ea

nothin~ but h.18h 1,. rem.arkW::i le &OlI:UlCi ef£ects in. th. is piac's of lri!!lea1!ironio music ~ for whlcih. [,,81 Corbu81B!r left the ]Tench 0 ~mpOlil, ar Ed,gar Vu;"I~"I:;H'l' 6 [:rEte hand .. It 18 DlBde up 6f rattling and ..miBtliIIg B,O\lnde. ft:ia thr'satening am pla1n.t1ve! by "turns ~1 t tlumdez's and :1 t lr'g~'s ..

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A"t one point B. b.um.a.n. Tl'oi ca is i..m.i tated:. :1 t t!'3 BOm9ftb,a:t Uk/a

a co lO:I'!l mra and ~ like the ether 5 otlll.d 6 , it l!tCHteS! a.b aut wi th ill the encloBliHi Sp.aC8, from. left to risht g,d ba.ck~ upwa.rds and lioo agai:u", 50 palpably does i taring hi thar and- th! thar that the B.udi en~ e 'b,ry to ,fo llow its, path,. You Ca.n see the irheads :w.o'ring • At aDCllther

po1n,t ,~ lib. en the pi e tur e of the a teud 0 'Ei xpI oBion ap pe arB - a thundalr 00. S roar fills th~PB.viliont> There ar8'B.'i:!Clut 400 l.oucllG,p,eake)!;'s. e.nd When

the din, f'rOB all of' them at once atarta 1;0 vl;I;rge on the ill't~lal'able ~ the vi a it or rea.lly ha. B a Bene B of lOOl:n ~ in the mi ad Ie of t:hin ga J an da.l:mes t ibelieve:s he can feel the !til' tT6!mb lmg. Like the iiIlage:!l ~ th,a sounds, are cans tan tly changi ng ~ soa;roely 'lea.vi:D,tJ the lis te:ner time

to T!<!'i'lect ~ The hll.Il:an ear ;is 'E'i!rlI.aa ted by the great nUllloor of unu8'1.UJ.I impl'eBSdo~ it hae t'o respond ta,l The volwne varies Oe1W'een. 4D and

1 ,0 Fhon., The aa :stha-tle se ale caf the&e ale ct:ronio .'1Iollmdll SO'mI.d:s I'mlges fro'm muted 'rn:u.aic of ·the spheres (illlil,f1tl"e.tlng the birth of hmnaJ! .hope) ,to aruhing di,SSOMllC e (.!h en .e. oa t&strophe ~t ers mto thelplQt Qf the i:trama.) ~

To the pict on a1 an da(lOU9 t1 o e ompone n t s are ad tI,ed. 11gb:t .al'itd coloUI' ~ T'h..e p~e t:ure-Qlld-eound sequences era aOflompan,ied b.1 luminOWl ef':felo,t Q ccnjm:'ed up out of' .E!I ~ve1"B.l bWlued ren, b Lua ~ Igreen ~ vio.let ,and yellO'lll f Iuere !!I eEl [It le;m ps • At at he l' tiPIe simmen su~ pa tc na e 01'

light of compleme::n ta.q or Ql a.sh 1tlg co lQu;r~ are Pl'Glj ected III ingenioua, !JTBtalm of mirrors on toO the: wa,119 arOlJJl:G1i. 11011 shig f1lln pictures a.t the ,Bema ti,1llIi! , coloured stripe B mO"lle round! the walla ;tb.esB stripe Ii ax's. image s of a ;r,ota tin.g dis ~ projected by ,BliL epldiasco pe ~ Once' lor trice there is darkness for &. split eeco!ll.de.nd."j in the two bollcnm in, the raef ~ the B. tOlll mMel s.nd the na.ked figlU'B iE e orne ria iDle; i.rraitia.ted wi th invis:1o.1e llitra-vl.o let light:. thSi1 now shine, :forth !t1ll.d exer'CiSIEl their sJls II on al.L, J]ut th en cornea a bUX:',sJ't .0:£ light from the e,olour ClrgJill,,; the: l'a.diw;u::e dies awq tllli. swe1l9 again I or disBl,olves into

fl ashe sth. a. t nlll't th a eye fl •

Forthl,s ()cmplicated iD,teZ"'pl~ of apace, im~ge ~ sOQ.ndt light ami. colour. in tendadto convey & me i!iIsage a;nd. not m,er.e ly to astonish tb e -vi s1 tOl:' ~ :it is ne ee B Ba.lY that B G E!'n.a an auld. fo 11 aw t!lIC ella wi tIl.

al most wrlmaginab Ia exa.oti tude.~ The liibt and sound show s.dheres to

a. t ime ~ ta'b Le of iI e cend s, aJ:'l Ii fra c t 10 :ns of 111.9 fa C o'IuL te G orbue ie 1" oalle d this time-ta.ble tlml.Il.ut age Ii ~ but 1 tw()uldl. be apt er to o!l-11 i't HsE;n::,olnda.ge 11_ .Mi.:tJ.,g in t erva.ls aa bri ef &9 b Ii fore -me n t lone Ii, S"IlOO :and suoh a pi c tu.r'eJ' :ItlUl;!J,t; 1m acreaDe d. j cElr'tain sounds m.ust ba heaI'd~ and the pres crfbed light and colour RCCDlIlpBrl.im.en.ta m\lBt be .ina.e'loion., A moment lam tlle SCHlIIl,e'

has ohang,Euh but ill the components of t.h,s: speotaclel still f:it together

~a if'made tQ Plaa.mu-e ~ bid. IliQ it &11 CQ:p:i; inue 9 rlgh t up to the I!fina.l ehQrdit'lil COlli-pressed in. this mmnel",!i th.e massage that La Corrbuai.er is trying to COD"vey tiemant!.B of the visit CIT' muon attant:Lon El.nd. ctmoeni:l'r8.tion and

even ,(iI., oertain ment!:'l.l a. tt:1 tude <I

But the l"ap,id ~hanges of scene are nace9~a.ry if" any impression iB to 'be made upon the audience • ..mo a.re tired out frolD. their wander:m,ga arou:ndthe Emibition,., and vmosElheadil are still full of the At,omiUJII, sputniks, Circarame. and the thaUJHI:.nd othertet::hnieELl wonderB they have wit ness ed. The s enS(l tiOM regis te ra d o~ tbe lae e 9, of v:!:.s 1 tor's are 'larious .. Th.e Rca 18 of :reel~s rangl!& from prcfolmd shock to h1hri ty. :from a.dm1:rELtion to acept1o:1sm. However J they all agree on

one poirl.,t~ the IlElectronic Poem!!' is faseine.ting a.nd astonishing:!! and m:u.st not be miB sed ..

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I

LE CODUSJ.ER ~:5 IIE1ECTRONIC' fOEMi~ ~ THE PHILIPS FAV11IO};j. (.Bn1BS els II W:ol"ld. Emibi ti Dll1958)

by

.;rANI'S BNAKlS

nus, to the :i..niitj;a.t1 ve of .Mr Louis Ka.lff~ lDirec tol" cf the de'pa.rtment .£"01' art witlt Fhi.lill9,1 th.eum.n,e.gement of the firm contacted

La Corb~8ier e~rlN in 19.56 ali.d. asked. him. to a.:ea.1gn and. ·execute t'b.el1.l' pa,v11ion for the Bntasela1 World .ElIhibi t.ion.

!"l should. 1ike:lrQIl. ~Q lieaign the .Philips -P·8.vi1ion in . aueh a. way~ tha.ioth.el'eis no n~s dl fOlr showing even the tinie Bt ma.n:u.:factursdPiU'ticle ~ Thai. t meW19 to ::Pl."cnrEi by IJlOSI;;a4VElnturous I!teans ~ hoW' Illuch we ,~ being' guided by te,cbnl(lal pI'logress m the field of' SQund !'!Jl.d light effects

f Cir:'·thsi £'11 tm!ill ~ i ~

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LJ~ Corb1aier ,: !II is hall not create apa.vilion 1 'but an E,leo1:l'.on.ic Poem - ~ jar .,wb.i.cb Icgnten tl1i US· a cGncootion of t.he follow-ing poetica.l il!,gre die fit Sj, :1

!llthe se c'o.mpane:tl!te will r epreSB'ntan oIX'SWlic syn th.esis ace Besfble to, ·the Pu.bli,c.t demo~.atr'a.tin,g'·at the :9 SDU:l time the B.OOeB~ln·ie8 used 'by Philips in tbe COUXBE! of F'oduo.tion~ 1he Ble~t-rcnic ,EI,Gem will last

B 1IIlin:\l.tes III ~

L8 COirbus leI' ll.iriJ.gelf combine d light.1 (:)0101),1'" and iq-- e '.! Hel le.Jl.a.borated the opti,ca1 !!te:x:tbookl!" the visual. tr~s:f·orma.tioD of real fac:tE! ,of the 'P~T'e'Sence ,I xangi.rtg fr{)m. iIDte miel'o-'cosmos lof' a, toms., and the !lUl~hin!eaiJ:!. f acto:::r::ies ~ to the smiling fBleB ,00' albany en.a ina cna.OB am Olr'lg th.e at ars ~.

Far compo Bing the co mplelOO'll tL~ m\lSio, TOeing lmsepara.ble freID.

be th. the real Jmd the psychic phenomna.,. La r1orbusis:r c.h.oose one .of

the m.ost p"omine:nt con tempGILrary campose.m Edg,e;rJaresEI, me lIyDUl'lg man of 70!1 j the e:lqHo!3ive f'orlell'tnrlD·eX' m' ~wnd-di.8aBl3(H~:ia.tio~.:. rhythmio: dis tQ.rtlicm an.al di.sHlltagleCl mel(ld:ie:!l:~ (Duration ot' tide music ,tace e minu'tea;',~ 1. - waS ~llotted <I. small ElI' task tr,y. Le CO'Z'busier, to oomppse an int erl udE! .•

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j .'

Orig.l..na.lZY the CODtou;' of the pavilion w&e plam'l:ed as a closei B true ture 'With con.cave, OOllV' ax j and. plane surfa.ces of wi re .IW tt lliS' ruld projectillg 'Igun tube81~ "if (::OOllml t ~ whilst the em .iril cQlurtI'iu:ltiou 9hould 'be faetene,d by innumeroulli SlU,.llIpensionste a 13 tYllCtlU'E ~6er¥'ing a.t the s am.a time 8.131 roa.:f.,

'The pavilion holdi.JJi ab out 500 p6l"B,cms., FUrthermore 1 t ace ommoda tea the projection, light and. s01Ul.d aa W'lell as thsthyra.t:ron a.ppa,ra,tua 1'01" the c.utomatio l'ele aSEI 'I Musio a.nd! sound ~ef'.f ee te: arE! recorded CU'l.magrlEl tH'l tape,~

Ln Ootooor 1956Le Corbusie:t" 8!;!ked as to study the B.l'ehi tectUl'BJ m!,d, tegm i~al dEl"siEn althe Jl!8. viUon. I had. md.iS!l:lllrd !l:li\Y pr\e>'cQn.oeived idJea. Wid, start from anInI to find a..'l i!1rchi tectl2l'al soluticn corraspl'.)nding toO t'h.is e~t:.I'aoI"dinary combina.tioD. of' artiBtic ,e.etivities,. (The a.rt.is tic CQm:ponOOl ts were de!! nB d bor Mr La Corbu:sier and Mr Kall'f') ~

The re,mlt 'Of the al, Blysisl'i ts the following Elql]:1iil.tiQD:a ';

11) Hall for the' ,a:d1e1'1ce .... 500 vi ~ tOcr e - standing only a) Int erior suzfac e1'OO tWE! en 4QO and 500 m~ ( JlstDmach II) bJ Two tuba~like corr1dOO,"s for intrance and ,E!;;!Cit.

2) Cha-raoteristica ,of'the auditorium and el,ec-tro-.aooua~io6' syst'em - E:~tl'em.eJ!,JI" shDrt re'VB;rbe:ra.t.iDn time"; a:~id'i.ng of par·e;11el. s:urf'aces (1I.u:miilI'OU9, p;:Issi bi11t1es forrenectionsJ; no tatrM9drOl1l.ri!I (z'€i'velrber:e.tiol'1 "tIlmu~ b1seoti:0<~1 af iir11&dreJS,II); Q.t'cned.BUl"face;s; witb

'01.. contin.1oua ly c.han.ging radius.

, ) !It'o joe 0 tio," of U ght ..

Receding BLlr'fBCe8 ~~the:ri:ng v!;lIrtica:l., w.asona.lj and. obliquei light,;i move. b le ~ pa.t ch, ug jre 0 edi.ng:. aM ro t a ting r 0 QIIIli •

4) TsclmiCB.l cona tructio:tl.g

Plain., wall plenneiil if pDssible tested surfaoes,~ perhaps eelf.support.1:t.lg bowls or 'She US £Ol" tile CEi!!l.ling.

Thr'm~ pel'&OlilB.l c~n teet, :with B ~ .Lafaill e mld the' kn1owled.ge o.f'

li:i;aB twlies I we ~were alrea.dy aecllS tomOl d. tc) canoide and hy'per'boliOpa.ra1;)QLoid~~ Tb.I~y an the rne,ans thr~ugh which the above-men.t:ioned equa.tions ~OU Libe so lv a d, It is logioal that ,a stJrUc ture 0 OIlBls ti ng ala cQnfbin~t-ion of conoids a.nd 'byper'bol!c-pa.:re.'boloids fol"1lls not 'onl:~ir a !;fl'E1C'tical solutl.onbut a.t ths a.a.me time a convinci.n,g a,rchitec tural image ~

Tne reBul ti ng iOl'm ia both ~.thems, ti flally III triot a.n.d plaa t-icall;y

m:'.g;Mio ~

Fig@ 1 - !:D.t erio r

Fig. .2 - Peaks re,l;luHing from the f iI':er~ ~wo hyperDQ11c-pe.l'aboloids Fig.. 3 ... The third peak b,ala:ncing ~d !]lifting1i the fi:I'st two

rig. 4 ,_ Elaboration of architectural f,iila':ta;n'",ea.

9\~!"J: . .. . t;,~.

'The c'eI.1mg w8.s1.ntenrlled to be g]_ ther ~orrug~t sd or self'-supporting,o;,

Now could !liuoh .!lI. COWl traction,w rea11zsd. ?

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T.he Illo.rk toolk saTlsl"a:l 'il'eeks ~ Alsc many l' ela. tiO'M :bad to be' es ea blishe d in Cl"der 'Ii 0 find two parsonali ties ~ 9uUetlfc.r a.

diIf 1cu. 1 t ta sk: ~ One -,a. phy5liaist (Mr. Vre'scion1b\U'gn ,Pl"ofee,GQr nf Llecha:n.:1..c;Ei at the Uninrsi ty of Delft) ~ and the other, a., C OrIS tru.~ t-

ion engineer (Ml'~ lliUY,Bter ~ ailminie,tra.tol' of the fum '5TRA.:BElD~ Erueeals) a

Within a for'tnigb lit; ~ tb,ey eo C omplbh€!d

a) the t.heoretieal calculation af thE! hYPSl"'DOlic-pal'Q,'bclold bowls for the ca1li:tilg~

b) en leq:uilebrinm. te:at br meigs of eo B'oa.led down, m,odal in tbe la.boI'atery~1

AOCOI"'d.ing to these inva~tige:.ti ooo"'he coo.a t;rua tioQ. I(lf th,e an,t i:r€l pavilion in h.nlecI'bo:Uc~para.bolc:lid..s wa.s .possibb ,,1 tb.out d!jj'1"icu.ltiee. The llowla ofth.e selfsuppcrrting {lleiling e:re c:f 5 ell! conorete. Th"1!lathe pavi lion of the Eru9seils''fll0l[' Lil Emlbi.tion 195~ re}:l1'BBe.n.ts e. teolmi(;lail nO'illellty'rlth rE!cgB.l:d tiC! the ,synthetic a"Jlllliea.tiolil Q,f MW (hyjerbolicpara.boloid ) surfaces ~

N'crt often doea a teWlll of top tacludoians and pn:ySi0:1St9 .0 oQperat e

11 t sue h a W1.0ll:'t .n at i.e e in EnIY a.r ch ite e tura;l wQrk. Bu.t here the di1'f i (lui ty llit over(;o'm1~g' ,a mu tu.al ign Ol"a:ru:l ,e W'a~ elimlna tela.. It we~1 the IB,. tt i tude of theBe Q;lQ.11 thejr .j!! o:i entific 8,S we,a aath.eir technic,al intB,gr1 t,y whiQ.h l'e'~nd.tedrn a e'l'eatioll'l. n..!'l;l'er perfc'l'llie d.. D'sfo;r's"

Here I I'IlU,st menti en. not IQinly ur ~Vreedlen1bux'gh an,a. :lrg, Duyater bi,l.lt espe i.;mll,y Mr .K'&l.ffj a perepic aoicu9 ~ pa.:l:;ien t a.nd, ins;is tent expelrt ,and 1lIl"~ Tak .• , the 8.QouBt.ba spaciali,st of ¥hiUps.

N'Qlw the E:l.slltronic Poem e an, "!be free ly Oihp laJ'!E!d in its coooon .of revQhrug ap acra 9 Iii

In 0 h'13 e C OID'll8 e tieD wi th the imI tl'tmti Dna .. i B!lI:ue d by I.e C O<.l!:'''buaie:t'' tii.e technioal ina trm:: tiona Il!'El'e tib.1.l9 d9fiftaii~

j:lWlle:t'amic snl'eeIlS, continuously .repX'odu.cin,g gndl resolvi.ngpiaturee; aPf Bll:"a '!tim J altlBrIU1. te l,y ca.slti.n£ ::Light end. d.al'k colo~a; £'l8. sbillgei'f',ectls. rang:U1g from. the vio:1 ble to the illLvis.i b1a e.rea.; Cllleme, ill Ulllina.,tio:na, of

v au. 1 tE'!!md curv€:'d, Bk ,ylinilB af.1 e.me or fTo Z en to i e 8 :; magics an dt,r&ij\fJd. ia ,1;1 by optic means; plastio ideae of !3 tarting lii'e I. ~ ~ c All the is@ 0 O"W1 tleSs. meaJ!l~ and effects! keep the Iiudienee for 8 min1.ltes of unlnt:al'l'Upteii pel'fo-rll1ance ~wavering hetwee n unclertain ty snd! ins t,a,n tBl'lS Que, eomprehenJ!i! iG,n 'tirMaf'er,B them int Q a. w01'1d wh91re they cannot ant ioipata the' saqllenc 8

of light a.nrl[ B mnd wave B.. ..........v~_

By 400 0 ad 1 oudsp eake r!il, ~ fi is tri bl:.lt Ei',d on it! e in:n.e r ~I 8, b ill ox bing a:u.rfe.cee of the pa.vilioln (1500 m::I) the sound ie, acoustically conduoted from on.a p~l;:nnhanic SCUll(} BWrC::'ei to the other. 15mapetic, automatic 11gbtmd 60WId t.rac:K:a dil'eot t1l.e tot allll'opamme! in one oe4'Eleless mQV'a.oon. t ..

4 -

The Ph1-1ips .Psvi lion flhd La CnrollS, :lex" sEIse trQnic !N)am,a.r,e m outstand.ing example fer the synthesis of optical.~ aoorustica-l1 ,architeotural en,d teehnic:al interplay Df hum.an callacitie's,.

1) uSt.oll'lach" lInner walla 2') Entrance

43,;), Erlt ) F:r~ e curves

II. 1) Ceiling of inner walls

First two point.s 2' Entral'WEI

3 Exit

4 H,yparbola

5 JainiAg arch (5 Sac:ond pOint

7' Ky];lerbo11c para.boloid surface 8 First point

9) CaRoia surface

10) Free curve

l' En tl"I!i.hC e

2 First paint

3 Second poi,nt 4 Th.ird paint

5 Hype-rbolio paraboloid 9uzface 6 Joinill8 arch

7 Conoid sLU'i.e.ce

8 Free curve (UStoI!l,fLic.h~')

9 ) The th hd point Buppen'te Shd hollie th.e fust two in eq_uilibrium

IV.

, I Re,fin,em en t of t,ns arch,i tee tur a1 lines 2 Firat point

3,,' Second point

4 Thir~ point

5 Too oonoiu line,s am repl,a.ced by h.yp9l"balic parabDloids

,Entr'&nCe

;~

s) 9)

10)

Coneid flype rbo II e Free C1.U'Ye l1yperbQlic

pe.rab olodA

-~"'I!!II! 11';-.- f-

Technical Reali zatio:n

~~~~--~-------~-~~~

Automatic control

I.e Corbuel.Jsr 1'fI'IQte the script of the "Electronio Poeml~ Jl ghring Var!ss complalte f,zoeetiom as regards its compos It:1onl with the ex(:eptLen of t WCI mamen t s f' c r wh i c h M B eae a ,of Bound was I',equ ir e d. In ord'9 r to arrive at, a full B.utoma:Hc control of the perform,a;ncB"a. script bad,'f;o be m!!Jill'ill on the basia of the scena::riQ~ This ac;ript a.couratel:z det'€lm.ine Ili eve:r;,y aingle c onfif;lU'liJ. tion tha. t has to be EI'X9cute,d dllring ea.c:.b. o:f the ba.si 0 divisions of time in thiS psriorman 09.

This liu:ript J which might be termed the "Bcore of the basic time sections II forms t~ pl"O'gl~B.mIPe for the em to 01 appa.ratua. It indica.tes exactly 8..,9'1",;:( action th is a.pparatll.S should {gavel'll:. in oTd.er to call forth the required, pictu:re. co,lotn'1 and sa-and effect

of' 'the moment. Such a p:t'O..S'rammiil' must., theretO!:' e I' cell'tail:!. all commands for every has iotime e 9Gtion.

'j

We speak: of ulcOUllanda II t .in the plural ~ bacauae often several operations havle to take place simultaneously e .. gawith the light., m..th the co lour II and with the Bound. A:t s,ll.ch moments three QOlIimW 'ds are i:nvo,.lved The, prOgT'B!lI!Hl cou.hL 1i:Je compared rd th R. neQkla.ce compol3:Bd of Ii number of' pa,rallel strings of beads, tne be,e.ds repl'esenting thel command,s" This necklaoe is run along an ext,!nned finger" which traces it ~ Ev,ery time 9. be!il.tl is touched" a comm;md is given to the control

a.p pa4'a tUB t by wh ic,h it i9 carr i e d au t ~

A conunand is 0011'" effeotive if it ia 1mder~tood" This also a.pplies to the commands in the' programma for the a.uto~tic C'Qntrol .. 1 ts 1ll8.ngua.ge II is not spok.en or ~aught by any human being- but

fie verth.ele 66" it i.s B. hllIlU;Ul. i:n:vention. It ia an ale otrioal 1..a..n&'lla.,~,.

2 -

Such & cOm:r.l11il'ld ahould be given in the form ,0£ an electric dgnal e p Le of al t,ering t.he poai t~on of' a :rw..q. It, should., thel'ei'Ol"Bt 'be !"Bcordsd in su.ch a way th at thin II ela otrl cal lBngu.aga"~' OBEl lIElrs's.d.

Several r'ecordiug methods of th1.s, kind ,are knOWII. and are :fa.irl:y often used :in.mmern ddly life.

Tlm Jr' I:l'Ool"d~ 1ng ot' cm.llII!lJ{lIld S t hat Can ba t rae ad for COllve 1'8 Lo n into aleet:naail signals happens, for instanee, Ihe:o sound-films are made

or .hEln BtlJ.nd is, recorded on 0. tilSpe-rsoordE!'X'. Aa re·S'8.I"lis the' fi 1m. the Bounli1,SI pbotog;ra.ph1 cally -recorded. on B. narrow strip Df tb e sensi. t1VB emulsion. next to the B.ctuaJ. pioture. tater em I' mel'll the film i 5 pJ:'ojected., th.iB t'I'ao.1~:,~ Wh.11st baing il1Ul1l.i:netadi runs al OQg ia ph,otoaill wh!,ch translates the light variations' into "ele ctl'iee1 la,nguage it ~

With the tape-recDrder m&gtletic ins t'erul of photographio l'occr,liing' takB'!:l place. For thiB pm-pose the' tape is pl"ovided with a magn,sticall;y sensi tlve emulsi on l~yaJ:". !Per .recording the sound. ,EL so-a811,sd tire cor ding he ad U is us ed,. ,s, sma.ll ring-sha.ped ale ctro-mag:net .i th a narro'll' a.ir-gap_ The Bl te:c1&ting currant iii et u.p by 1llie sound in

,a micropbo.ne. after baing amplif.ied, 19 a.pplied as modul!!J.t1an current to the c.o'il of the eiectromagnot, ~ ing-a VB.r,yi~ sta:tel of magneti SIll

in tbe matall"ul of tne tepe. For repl'oduction,~ an ela ctromagnet Df aimila..r dJ~aign" called the IIplq-ba.ck head n comas inti:] a-o'tio·n. in whiCh the Y"iE!V~H'liMs! procese t.a.1m 5 place Nw the varyingmagDst1z&ti on of the Bound tJ;'&ek: ,BS·ts up 81.1 al tema.ting voltage in the ceil ,uoun4 the mgnect. illD "that the track is again read in the rom of en ,electric sign1ll. During l'ecor d!l1g., if ns easa a:ry, an II erasing'head!! .1s ,awi t MiEl d 0Jj[ to erase aIll' pr·e'rl eus ~I!\I cor d..ing'" th us deli V e ring a virginal t n.J;!B an :inch or ,so fur tJle r down. Not emly ie th1u typ of magnetj"c, zo<ocord:1l'l8' ~ppli ed, in tbe popular ta1;lEl-r,eco:rdJi!'!'s" ,!UI. usBd at bOlna, but also in 8. largel"', prcfe,Bsl0'.nal Ve.l'SiOB (emploJ!:Sd in dr-ports for reoolrd1:ng ra.dio communications", eta.)o The sa ma 00. ine B m~ ta.lce up to '5 t·racks on a ~:i'lIlgi,e tape ~

For l'seol'llillg the cont:roJ. IQommands and tbesou.nd. £'Qrthe pe.rfDr~ mane e .e:f the el eo tr,erILic poem. a s1's tl8!ll combining ]?erfaTa ted ta~ and the above-merrtioned mul t -t:ra.ck magneti,e ta:pe 'is 1lfIed.. III this II'pe::r.f'ota.pe ~a tem III the tape, is pass,ed th:r·o~gb. a 9!'E1 eLa:t :pel'fot LJ]EP lII,s,chine., tlfOtypaS of which have been ips tal 1 ,efJ. in the Fh;ilips Pavilion ..

Por' recording the sound machine :fDr tr 11le~tTack tlB.IlB is used and for r9cordli.ng the OOlllliland81 for the automatic control .. machi:nB for fit'teell.-t:r,aek. ta.pe.. In the 1& tt 11" e'ach of' the sa tracks can ,a.coommodate twelve diffaren t freq,'Ilel'lcla B I wb. toh .[!]!;1,Y be conaid e.red. as, signal B. Thel COlll:l1lWla tap&!. 16 th'ue ca.pable of giv1.ng twelve times fifteen or one hundred. 8lld eighty di.f'f'ere'flt cQmmand s,1gnals, whose dur a.ti on , ~J'

fUl" til! Sl':mC;J;" 9 I !be va.l'i!e d as de oi l"'IEI d .•

- 3 ...

or "eat signal la-a,ts about 0.1 second, 8uf'flQiently short to cl1~ect tantaneously performam: e all tlle time.

Commuui \mitB behind. 1ilie'p9l'fQtl..pe maChin.e h8.vle ael'6ctive BlemelltG~ cape b Ie of pi ck ins up its own e p ecif' i a fr,aq usn cy fllOm the wh ole ~¥~'-ncy Bpectrum~

These :liuillee 1'\"9 ele:m.en ts operate l"e1a;Js, which intut'tl. m.akel the necessary contaet;EI a,s r&quired by tnesc,l"1pt,. such: I!lS swi tch1ng on or f a given gro up of' l:Lght 01" laudlil:ne akers 4 COl"EH1'1l0ruilIlg to th.e HJQ hoi OB pOEmi.'bili tie s. al so 1180 contrOl units a.re required.. With. u.

'nO" to any poss! ble breakdolYn. of thiB very' complicated equipment, the wnole ins tallatiOl!, with the exception 100' lQud.9nea.kel"B ,and lamps, haD ae n duplicats'd ~ wh ioh. gi'ves us confiden·c e to l"W1 it :for six months

on and.

Mn:tui!l 1:nterferen'ce of commands by iJ:ld.ucti.,on Bhou~d be avoided..; "hel'efore, each of the canter!!)} frequencilEI.B LUI ed, viz !Ii 10" 500 - 9.400 - 6,100 - 51350 - 41,o0 - '.450 - 2.750 - 2~2~O - 1,750 - 1i400 - 1~125 - 900 c/" J di ff,ars by ab out, 20" fro m the adij,~u:: en tone s ~

The T'elays for cireui"t1ng the 10lldspe,ak;'srs (one for each lc,udspe,aker) axe of the -GYpEi l1sed in telephone exc'l1angae,. which type has pl'o'ved ita 1"eliabili.ty~ .Apart Il"Iom the rallQ"B there aJ;'El fivo 4''''arm l"ota.t,or,rsele atol's, 880h with 100 contacts f for subsequently aircu..i,ting the loud.apeakera of _ gr,QU.P or series with _ pre,dE!'1Hlr'fll.i:l1ed speeda This, make,s: l't passi 'hie' ths.t Ii!' g the sound. see B to travel round &lIOng a hO.r1!!lonta.l ,sel'iG II at loudspeakers Oil" that it ar;ilu:l'fil :f;rom th8 floor t-o the tcp 8i tile bu..ilding.

Electric coupling

As men t.10:ne d. bef'ore I at two moments there is & co nnectiol:!l be tween the lig}lt~ ~ colour-J ,Bnd. proj,ection-plq of" I.e QCl'1tnu3ie:r " Uld Var~Be m ili mUBile, R connection which has consequanc'El8 t pal:'ti culal:'ly fwthe control appara.tus '" The sound has been T9corrll'EHi on se:plll'lI!Lte triple-track: ti!llul'l tlul looatii'oll of the ,silent moment 'being detem.:ined by the ,eontz"o,l ta.pe. It will "he cllear~ therefore, that perfect ,synchr-,oni.rll,e.tiQ:tJ. ar control

tapE! BJild, SOIu1),d taF e' :is requ irs'd" -

The pi,e,ture must, furthermore', be projected simultanl80ualy en tw,Q opPoBit-e walla by means of tWQ Bets of two ~jectcl:rs in 'the two projection roomB~ Tn£. S-SCiG app.li'EuJ to the four BIUJt11ghts proliu.'ciDg', by .rna an HOI.' EI 1- Ii!' e tri call Jr dri iifEm co 1 Om" ed- d,i" a , movinB' CO low Arelll:Ji on. th.e wall ~

- 4 -

Coupling a.ll the ma.r::.hinra 8 to OO'Ui' and the same spi:ndl@ seelnH to be the only sol utd on h.ere. In pra.c,tic.a', howevar"this wou.ld present enormous mechani,cru difficulties .. Ele atrlcru. e1'lgineering,howElvex,

can ;pl:ovide ua with an aquo.lly efi'e c tive B;YB tem e,f ,eloctri c, cOU pl ing I' known 8.8 t-he 1ntel"lock llI:y,stg-Ill, which is baing used in the pavilion f,l:u:' titel:perfect ayncb.:roniza t1 on of "the pel rlot pe machine an,a the film: projeotgre. The-nks to the' same system it is also poss,ible~ to start all the neoessary ilI1paratus by pressiDg, single push-button on the aontl'OlCl.eek in the oen tral cOritrole~ in ~ The Ban:J.e deak cent ~na s. number of measUl.'inil 100trumen a by Jl2tanS of which all routine l.h.ecks on th ra, tna tall f1 tion Cm.'l! be made ~

The mome'!Il t "'::h e a tart! tag butt 0 n is, fU" e 1913 e d the S01!u'id and C DIllIiIand. ta.pes as, wEIll as the fil.m.. ip t::, ~ p"l'ojaatOI:'3 Sboold bE! at thiS a.ppropriate starting point .. After atart:in€h Q. numher ,of synchronous motOl'B, all fed fil."O,m the aame g:enere, oor t en,su.r9 a un.if'Cil" m. speed ~ pe r.I!l.i t till@' only J.ns1gni_fic8lllt speed n ucw&tions"

'The lie;bt ie produced by groups of incandescent ,and of tubulu fl.uCl",!uilcent lamps in add1 tiontc 4- spotlights with coloured o,isQo" Tbe ::Lnt'e:I'lfl! i ty" the locati't)'n and,~ 'i'l'1 til reapeott'i:l ·~he etar-specked. ceiling. the mov$lent of the light, are govel"nad by the control apparaw,B,. Part of the light-effects is p!'oduQ-e.d by 1111.r~ation in. light intena i V I s,uch 8.S a gradual dilnm.i:ng andbr1ght,ening o:f the ~ight .. 'ThIs is done wi th th,e' aid of thyratrons (e.1ectron1c rela.y

'·vaJ.Vlas) t, a sy:a tem al:!li 0 used to control the lighting in cinemas,. theatres" etc.

In order, to ope rat e a. lamp OT group of la.mp.1iI ill 111.0 CIorlii!l!l'l.c e with e::n'Y" con tinge.ncy of the ac ore J up to foux reI ys are ne ceasa.ry:: one fo:r gl'Bldnally increa.sing tna light: int,ensi toy I ,;1 g,econd L;lne for gl'.a.dually di.mrting an c3l an ethe' r t'lro :for Lone i:na tan tanec ua ef'i' eo tfl. vi z • ~ :widenly full. on and sudd.el11y off. There is] a t,o al of 2 X 30 aerv'OB.ppar 'tuB for trena,l.a,ting ths cOCUllnnds of the control. ta.pe and 2 x ,0 dimming appara tua ,. 'The pic tuxes F re simul t an eo Ll..s ly FIlje cted by means or iota" pro je,cwl"s. Two of thes,s are producinG: the large pictures on tha'

,opposi te wa.lls, whilst the other two Elu.pe-;rimpose these 'Id. th. smalle.r' pictures at the approp1"'iate !)lacss by aeane of ~ mirror-system •.

400 Loud.sneakere

.E"o laBS than 400 loudspeakers hfove baan mounted on the if&lls

of tb B pa.vi lion f"or :repro ducingV'ares,e S c Oll!:pC8L ti on", APJ.rt .from that, twen..ty~f'ive 20 W loudspeakers are :pla.ced. behind the railin.g, specially fer repro clueing the low tone 9. Thair ];#091 ti one. andaccgrding1.y the

U pa th of 'Bound U are !n07 e o.r lEI as dote:t"'mined by thE! flhape of the

p ... vilion~

- 5 -

spe ei sl acous tic arrangemel'n t of the composi tion I dis tri bu. ed 'ilve:r the three sound tra.cka ,and. control machine:3 I' malI::e ai t poss1 ble ta' prQcluee BOW'IJiie,· d1ff'-,srtng' ,greatly in tb,eir emotj.,onli!l. impact upon the listener,," The th.ree sou.nd tl"6cks are not cnly w:nad. for·reee'rting the _cauatioal performalul,la.t but al9D for d.ietrl but1n,g the Bound ttl, var10uEifixed spots., O~ to HIt it tl'lLvel along variouB paths alol'lg th.B 'l!a.ll~ the :so·-o811ed.. 'Iroutes du. aen" '. The'vaJE'io'ue group a, of lowLapeakel'l!i are fed vi 20 (+ 20 spare) varia.ble amplifierEl by

20 (+ ,20 spaxe) power amplifi el"l:l ,of 1201' t wh 116.1. for the 10lY~tane louda,paaker,san addi ti9n 1 1,000 W EUIlpli.fisl' is availa.ble ~ .In the interv 1 bet-weeD tWQ Jlerfo1"mances, dul:'ing 1ii"lriCh the mas,ter c:ontI'cl 3]¥1a.ra.tus is look:.ed. ami all ta.pes a.l'\Fi:l being:reeled. back: into theil:' starting po si ti ons ii ill sepuate wetallati on is &u tOmB. ti c.ili~y playing a ecnrpos.1 ti on. by Xenak:is, meanwhile the film pro j,8CtorS ~ p:r'o,ducing on th,e. m1l1 a te'xt in three lrangu.a.gee explaining the next pe:rfoltmance to the new audiencu filling the P vilion ..

-.-III~!I!-!II'_'

The wh.Qle inatsJ.1B.tion is supplied via&. 200 ltVA transformer, whi'ch st'Eipa dcw.r.t ·the 11,000 V of the hish~t.en6ion nmj:ns to 38,0/2,20 V 'I' For opeY'e.:tlng the relays and other auxilia.ry equipment" as well s fer e.mergelu~y lightingt, thers' ie an .a-ocumuJ.ator~bat.tery for 60 V

d .• c.. wi th a. capa.ci iCy of 120 OOIpA1'G .. hours.

A la.:rge' l'tUlllber Qf vaniila1;c'lI:'S, has been i)16 ta11ed, I'or' cooling the equipment a.nd for ,a.ir~cQndi tioning ·tha Pa.vilion ..

'-1.-11-. -.-

'(finale) of

Last page _

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-Le.b ~w.r pt'f.m.'i.r~ 1'ovn;:t..e£ hU.tliU·'~ W'ilt.1!&6 J,M,OIteM:l(. ~1Mj(A,t..M ~.

L.ES RQUTES IDiU 501

IRoute I HI III tV o

V IV.

Viii v~n DC

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Insta.llation 01' the JIb-Hips-Pavilion WOl"ld-Exh.lbiti,on:B:rusii1lsllS

The pl:ogralll--\lllusic has be'an recorded in thr'ss ch1UR!!els on a r'!i!Qr::u"der f'oJ:' psrf'orateci tape. The ~~'lO of eao.h ,,1' th.e chBilUllela is fed. int,o' a. group of regulat ing~ and pO'i'll'aI'"",ampH,:fie~s: ,0

GTQU:P:g of looofJpeekEll9! Oil' 5ingle'fi.'l onel:! are alternately s'Wi.tcnad 1;0 the dif'f:el"Elrilt musio-ohe.nrtels by mama of relays at:ld .rcta::ry ... e~itch,e8 of' the ccnt!'ol~inat alla t ion~ Some 450 loudspeiakBJ['~ of' dU'i'flIl'9:at types ue US'eld.,

Coutrc.la I The co:ntrolsignals &l'egi ve:t:l by IO.'eaJ'la of a r,ecti'l"'decr': 'for 'PBrf01"il!ted ts.pe with, 15 c::ha:nne15 ~ The B iglIalaa.l'€! amplified. and. dL:istT'i'buted trough ,cnntl'ol-unit:e '. In this wa,y~

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,2) tb.'e loudspeakers !U.'e switcD,ed of' and. ot!,

3) the ,5 iU'VQ-8.ppa.r eo tu 9 of' "Ii h eI 11gb:!:; ing-ins t a11a. t 1,on is contr 01 ad.

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Film;prcjeoti,on~

;BY' 1)lhlltUlElcf two, f 11m pro j eo tor s in oaoh of' th,s two IO'p el'~t 111-1l~ b O;X:.e e, the f i 1ms a.r e shown ont h.e wall il of' tha 11 a.v1li Oil ~ 5yn.o:lu- ani smw i tll light and music i9 ~().ntrolsd by th.e interlock.

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NOMENCLATURE DES IMAGES OP';l'IQYES

Cettenomenclature est donnee simplement a titre iodieatif. II a paru, en effet, intere_ssant de donner .Ia liste des documents selecrionnes pour Ie Poeme Electronique, Hste qui pourrait determiner parfaitement Ies bases d/une sorre de musee imagioatif ideal et qui constitue en eUe-m!me un chob: profund.

sliQyENCB I, DE 0'" .A. 60'" : GENllSE - Les singes, Ie taureau, Ie toreador, III tete du jour de Michel-Ange, une femme s'eveille.

S:llQUENCE n. DE ,u" A .120" : D' ARGILE ET D'ESPRIT - Cr4nes, coquiJIages; pign.es,quatr,e aavants, tete de negre congo, negre maorf, neg£e mayogo, fiUe mangbetll, Ia t.rume couebee de Courbet, art attique. art sumerien, I.'egypte, dame d'EJche, Ie masque de Cesar, art eeltique, sque.lette d'bomme et dinusaurien, tetes et mains de singes, Ies bufflea, les masques eskimo, la ,reec : Miro,. art de Ceylao, art de Ia Siberie. art de Ceylan.

SliQUENCE 111, DE 121" a 204'" ! DES PROFONDEURS .A L' .AUBE - Yeux de hibou, hibou, pintade, dlndon, ceil de femme, tete de dgale, requin, coquillages, dieux de la guerre, des pierres, Ie rui de Dahumey, geso, dieux de la guerre, fa main du squelerte de Cro-Magnon, camps de concentration, jouers guerl"iers, descente de cruix de Giotto, un Christ 12·, une Nativite de Chartres, une vierge ee enfant, l' Ange de I' Anounciation, Dieu, Ie grand compatissanr, 13. Vietge de douleur.

SIlQUENCE IV. DE 205'" A 240" : DES DlEUX FAITS D'BOMMES - lIe de Piques, the AnkOl" • .coquillage. Ie Boudha, coquiJIages, ,iede grec,art n~gce, Ie Boudha, les mains de Houdha, Ile de Piques .

. SIlQUENCE V,. DE 24l'" A 300'" : AINSI I?ORGENT LES .ANS, _. La foule, un ingeDieut atomique. travaiUeurau telescope.. travaiUeursau .givre, nr3tosphe.re. telescope,. soudeur, funte d'acier, chb;urgiens, mineurs, cimentiers aux lodes, beeuf de labour, cheval de ferme, les cocasses :: Charlut, ainsi que Laure.1 ee Hardy, Ja cremaitler'e de Pusine, bombardiers, fusee radar, fusee et IUDe, des enfants inquiets reg ardent; explusiuns nucleaires, I'echeveau embrouiUe.

SIlQUENCE VI, DE JOt'" .A 160'" : HARMONIE - Les treillis ordonnes de la tour Eiffe], divers elements et pieces mecaniques de machines, galaxie, eclipses solajres, flammes solaires, les cocasses : Laurel et Hardy. deux amour'eux sur un bane, deux amoureux qui s'embrauent, Ies bebes.

SEQUENCE VII, DE 161'" .A 480'" : .ET POUR DONNER A TOUS • Les 4 gratte-ciels de Pari., la yiUe hirsute:

New'York, Ies cites radleuses de Marseille etde Nantes, la. ville de Cbancligarh aux Indes, Ie Nautilus et Ie Modulor, gratte-del d' A.lger, un mur htrsure, une ville hirsute, un mu-r apparedlle, un plan de Paris; I.e Corbusfer, I'urbanbme d'Alger, lei routes d'.Eur.ope,. jeulI:. de deux enfants, la main ouveeee, la cap.itaJe de Chandigarb auxIndes, one femme seule, ungoue seul, une memere seule, ungar!roD. seul, ,clochard .• gusses, un chemin d.alll la boue, Ie baJJet del bebes.

I'

poeme electro-nique

PHI LIP SPA V I L ION W 0 R L 0 E X H I BIT ION B R U SSE L S' 1 9 5 8

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