Working with designer Rhianne van Rheede-Toas, the design schematics for a chair, 'Sedemus' were approached as score. With time and pitch as parameters, each dimensional perspective is read and realised as musical composition. Subsequent amalgamation and the use of binaural panning creates a three-dimensional sonic representation of the chair. Sounds used are contextually sympathetic, informed by the chair's intended environment: office space.
Exploration of design schematic as notation offers a potentially valuable method of instructions for the realisation of composition: true sonic representation of a physical object. An object's existence as sound implicates questions that have a deep philosophical resonance with objectivity and perception.
Schematics within architectural and interior design are an example of instruction in which interpretation is not subjective. A design schematic is a true representation of an object intended for construction. Flaw in design equals flaw in truth in relation to the completed object as intended. In comparison, musical notation allows for a degree subjective interpretation. Design schematic as score is the dualistic: instructional to enable reading yet with parameters that are open to subjective interpretation. Subsequent realisation is wholly instructive; it requires mathematical rigour to be definitively representative of the contracted object. One way in which design schematic differs from notated music is perspective: the realisation of both is three-dimensional yet only schematic considers multi-perspective instructions.