The specific characteristics of the space, reminiscent of a volière, encouraged me to focus on man’s impossible dream of talking to the birds and to include in the space, not only recordings but also living birds. A large cone of sand occupied the centre of the space, with loudspeakers reproducing the songs of 30 different species of birds.
Two elevated chairs were placed near the cone, as well as a structure, which allowed visitors to listen calmly to the bird-song and to the dialogue, which a musician occasionally attempted to engage in with the birds flying around the building (canaries, sparrows and linnets). He did so from one of the elevated chairs or from a walkway of sorts, which zigzagged through the pavilion. Arranged around the space were birdfeeders and water dispensers. Headphones available on the pillars allowed visitors to follow an epistolary talking about Mozart’s birdman and my early experiences with music.