Tn !"ELECTRDBIC POEM.

" IN THE PBILIPS PA VILIOIl

I

The s11v ry and lustrooiil Phill.p5 Pavillo~ looms bel"ol"'e t,ne

visi tor to the .lku.Baela Y fil.ternatioDB..l Exhibition likll a gb . .Ilt shell

of bi:l::lB.rre sha1Je from som~ e:x:ot:1Cl I!I a.-b d. Involuntarily, the visitor is!'ltru.c.k ana his E1 tten ticlU. ca.pwred by the gently curving surfaces

of' thi.a high l.y l'e.marka hI e 1:ndldi.n8 vi th i te po in ted. pe aks ris ing ·to, b!!ligJtl,t of some 70 foe t§ Th.e builLling'1 as w'elll as the 'iE~.eat:rcnio FO&rn." perl'ormad in 1.t1 is the crea.tion of Le (}or'busil!lcf'~ the celftbr,atedFrench~ S\da iii archit Qt e- Th!!ll Foem is the Favill.oD - 51 only axh:lb:1 t a.nd :m i tfl syotheBia 'of art and th1!, La. test scieatifi a e:.nd. tl!OW cal a.chi."",mente, it is O.lI.iI!!i s.n~ .. a. t the "E1PO 1955n that 18 zes..ll.y Wliqu o Every da,tb,ousslldB upon thouEtB.Dds of vis 1 "tDrs B tl"ea.m in to th'l!l Philips Pa:vilion.. ,..hich~ not o~ly for i t."'l dari~ de91.g1l. and eztre.ord:i:nar.l( oonBt~ct1on" but also for thl"l str.ange ji,D,d ex.trawg8nt l.ight-and-aoand sbQ. given iu:ida of it~ haa b.come on. of the mOl!lt d.l.sou,ssed attrBctionB Df th,e mhib1tlQn"

I

~. '1iriS! tor walks l.D.to B.:a. almos t empty enclos ilJi:'e br.nmd d. by bU'e and lofty we.lls th.at curve Cive:r his head into sadri!,! su;rfaoea finRll;y sweep up to' three a:p1ce9~ thus formlng narrowing c'b.ilnneys,

a51 i.t 'WiI!!'re ~ au.rpl'bl!ld~ be gazes about lJ.:U!l.p seeking 9. central point;; but the! underlying idea. is difficult to grD..ap Pl!el'log into the somiabacari ty e.bov\!!I. in c,ne of' tbe ap1ces he Budde!llly- reoognises thfl le.rge-s'cale .mod.el of sn atom ha:nging by &. scarcely vl.aible t.hraad" iRiB glan.cl!!!I wan.d.era to a aeeond apex and there he' diSCOVeirBa. nude

f 1 guI"e 0 Te 8 tart off' wi th" he v is i torI' l. B only half &lnll'e of' w ha. t

·he sus fOl" the dea.thly qU1et interl.or does not yield up its. SlioTet a.t first ,glilUl(l8 ~ ..Itt till,s at.ag.e he wonders wh. ther ths wadel and the

f1gtU'1! 8,re' mean:t to 5,ymbol;'!..3e M:a ttl!!lI' .and. lIfind ~ 113. to a. question of"

human d.f8n,cel.s5.Iles& fAcing the tm-eat of da.ngl!l.r" While the obsl!ITVl!lr, hiB head. full of all that he has seen in ether pav:L.li D.II.~ I is atill

asking lU.Jllgelf what Ls BOW to happen the npoem!1 stfU"'ts; a. wave

of' imagll!'l6 p sounds i ligh:t a.nd c:olaur breaka over h1m~

It only Ia.Gt~ eight m'l.n.utee, thi iii ca.taract of optioal end ~eoustio effecta tha't , changing second by secD.nd ami a ... even shorhr ia.te:rvals. :fill Uti the s'tlB.oe that a. lIlomft'Dt ago was aui tit L1f,eleB6~ penl!!d're.t:lng into i1;S fur'th~s;;. corners. Cigantic p1cture·a appeal" CiID ·the asymmetric curve d. walla tha. t CDll.VerS e above Qn!!' a head.

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There BrB birdB i Iie;hes ~ reptiles 1 maskE, i ake 18 tone j ide ls J girls,

Len king ann DUB 1y U ll'l1ard ~ 'Cui ldi rigS all d e te el s t"ru c t1.ll"GI:! are asita "!If ~ mushroom explosions and ruins ~ crippled chi ldran ~ but a.lse fi 1m-at us ~ iwentoI'a., tools a.nd.many othel' symbols, 01' a.cstract com,pos! tiona symbolizing iih ole ep,,"chs, ~ All thia is in. hndell:l to r CI prel!!lfiellt thEii dra.watio. :9tOry of mankind ~ So development right up to the N,I;H!eJl. t day.

1 tiEl .n are c o an ly a Borne ytha t a.ke't c:hy B c,c:ll 0 unt ~ bat tha over all ef! e' 0 t of tbh aele,ction. of pietlnea 19 to make it cleaol' hottf to inc a i.ta ereation~ hw:na.ni t;r haa st:mggled for ~m.Q.nyBlJ.d bappiheSH 8lld def'e'n.ded its elf againat sorrow and CB. ta.atro phs i how it ha.ol;l been tozn ba.ck and forth h6:tween lov~ and ha"be, between the e Ie va ted and unatt,ul'lab:l.e id!.eal and the in.ert table lrl'1 tatia.ns of everyday llf~~

lie COl" b UlIll'l. e:r '9 is C e na.r Lc G o.m.pri:ill. e~ I1l even pi c t OFi a1 6 e (lll.Eln,C a a = nUillel.y liThe Forma. t10n of the Ee:r th II ~ liMa tter and, Mind.H• 1l000t .o:f ttl.lr! Dep the into t ne!' IJ EI wn n I 5 f"Man. mad.e un t ohi me e If Gads rl ~ r'Menbu!. ld. the 11' W'Dl' ltl j,. 11Ha.nnony n atld: "Thrf! Hari tage (d: Pea terityli. The apclthao,s is of tbe' IUEl,ecil:ronio Poem II (lone erna ,.he mission of' hu.rn:atl.i ty: too ta~k of' p\r,9servin.gwbat ha.a MBn aoquired and of hancU.ng it on to postlsrity is .symboU2IBd 'by the gestura m' a. Mud! that rec:si V,ElS e.nd bas toWB ~

If" t,b.ere were noth:iJ"!..g to< see a. the pavilion bu,t these bla.ck: and llihi te ima.gB is,~ they wQul d. not be anything uu t of the ordinary'~ theT would be a, Bort of piC tl.:1J'e boa lot • nothing mCJ~e aad nothing lass 1i It is only theauri li EHy d em.en ts provided by elactro-aoDUB t1 os and e Ie otranilJ cant ral teobniQ.1!lB s that ~ strange as it may seelll - :1''9e11y lIJiringt:b.e kaleid'oscopa to life ~ One half would be poin tlss6 Ifi thout the Clt.herM and the twe th:ings togethBlJk" wculd. be noth.ing lithe whole ware not tak1tl,splace ill.si,ille thatmyB'tical a:.rc:h:iteotural shape •. It

is DIll;:, by vi'I'tue, .or th.e' ]pia-oa where :f. t 113 ,9t~ed. the. t the ~IElaa tronin Poem,n is EIJ.'Il instrllment of allusion, interpl'eta.tio.n!lD.d pronou.ncem.ent that 13 as keen aa a 6lUxg'eoln1 s ,9ca,lpel~, and. ae IDorcl.a.nt as ~y an 1.Ulpala ta.b let.n:l th"

On. enteri.ng the Pa.vilicm., the Vi,ai tor notices oertain dark pat oh.ea Q1lI. the walls; they abri oua ly .hlivea pUI"poe S! i but whe. t it i9 he ia \UJ&'ble to gne as. The:r ~OV9 to 1'Je louC1spea.kBrs, from lIlhi,oh

e Leo e tl"o:oic mus i. e is nO'J pOW:'ing for tlh E €lard. for the :f irs tti me by a.. w::fll:1I1:g BI!l.d a tt en ti v e 11 stenel': ~ 1 t all 51 O1U:Lds extreme 1y odd anli yat i a.t the, 8a!Ue time. th is m115i,0 tB.ke B you .int 0 a. 'IfOrld. or wondler ,; t.t

i9 rat:tl.€ir like fl. trip to m:J.otherplanet. whichlIl.1l:.k.8S 10U frightened hu't ~uI'1olUl. On the other hand~ the indiffe':rentrl!d tar hears

nothing bu.t hignl;y 1"8markab le Sou.nCl ef£ect8 in this piece of lelleatEonio music ~ for whi.c:h 1,.8 Corbuaisor 119ft the ]Tench oompOS,8'.r Ed.gar Var~8 e a.fl"ee hand.. It is made lip 01" T!I tt li.J]g .a.nd whiEl tl1rag !3 ounda; it i3thir'sataning and. plaintive bytuI"liS ~1 t thiLmder9 and i t ;ro~'s ..

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A t one point a human voi eel i8 imi ta te(L~ 1.t 1~ sO lIle 1l'h at like

:£I. cal 01'11 tura a.nd I like the 0 t.her S oI1..Ild 6 j it moves ab au twi th in t.he ennl, 09 e d spaea, from left to ri gh.t and back ~ upwa.rds and riDlm again ~ So palpiil. '01,y does i tawing hi thaI' and_th.! ther the. t the audi etLc e try to r'Qu.ow its, path,. You. can see "!Iheir beads moving. At a;nather

point - whetl the pi cture of the a tame explosion appeara - a thund.elt"oul'l 1'0 aJ:' fills th e ,f'avi li on r, There aI' 8' aD aut 4DOlouQlBpeB.ke:I'B J a.nd when

the di n f'ro~ ill of them: at one eo starts to verge on. the intc lel'ab le Q the vi s HoI" really ha 9 a Ben BB of 001. ng in the mi ddle of thlng',a t and al:mes t believes he can f'ae I the B,ir tI'ell'n ling_ L,i~E! the l:J1lage!:l J the sounds are cone tarJ. tly chBngi fig ~ scaroely leavi DB: the li.s t.eneT time

to TEl'fleet. The hun:an e B.l' is exhaus ted by the graa.t t'lWllber of U1I,USua 1 1mpr eSl;l io na 1 t has to ree:pond ,~O '. The '1'"01 u:me Val'iaB between 40 and

1 ,0 Ph on • The Be is tha -t i e se a.I e Q:f th e fl, e a 18 c tl'Oti. 1.0 a (nmda & ol:Ultds :rang ea from mu.ted 1n1.l.8ic of the sph.eres (illustra.tin,g the hirth of h1,JIDBJl hoped to cra.shing dissone.nce (;hen a. oa.ta_~trophe anter~mto the'plot .of the drama) ~

To the Pl.C tori a.I and an ou is ti c compcnan ts are adtied 11gbt mild colD\U"~ Tn!'! p~oture!-CI.Ild.-eound sequen,ces 6l'a aOOlompanie'd bY' lUlllinous ef'.fe at.lll. oonjured up aut nf .E!I E:!vel"'a.l hundx·ed red, blUeB ~ ,green.~ vio let ru:ui yellow fluorescent l~ps. At other timesimmensa pai:(lh.ee of

light of C ompLemen. tar,r or cl ash 'ing co. lQu.ra axE! 1l1'Clj ectad "by- ingeni aua eya te.1m of mirrors on to the walls around! th e bi.g fi l.Jn pictures at the B e.m.e: tLEIlS!, eo loured stripes mQV' e rOi.md the walla ,;tb.es6 stripes are i:w~ 3 of' a Tlc,ta ting du o proje C ted by alii. epidia 9CO pe '" Once or twice there is darkness for tS; split s seend e:nd..j in the tlfTO balloWB in. the roof, the atom model and th~ naked figure oocome visible; irra.d:ia ted wi th invisible ultra-via let light:, they now shine. forth and exercise their :!lpe II on a.ll ~ .But th en. cornea ill i::nJ.rat of light from the colour Cilrgan; the ;r adian ce di e S arJay and awe Us again I or di ,iii sol V'ea intO' fla.she s tha. t h1ll"t th. e eyes.

For this C ompl ic ah Ii in teI'pl~ of a pace, image, sotmd t light and GO lolU' • in ten d. a d to co nvey J3.. !llHii Bag' e a.n.d. no t me re ly to as to n ish t.he vi s1 tor '~ it is ne OEl ssa.:ry that Bcena eh auld fo 11 Ow tslcenewi th

al most 'I.Ulima.ginable exa.ctitude. The liibt and sound sho adll.eres to

a. tim.e~tll.ble of seconds and fiact10ml of ii!I. second ~ 1a CorbuBie P eal Lsd

ttl is time -ta.b Is IIrn.Jlut age" ~ bllt 1 t would!. be ,apt er to oall i t ~!seGo!!'J.dege II • DuriIl,g interva.ls a.s brief as befora-mentirnned, such and suah B. picture must b~ screane d.t certain sounds must be ileaI'd ~ and the pl'ee cri bed light and colaw;' RCCrnIlpan imentB mUBt be .in ae'tioo.. A moment lat~ the SCBIH!

has ohanged t btl. t a.ll t he components of tb .. 6 SliElot!l.!.C Is Bti 11 f1 t together

e!S if' made to IIl.a a.':n.u·e. Ami so it all cont tn.ue 9 rlgb. t u.p to the ufina.l chord i~. C'ompres sed in. th ie manner t the maGsa,ge that La Corbua ier is trying to C on,vey liem.ar.d B of the vi Eli t OJ:' much a ttent ion and.. e Olloent'r,e, tiOD and

even a 0 G rta in. me nt. 8.1 a tt itude "

But the ra.pid ahanges of scene are nac9ss,.!UY if any impression is to be made upon the mdianaa. who a.rEl tired ,out from their wanderings a.rOll-ud the ~ibit1on. and whose heads are sti 11 full of the A.tomillDl, sputniks, t:izcarama and. the thOlleand other teahnic.a.l WOndBl"B they have wit:n.essed. The sensations rEgisterec on the faceD of viSitors are va.rious" The eca Ie of :feelillgs ranges from p~"C:flJund shock tic hilarity ,from a.dmira:tion to aceptioislIl. Howe\rfll" J t.hey all agree on

one point. the IlElectronic Poem!1 ia fascinating a.nd 1lil.9tOniShinB'~ and mus t not be mis sed"

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1£ CORBtTSlER I' 5 uE1ECTROUIC fOEMil' ~ THE PHILIPS PAV1110~ (Brussels I World Emi.1bition 1958)

by

J AIUS AENAKIS

D:ue to the ifil,t:ica. t1 vB of ,Mr Lou1.s Kalff' ~ lDirec tor' of the department i'or ex t with- Fhili]_"'!9" the IlliUlIlgement of the firm e onta.c ted

La Corb~.u~!ier 'early in 1956 a.nd, RskeCl!. him to d.esign ~ execute thei_r ]pC!.vilion fOl."the BruBsel,i;!' World ExhilH tion~

1'1 should, like you to design the Philips -.I::"av ilion in such a. wa_y~ tba.t th.ere b no n~eI eli. for snowiD,g even the tinie 1St ma.n1.rl'ac-m.re d !il.Iticl,e. Tba t mee;ns tOprOlllli by mos 'I;;a.dventurous D'leanEl ~ how much m-e ,a~bai:ng

gu_i cied lOy teclm ic-al pl"logres8 in, the fi al:~ of 80U1ld Blld light 'effects

for -6,1'1.8 fu tlU' e U •

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I.e Corbuai,er': lIiI shall not crea~e a.pavilion,~ but an. E,leotroni~ Poem - a ja.r,mni.ch c~lnteldH; ~EI a concootion of the following poetical ins: re die fit s,:

1) light ~,-'),." caloro:' ... ) image

4) rhythm ~. ) .• Bound

c) M'chitec,ture

All these com.ponents will represent an O'X'gMlC s,ynthesiS accessible to 'the Pu.bli c" d.emons tr'atinga tthe !3 amEl ti:r:!lS the ace eS9,ories used by Philips in th.e course ~f produc,tiQn. 'lJ1he EleGircnic. Poem wi 11 la.st

B m.inuteB!I~

1a Co;rbus leI' himself combine d light ~ ooloU'.l' j and i~ e '. He 'ela,borated the optioal Ute:lttbookU, the visual tran.s:iE'ormatioD of real i'a.cts of the ~,T'e'S em ce ~ .rangi.ng from the micro-co amos 'of atoms ~,and the Imchir:u:~8inf a.ctol'ies, to the smiling face 00' B! 'baby and th.e Chaoe among th.e stars~

F'or compo Bing the co mplemen t,uy musio, betng unseparable _from be th. the real ,.and. the psychic phenomIl.& j Le [Jorbusiel' ehoo se one of' the mest pI"ominen:t con.temporary composem Edg,e;r VareS€!, the "yiJ"ung' man of 70" ~ the elqllosive !!'orel'unue;ro of sound-disa-as ooiation. rhyt:lm_ic. dis tOl"tiou ,and disentagled melodies ~ (Duration. 01' this mUBicpisce e lIIinut ea;'. J.. - wa,s 1!llott ed a SIIlall er task byLe Corbuilliliil:r', to "ompose I3,n inter-lllde.

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Origi.nally the contolJ.:l.' of the pavilion was plannecl as a clo'sell'l s true tare with concave, OCrIV' SX, and plane surfaoes rtf wi re ne tt ing ~ndl pro j eo tillig PI gun. tubes" Qf c:amen t ~ vthi is t the em ire cons tIne tion 9hOllld 'be f'aste:ned by irn'lune<PQullI ana pans ionato a structure. serving at the e a.m.s time as 1"oo:f.

Th e parll ion no 1 tis ab ou t 500 pel' B on s , FU:rthe rrnore ita co owrnQ d.a t aa the p:roje ctic)n:~ ligh.tanrlt sound as W'lsll as the thyra.t:rOD a.pparatUB faI' the c.u.toma tic rele a.sa. Mus:io and sound -eff ec te: BrEI recorded cmma.gnEl ti e tape~

in Oatooo r 1956 Le Co.::rbudel' 6sked me to Htudy the arehi tee tural an.d techn Lea.I dfrslgl'l o:fthe pa vilio J1I. ~ I bali to Liis card B.ny pr,eN)onoeived idJea. Wld start from anew to find a.."1 a.r-ch i. he-tara.! solution cCH."rflSpO:l'l.cling' to this e;.x;traCl rdin8.ry combina. hOD of ar til:! tic ae tL V' i tie s, (The art.ie tic compcmen tiS were d efi ne d lbor Ill' Le c:orbusier and lli Kalff).

The raml t of thQ an e.ly-a is fi t.a thB fa 11awing equations: 1,) Hall for the audienca ,,;. 500 vi ru.. tor ~ - s tandling only

a) lIlt orior Iii lU'f ae ebe tWE en 4QO and 500 m~ ( "s tomacn u) b} Two tu.ba~like corl"ido,l"s fot' 1ntran.ce end exit ~

2) Chara.::: t eri a t ic a oft he audi to r1 um and e 1. e c tl"O- a,oo'lJa ~i e fl' 8y8 t em _ E;xtreme ly all DTt rElIVe r b ~ ra. t i [Inti ID.e; avo i dl.irJg of' 1'1 ar-a.l.Le ]. SUI" f' ae as (nuner ous p;:Issi bil1 ties for reflections;; no tatrMedroluil (1'6'ViH'beration throu@1 b:l.section of 1id.1ldl'i1Hii II); al'cned.!!lUl'fac,es with

... co ntin.1 oualy a.hBn ging I'a d:iu;e I.

, ) Fra j1e ction of' Ii ght ..

Receding BIll"ftu:::es ~ gathering varticaJ. _ Cti.a.gOnall and. oblique light; movable ~ ea.t ch.iQ,g~ re 0 e ding t and rotating r OQms •

4) Technical cons tru.eticm. ""

PJi.a1n, well plenned.~ if possible tes,,,ed slll"facali!l; perhap:;::I' gelfsupporting bowls or Shells for the ceiling.

Th:rClU~ FeI'BonB.l crQutact wi tb. E ~ Lafaill e W1d the knowled.ge of'

hie 51 tud1es ~ we wer~ already acpllll tome d tc cano1de ed hyper'boliopa.:t:'B.boloids ~ Tb.~- a:re the means thl'tilugh Which t.he .e.:!;Jove-men tioned equa;t~ i.ons could be solved..~ It is logical that a structure ao:nah ting oIa eombination of conoids and h;rperbolic~pa;raboloids forma not only a p"I'actica.l solut.i on but at thB same t iIIlfii! a oonvin.ciIlig" aroh.it ac tural image ~

Th.e reBult:iln,g fo:!'m i6iboth ma.t.heIll!l tiClally strict and. pla.atica.lly

organic;

Fig~ 1 ~ .l.nterior

Fig. 2 - £ea.....1c.s re.sultin.g from the f iI"st two h,yperbolic-p!U'aboloid. s Fig.. 3 ,~ The third p.e.Eik "h.e-lancing nn.d !]liftingl, the fllst two

Fig. -+ - Elab ora t1.on af archit ec tura.l f.,a,tures.

~~4t~i "'~~.

T:neceiling was intended to be .either corrugated Qr .self-sn.lpporting,

Bow could such !1, com! tru.ction bs realizad. ?

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The work too k se'!lsr-a.l 'il'eeks ~ A190 many !' ela tionB had to be es~ablieh,ed in o:rder to find two personali ties " suited. fer a.

d::1'f 1cu 1 t ta sk ~ On€! ~a. physic!.::: t (Mr. Vreedenb1.U~, fl'ofel!u::lQl' of Uecna.ni.c sat the Uniwrsi ty of De.lft), a.nd the othe:r. a o ODS tl'UC t-

ion engineer (M:r ~ DUY,B tar.f adm.i:nis t;ra.tol' of thB firm - STRA.:BED I llrul!'.u;lels,) ~

Within B f'or'tnigh t ~ tb By i!3.C C omplbhad

e.) the 'theore tiea.l calc ule;t1on. of thebyperb Q lio- pa.:rabuloid bow 18 for th e cai ling ,;

b} en equilebriUIII. test by means of eo aaa.led down m.odal in the la.bo:ratQry~,

Acoord.ing to thG se invas tiga, ti onst:he cma true ticn Df the 8nt ire :pa.vili.on in hyperbolic~parahDl(liris wa.s possible .i thout dlifficulties. The bbWls oftna l5lel£'support.in.g ceiling e:.re of 5 em conorete. Th\lB the pavi lion of the E1"IJ.i!I:!!Ielst War ld. Eliliibi Uo:n 1951:1 rep:rBBe.n.ts a 'teohnioa.l noV'eltymt,hregard. to the HynthetieaJl1l1ica.tion of' new (hyjerbolicpe:ra.'bo 1 oid) SI urf ac ea ~

Not ,of ten does a teum of top t Elch nicians and physi oiSt9 C ooperat B

11 t such a ah art ,;notice in any ar-ehL tee tura.l work ~ But b.el"el;.he d.i.fficul ty l&if' rOver(to'ming H. tnu tual ign Ol"e.:JlC ,e Ijfa~ 191 imine. te,d,. .It wers the a. tt i twlE! O\f these QUh th.eirBcientificas 'IT\6U as their te,chnical intagr1 ty which resulted:tn a. cl'eation TlElver fE!l'fcrme d. Defore",

Here I []lU,st m.enb onn.ot O'tlly llr ~Vreenl.iELn b:lU'ghand Mr'Q DuNster but espe emily Mr ~ luff.~ a pexspic aoiou9, pa.,tien t and ins1s tent expert ,and ,~II"~ Ta..l£~, the aQOuBt:iGS S}:h3'cia.list of~hili:ps.

Now the ElactronioPoem can,b,a fl'eely dii~played in i til cocoon of revolving apacHa~

In cl aBe eonnee tion :wi th the irw tJ;"lHl tiona iss wed by I.e C o:rnusie,:t" titE!' techni~a.l inEl trIm tiona were t:h.lm d.efined ~

fi!Wol"a.mi.c screens, continn(luslyrepI"lJducing and reSDlvi.ng pictures; app ~a. tus ,t a.lt arne, te l;y' cas tiug light end. d.a.rk colou:::r;>a~; 1"la. e:bmg ef'f',ectsl rangi:ng- frow.the 'lis! ble to the invisible a.rea; c:i.nema. ;l,ll Ulllina. tiona of vaul ta and curved s.k:,ylin!3 EI Elf le.me or froze'n to ice ; magics andtra@Eldie9 by optic maana; plastic ideaa of starting life • ~ ~ elll thes9 countless mean~ and effec C6 keep the lllIudi!mce for is minutes of uninterrupted performanoe ~ wavering 1betwee n uno el"tain ty a.nd. ins tan te.ne OUSI, eomprehen!:l;to [I tranHf'er,B them int 0 Q. l'l'orld wh.ere they cannot ant ioipa.te the saqllenc B

of light anrl[ 8 mnd WB.ves ~-

By 400. odd loudspee.ke:rsl ~ ~is tribu.ted en th ei...nner~ ab90rbing S;lU'fe.ces of the pa.vilion ('7500 m~) the sound is acoustically conduoted from. one p~IYf1honic 800nd a cure: e to the othSl·. 1 S ma.gne tic t au toma tic light Wltd sound tracks direct the t;Qta.1ll'I'C1gramme in one ceaseless mQvement~

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The Phl,lips Pa.rl lion and La Cor'bus WI'" s ElectrO'nic Po,am are m cmtsta:nding example IeI' the eynt-h.eeis of optical J acoue,ticall archi teotural and technical interplay of human C;;!11B.ci tiea ~

1..

1) II Stomach" ~Inner walls

2) Entrance

I.) En t

t'l) Fre e curves

II. 1) Ceiling of inner walla F lrst tom) point.s

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Second pain r.; Ryperboli.c paraboloid. First point

Canoid su.rfa.ce

Fl'e e c UTva

surface

Entrance First paint Second point Third paint

H'ype·rbolio paraboloid sUl"Iace Joining a.:rch

Uonaid s!.U'fe.ce

Free curve (UStomachu)

The th iro. pain'li snpplll'te Ql"l.d hallie th.e first two in equilibrium.

Rafi.nemen t of the !ll'chi t;;ectural lines Fl.rat point

Sa c and p.oin t

Thi.l'ti point

Too conoid line a a.re :repl e.ced by hyperbolic ~abalaids

Entra.noe

~cnci d.

Hype roo l1e J)a.rab olow. Froe Curve Hyperbolic curve

_~"I!!Il' II~ iil-I['-

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THE .PRJ-LIPS J;lAVILION AT ~a E BRUSSELS' WORLD E_XHIB1T.i.Oli 195 B

Technica Realization

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Automatic control

I.e Cor'buei,eI" lVT'Ots the script of the 'IElectronie Poeml'f)1 gi\l'ing Vari!Sls comphte freedom 9.B regard.s ita compos 1 t1on, with the exception of two moman ts fo r -wh ich alJ Bence ,of 8 ound. ii'~ :require Ii. In ord,er to a.:rriva at, a. full aut oma tic control of the perf orma:nee~, a Bcript had., to be me.d,a on the basis of the s~enaric,. This script a.courately dat'em.ine III every Bingle' C on:fi£;1ll'ation tha. t ha.s to be a'xocute,d ll.ur iller eac:h of tha ba.d 0 d,i visions of time in, th eI periorman oe.

This ,SCI" pt:l which migilt be termed the "Bcor e of the basic time sections II forms the- pr-o'gl'mnme for the em t.'r"ol apparatus ~ It indicates Exactly eViary- action til is a.pparatus should govel'n:. in o'rder to call forth the xequi :!'sd picture. eelctu' , and s o:u.lld effect

of the mmn\3l'lt. Such a. p:t1:J,S:I'a:rmo.ial mt:l..El t I' therefa:" e t, cm,rt ain all commands for every Da9io time section.

We speak of "coi!lPlanda" t in th.B !llural~ because often !iHlveral opera.tions ha.ve to take place. simu1 tans ously e .. g~ with the light JI

'l'I'i th tM co lour JI Wld with-the sound. At such moments three OOlmlillds are involve'd. The prOgr'Bml.B could be compared with a. neokla.ce composed of' a number of' p:l.railel strings of beads J the ooe.dsrepresenting the' commands,. This necklace is run along an extended finger ,whicb. traces it ~ Every time a. bead. is touche d,. a command is given to the oontrol

ap para tua t by wh iClh it is carr i e d aut",

fl. commflll.d is only effeoti1;!'e if' it La understood. This also a.pplies to the cor.nnanda in the progri!ilIl!ll~ for the automatio oc-ntrol .. 1 ts rtlangua.ge II is hot spoken 01' ta.ughtby iIllly human being, but nevertheless 'I it is B. human rnvention~ It i13 an electrioal la.nguage.

2 -

Such a C omIllBlld ah auld be g1 ven in the form ,of an ale atric signal e 1= ble of al taring the posi.tion of' a :relay. It should I therefore .. be '!"ecor dad. in suoo a way th at til La IP ele otrl cal l,Bngu.age"~ OBll be re'a.d.

Several recording methods of th19 kind are knOWIl and are f'B.irly o!'ten us ed in mod ern ad iy life.

The :re cording of cOm:m1md e t hat can be traced for- cQQ:veraiio n in to electrt cal signals happens, i'or instanee, when sound-films are ma.de

or 1I'b.el'l Bw.nd is recorded on ata.pe-rscorder. AM rega.;rds the fi 1m~, the sound. is photo,gra.phically recorded on B. na.rrow strip Df the sen.si.tive e ... u.lHi OU, ne:Jtt to the aetual picture. tater on, men -the film is

:p:roja e ted. this t:raak, Wh 11 81; bei ng ill1.lJlli1ia tad ~ runs a.l ong a ph. 0 to cell which translatas the light variations into "ela ctl'ieal language II ~

Wi tb the tape -l'ecord,er, magne tic ins had of photogxa.pldo rocol'd.ing tak.B 6, place. For this pur pos e tha tape is p_rovid ed with a magnetically sisnait1ve emulsi on la.yer. Fer raoor-Cine; the sound. ,B, so-c811 ad "recor~ng head" is us ad. a small ring-slia"Ded electro~magnl3t with a narrow a.i:r-gap_ The al te'rl'la ting current set up -01 the!':!oundin

a microphone. ,Bi'ter haing amplif'ied, is applied a3 modula.tion current to the a.cn.l of the electromagnet. cau_e inga. va;rying state of magneti sID

in the matal"u.l of the tape. POI' l'eFoducticn,~ Bll ele ctroma.gnet of 9imilar desi.gn" call ed the IIplq_ back he EI.I:P~ aomas in to action II in whlc.h the I"everse process talre s place. NOI'l' the varyi.ng magnet1z&ti on of the sound tI'&clt ,Bets up ,Bll aJ. tel'l'1ating voltage in the ceil around the w.gnert, flO

that the tra.ck ill a.gai-n read in the form of en electriC sig.n.81. During l'eccrdillg., if neceasa.ry, 8l'l Ilera.Hi.ng head" is .Bwit chilli d on to e::ra:sEl an,}, previous recordw.g" thus deli1fering a. ·vi.1'ginal tape an i.nch or sc further down,. Not only ie this typa of' magnetJ.c reoarding applied in th£t popular tapEl-re cord.erlJ '. a. EI uae'll 8. t home I but ale 0 in R larssl", .Pr;iJ fessio.nal version (emplOJlSd in sir-ports for recocrdtng :I';adio communicat.ions,. etc .. h The sa mach.inB a may t.a.ke up to, 15 track,s on a. !;!i ngl,eta.:pta •

For recording the control comlJlenda and the sound. for the perf'olr'aaae e of' tb.1E! e1 eo trani.e poem t a aye tem com'b1n1ngpa.rfoI'a. ted tape and the above-mentioned mul ti-t:rac.k magnetHltape 1s uaad , In this

II p9l'f'ota.pe aye tern II' the ta.pe is pMHI"ed UtI' ough a. ape oi al perf-ot I.pe' m&chitull., tiro types of which have ibe en ins tallied in the Philips Pavilio,n ..

For reeo rdl.Dg the .ilound a. machine :for tr p1e~track tape ie used ,aIld :for r,aco:t'd.i.n,g the oomma:nd 8 for the an toma. ti c control .. mach iDe for t'!.f'teel1-tra.ck ta:pe. In the latter- ea.cll of the se tracks can ,ac'c,ommodate twel V'1ll diff'eren t freq.ue nci,Q 9, W. iloh may be consid !:!.ped as signal B. Thel commenci tape i6 thlle capable of giving twel va times fifteen or one hundred. and 81gh ty different command! signals, 'Ihose dura.tion my,

flU" th SI'lllcre f be va.ri!e d ,as desir-ad.

- :>

o!'t;est signal lasts abeu.t 0.1 second, suff:iciently short to direct ,!Wtaneosly performance a.ll the time.

Comman,d: unit B behind. th e pe rfo tape m",ch ina ha.vle aele cti'Ve 91 enen te ~ capable of pi eking up 1 t,s own epecH'i e fl'l:Hl'uency fl'lom thew-hole

ncy ape chum ..

These 51818Ct11f9 e1 emen ta operate lI"ela;ys, which in turn m,ak;'BI the ~ cessa:ry conta,cta as requir,ed by th.'8scl'1pt. such i!lS ,swttch:1ng on or

.I. f a gi ven group of light 01' lQui.h!neaker5~ COl;'EliSpond..1ng t,c th,e 180 cho_ OB pOBE ibili tie s , al so 1,80 con tral units are' required, With f.I.

VJ:.18'. to any possible breakdown of this very complicated equipment, the 'IJ~ole ins tallati on , with the exception of lQud!'lnea.kera and lamps ~ haa been duplicatedl which gi vas us confld£'D.ce to rur; it for 3U: months

on e-nd.

Mu.tui!l 1.nt erferenc e of commands by 1.lld:u ct1 on Bh auld be avoided; -herefore, ea.ch cf the oontrol frequencie,9 uaad, viz .. 10,,)00 - 91.,400 - 6,700 - 51350 - 4.,00 - '.45° - 2,750 - 29220 - 1,750 - 'j400 - 1~125 - 900 of s, differs by about 20% :from thee.dijacent ones.

The :rel a.ys l'cr ci r cui -t1ng the 1 Qud ape' ak'IU9 (one fore aoh lauds pEHtkel') us of the type I:lsed in te lap hone exchanges. which type' hils proved ita re11abili ty~ ,Apa.rt from the ralD\Y'B there axe fi va 4-arm

:rota. to:r,r sale 0 tars, i3sch with 100 contac t9 I' fe,l' 5llD:3 equ.9n tly oircu.i ting

the loudspeakers of' I"l group or series with predeterIllined Bpeed.,~ This

makes 1 t possi ole that e .. g the Bound see s to travel ro.und &1 ang a hor1,zontlll 981'16 Ii of loudspeakers or that it a.l:ise'Bfl'omthB floor to the top Df' the bU.ilding.

Electric coupling

As men tic ne d before~, at two motnents there is a. co nnElct1c n be tween the light~, colonr~. ,and projeetJ.on-pl,q" of I.e Coribu.sie'r I Qld Va.re'se ~ i!ii musiC, a connection. .hich bas consequences, particulArly for the control appara.tus .. The aouad nas been r9cord,ea. on i8. se:paI'at'lli trl:ple-tr ok ta.pe; th'e loca.tion of the' silent moment baing determined by the contx'Ql tape" It will be clear, therefore, that perfect synchl' fmiz,e.tiQn of control

ta.pE! aJld sound taIls is required" .

The pic ture must, fUl"thermore'" be projected simultaneously on two opposite wa.11s by melms of tl'l'Q sets of two projectl;ll's in the two projeotion poems. Th~ S!lJ:lG allpli,e,a to the four spotlight S p:r;'ccN.'c1ng, by me an B o:f e lee tri call y drJ. ven 00 1 our e d di SO 9. moving co 1 o\tr &real:! on the ws.ll ,.

- 4 -

Coupling all the ca. nh ina s to one and the same spindl e seema to be the only sol utd ou here. In pract1c. a, however" this would present enormous me chanical di.f:fic ultie s. llie ctri cal en gin.eering t however,

can provide Wit with an. aqu.ally efi'e c tive ByS tem of elactri c cou pl ing. known as the interlock sys tern, which i9 baing us s,d in the pa.vil:l.on 1'01.1' th,e. p8ll'fect synchronize. ti on of "the pe riotnpe mach in(al and the fi Lm projeotors. ThM.k:s to the' same sy'9 tern it is elso poss,ible~ to start all the neCElBBBrY aJllparatus by pressing sin.gle push-button on the aontroltli.esk in the e.en tral central cabinQ The aamE! de.sk. contains s. number of mel.lsuri~ instruments by dans of which all routine checka on th e Lns tall fl ti on cnn be mde ~

The ,moment ":b.e starting but to!.'!. is prees ed the sound and COIllIiI<ll1r1 tap;lB as well as th e f~l.m..1n t:: !i.'l projectors should. bE! at thle apprcpriatu starting point. After starting l' <l, nwnber of synchronous motors, a.LL fed fro m the a rune ge:o. e ra. tor t en sul' 9' a u.nii' or m sp e ad ~ pe r1lli t -ti ng oill y i.na1gnificant speed n )J.ctu&tions II

The light is produced by groups of inc9J1desoent and of tubular fluorescent lamps in a.ddi tion to 4- spotlights with colo'lll"ed discB,~ Tos' in t 'en 9 i ty ,th e 100 at i on ,and.~ l'fi th l' e epe c t tc bhe IS tar- ape eke d ceiling, the mOVet1E1n t of the light, are gove:rmui by the control epparaws • .P~rt of the light-s:ffects is :produoed by va..riati on ~n light intens i \1 I such 8S a gradual di . .mmiDg and bright ening of' th.e ~ight. This is done wi th the aid of thyratrone (electronic relay

·Va,J.VIiIS) t' a aye tee ale 0 used to control the ligbting in cinemas,~ theatres., etc.

In crder" to operate a. lamp or group of Larape in II.cClordru:'l.ce with My con ti ngency o:f the sc ore.li up to :f our relays are ns ce,a.sary: one fa r gra.dually increa.sing the light Lrrc ansi tYI a ~econd cna for gradually dilllllrtng and an othe r t'll'O :for the ins tan t anee us effec te, viz. suddenly full on and suddenly off. There is a. total at 2 x 30 servo a.pparatus for trlmslatincl' the cOJ:l'~~nnd8 of' tho control ta.pe and 2 )I: ,0 dimming apparatus • The piC tu:res 're simul tan aOI.Uilly projected by means .:rr -:"o\U' Jll'o je. etc I"B. Two of these are produc inS' the la.rgspi c tur as on the opposi.te walls, .bUst the other twe superimpose theBe d th 3Olal1er pictures at the approp1"inte :pl,aces by means of g_ .mirror-system.

400 Loud.sneukers

Ho Le B S then 400 loud !ipellkers hF va be en moun ted OD. the ii'all S

of th I!i pe. v11ion for repro clucing V's.r8SS '3 CHll!!posi tl ell: "- JqlLl.!' t from tllll. t,~ tWeJl.ty~f'ive 20 Yf loudspeakers are pla.ced behind till? J"ail.ing, specially for repro duaing the low tone s . Th.;l ir }lOBi. ti cne , and Rccor~hllgly I'.he

~1 pa th of BOund II are' moL' B or 113 as de tel'm.ina d by 'the: filha.pe of the Pavilion~

- 5

special accus tic arrangem.en t of the composi tion, dis tributed '()ve:r

'.9 three sound. tl'acka and control machine 9" ma.ke Bit -possible to' :produce 60Ul'lCis d1ff,ering greatly in th'sir emoti.onRl imp at upon the listener,. The thrEle sound tracks are not ,en1.y used for reco,:rding the acoustical perf'or:ms,::ul8 t but alsofe,r d.htri buting the ,sound to var1.'ou,n fixed spo'ts, or to l'B t 1 t travel along various paths aJ.ong th.B llla.ll~ the .sa-oalled Urcutea d.u. son!!. Tbe varic'us gT'oupa, of lomispeak:el's are fed vi 20 (+ 20 splU'e) varia.ble amplifierB by

20 (+ 20 spaxe) power amplifiel'E1 ,of 120 VI, whilst for the low~tane louds.peakers an addition 1 1,~ 000 W SJIlplif,ier is available ~ In the

int erval between two p;lrfoI'man cea t dazing wh icb. "toe IllB.S tel.' con trc 1 appara.tus is locked and all tape!3 lU"IF1l being reeled. back into their atart111g !-'Osi tiol'l.:;i - a !iUparate installation is automatically playing a eempos f t~an by XHnakis, m.eall'l'lhila the f'ilm :pr-ojectors aIle produeing onth,e wa.ll a text in three languB8'Ela explaining the IIext p81'iol'ruanc e to the new audiencg filling the Pavilion.

-1111-. -. -.~

The, whole inatalla.tion is supplied via. 11 200 kVA transi'ormer, wh ich st'Ei pa dcwr.! the 111 ~ 000 V of the high- tens i,on mai ns to 380/2,20 V. For opera.ting the relays ,fmd otheZ' aurllia.ry equiPJIlent~ as well iii!

fo r e me :rgen cy ligh tins: i the re is en ace umru..e. tor- 'be. t tery f'or 60 V

d~ CO! wi th a capa.ci ty of' 112'0 ampll'a-hollrs •

. A la.rge' number of vant ila.tO'Z'6, has been ins tall ad for cool'1ng the e qui pmen t and for air.,condi tioning 'the: Pavilion ..

,_ -.-.-li-

(f'nale) of Last page" I

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Ins ta.lla t ion of' th ePb il1lJ3-Pa vi lion War 1 d -.ElJ;:h.ib it i on .Brus:9 e 1 til

The program-music has been recorded in thr·e a channels on a. :r !i!Qarder foJ' perf'oratec1 tape. The mu.alO of each of th.e ahHlnela is fed: into ~ group of regulat i:ng- and power-a.mpl:1:fiel"B.

Groups of lowiE!pe.!dkelIs Or 5ingle~ onee are alternately switched -to the dif'fel"Elnt mU!3j.o-oh.&rulels b~ meoimJa O'f rela.ys and I"cta:I'y ... awitches of the contI'ol~inatalla.tion .• Some 450 loudspeakEH'2 of' dil.fere:t:it types Ue us ad ,

ContrclB ~ The oOJ1tl'olaig,nals W'I!I gi van by means of a. retn;:rrdHr t'Drperfo:J;';e;teri tB.I1B with 15 channels ~ The B igna1B a.re amIl11fieli and distTi'buted trougb oDn.trol-unite;. In this way~

1) the direct current of tila' regulating amplifiers i.e a.dj\.lBted a.ccortiing to the program.

2) the loud sp8olk.er~ are switched of' and. oIl.

3) the 5.eI'VO-El.:pparatml 01' the 11gb. t ing-m~talla tion 1.s contrOlled •.

. Lighting= Elaatronic dimm.ing-devicElE;l control tb.€l intensity Qf' the light of the lamll~STollpa of d.ifferent colours, according to the m.om.entEU',Y 6djuat~ went o~ the sarvo-appara~UB.

Filmprcjeotion:

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It all started on May 6th 1957. On that day Mr:. S. W. Numenn, manager at Philips' General Advertising Division, drove the first vile into the soil of the Heuszei plain near Brussels for the Philips Pavilion at the "Expo '58". He and Mr. K. K. H. Speens, delegated manager of Philips Belgium N.V. are shown here as they are looking 0'1 how the mighty ram plumps down on the concrete pileheed.

An inside picture of the pavilion under construction. Mr. W. Tak, Philips' well-known acoustical engineer, watches the mounting. of the enormous number of electra-acoustical apparatus. '"

+- Far abol>e the forest of masts to which the concrete shell was fastened appeared the board on which the passers-by were informed of the exact cause of the activity displayed on this spot,

Twent u-one metres is the distance from the highest peak of the pavilion to ground level. Long ladders being Leon Matthi}s of .. Strebed" building company to the correct height from where he will be in a position to direct the mounting of the concrete shell

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No, this is not the result of a ramble along the monuments of Egypt's great past. It is only one at the many ways in which it is possible to picture the perticufady photogenic pavilion by means of the camera. Hundreds ot times - already lenses were directed to this extreordiner y stcucture which attracts so much attention. thanks to publications in newspapers and weeklies all ave. the world. It would seem as if a human hand had put an exotic shell on the beach of phantasy.

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A view of the pavilion from across the Avenue de l'Europe.

NOMENCLATURE D.ES IMAGES OP';l'IQ!!ES

Cette nomenclature est donnee simplement a titre indicatif. II a paru, en etfet, inter~ssant de donner .Ia liste des documents selecrionnes pour Ie Poeme Electronique, Hste qui pourralt determiner parfaltement les bases d'une sorte de musee imaginatif ideal et qui constitueen elle-meme un choix profond.

sliQyENCE I, DE 0'" A 60" : GENUE . Les singes, Ie taureau, Ie toreador, la tete dujour de Michel-Ange, one femme s'eveille,

SllQUENCE rr. DE M" A. 120" : D' ARGILE ET D'ESPRIT - CrAnes, coquiHages,· pignes,quatre savants, tete de negre congo, negre maori, negre mayogo, nUe mangbeeu, 1& femme couchee de Courbet, art atdque, art sllmerien, I,",egypte, dame d'Elcbe, Ie masque de Cesar, art celtique, squelerte d'homme et dinosaurien, tetes et mains de singes, Ies buffles, les masques eskimo, Ia grece : Milo,. art de Ceylan, art de la Siberie, art de Ceylan.

S£QUENCE III, DE 121" a 204'" ! DES PROFONDEURS A L' AUBE - Yeux de hibou, hibou, pintade, dindon, <ril de femme, tete de cigale, requin, eoquillages, dieux de la guerre, des pierres, Ie roi de Dahomey, geso, dieux de la guerre, la main du squelerre de Cro-Magoon, camps de concentration, jouets guerrfers, descente de croix de Giotto, un Christ 12·, une Nativite de Chartres, une vierge et enfant, I' Aoge de I' Annonciation, Dieu, Ie grand cornparissanr, la Vierge de douleur.

SIlQUENCE IV, DE 205" A 240" : DES D[EUX FAITS D'HOMMES - lIe de Piques, t!te Ankor, "coquiUage. Ie Boudha, ccqufltages, siecie gree, art negre, Ie Boudha, les mains de Boudha • Ile de Piques .

. SllQUENCE V,. DE 24~'" A 300" : AINSI FORGENT· LES ANS. - La foule, un ingemeue atomique. travaiUeurau tetescope, travaiUeun au ,givre, stratosphere, b~Je$cope, soudeur, fonte d/acier, chirurgiens, mlneurs, cimentiers aux. lodes. beeuf de labour, cheval de ferme, les eoeasses ,: 'Charlot, ainsi que Laurel et Hardy, la cremaitler'e de Pusine, bombardiers, fusee radar, fusee et lune, des enfants inquiets regardent, explosions nucleaires, J'echeveau embrouftfe.

SJlQUENCE VI, DE 301'" A 360" : HARMONIE - Les treillis ordonnes de la tour Eiffel, divers elements et pieces mecanlques de machines, galaxie, eclipses solaires, flammes solaires, Ies cocasses : Laurel et Hardy. deux amoureux sur un bane, deux amoureux qui s/embcassenr, Ies bebes.

SEQUENCE VU, DE 361'" A "80" : .ET POUR DONNER A TOUS - Les 4 grarre-ciels de Pari., la 'fiJIe hirsute:

New-York, Ies cites radieuses de Marseille et de Nantes, Ia ville deChandigarh aux Indes, Ie Nautilus er Ie ModUlar, gratte-ciel d'IUger, un mur hirsute, une ville hirsute, un mur apparedlle, un plan de Paris; Le Corbusier, I'urbanisme d' Alger, Ies routes d'.Europe, jeux, de deux enfants, la mainouverte, Ia capteale de Chandigarh aux. lodes" une €emme seule, ungosse seul, une' memere seule, ungar!;on. seul, dochard .• gasses, un chemin dans ]a beue, Ie ballet des hebes.

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