“Un proyecto siempre está hecho de esos momentos, de esos momentos diversos, de diversos fragmentos a veces contradictorios.”
[A project is always made up of those moments, of those different moments, of different fragments sometimes contradictory]
There’s a creative process called collage in which everything seems clear and confusing at the same time. The overlapping of separated layers allows Enric Miralles (Catalan architect, 1955-2000) and Simon Green (British musician and producer, aka Bonobo) to emanate the maximum creative expression.
They share the same approach to creation, even if they belong to different worlds, creatively and geographically speaking. They both pick visual and musical suggestions from apparently diverting and distant sources, shaping the base for a creative input. Tensions and inconsistencies, growing between the pieces put together, are the raw material of their projects. The many levels, which spontaneously talk to each other and to the artist, become a vehicle to discover the essence of things, hidden from our – sometimes too sharp – senses. They are both able to pick up and represent the throbs of the context, of a suggestion, of a memory.
Miralles with his modus operandi manages to expand space and time, to slow down the BPMs, to materialise several moments in a single sheet and see all the parts of the composition from a different perspective. The reading direction is fundamental: it is always subjected to the sensory reality and therefore sequential, in one direction or another. This path becomes the base of the project, to be enriched with the suggestions arising during the journey.
Basically like Bonobo does in his Migration: it all starts with a sample of a cut and looped piano. On it a handful of notes of a real piano are laid, followed by all the other instruments. This climax is what gives meaning to the creative spark. In an interview for the Croquis magazine, the architect said “The idea should be put later on, never at the beginning”. And Bonobo seemed to be listening to him.
In the song, as in the Scottish parliament project in Edinburgh, the various fragments of the creation are equal and distinguishable. Nothing dominates and everything deserves to be emphasised and isolated, in order to be seen and listened to carefully, in its individuality and in its relationship with the whole. It’s only when we pay attention to every piece of work that time slows down and we can feel what they have felt before us.
And we can also perceive how, as a certain point in the creative phase, they no longer had control over the project and, only by experimenting, they arrived at considerations ignored until then. Everything changes according to the point of view and the listening post. By immersing yourself in this continuous and indeterminate flow, we can see ten and more distinct projects at the same time. On the other hand, the repetition of the small fragments, reverberating in different scales, emanate that feeling of dejavú that relaxes and reassures.
This Dxeconstructivist process leads inevitably to the surprise of both those who explore their creations and the authors themselves – who constantly pursue the amazement. In the project of the Igualada Cemetery, the Catalan architect manages to surprise with incredible architectural expedients, set along a descending path.
An artificial and impacting route, but at the same time so close to nature that you can not possibly imagine that place differently than it is. The moments of shadow and darkness are alternated with those of clarity and brightness. Just like Second Sun, a track in which Bonobo sequences analog and recorded instruments with factitious and disturbed sounds. The pauses and silences are so intense that you can feel the poetic nature of the artificial sounds outside the field.
The final masterpiece is inherent in the preliminary phase of collage. What remains to be seen, heard, felt and understood is the result, free from the doubts of the process. It only remains what is really important, essential and clear.