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FEDER
02/16/2016  | PARIS  (France)

Figueras dazzles in Paris

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Figueras seating at Paris's Philarmonie

Figueras seating at Paris's Philarmonie

Figueras seating at Paris's Philarmonie

Figueras seating at Paris's Philarmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

Figueras seating at Paris´s Philharmonie

In conjunction with architecture practice Ateliers Jean Nouvel, renowned Spanish firm Figueras International Seating  has co-created the chairs that grace Philharmonie de Paris, a unique architectural project in the French capital’s Parc de la Villette. A total of 2,400 chairs with exceptional acoustic qualities, designed in various versions, can be adapted for use in all parts of Paris’s new cathedral to music.


The seating installed in this spectacular concert hall has been specifically designed for this venue, and is named after it. High-profile French architect Jean Nouvel was commissioned to create this unique space which is adjustable to the needs of spectators, who, seated in cascading balconies, experience the sensation of being suspended in mid-air and surrounded by music. Nouvel and the hall’s main acoustic engineer, Sir Harold Marshall of Marshall Day Acoustics, has created a setting that perfectly fuses architecture, acoustics and stage design.

Figueras has worked with acoustic engineers and set designers to ensure the seating fulfilled the room’s exacting acoustic requirements. This project’s main challenge lay in creating seating with very low acoustic absorption which would allow for maximum reverberation and so compensate for the room’s vast scale. The construction of the seating needed to be revised many times, and involved up to 10 acoustic tests in laboratories in Paris and Barcelona to achieve the desired design. Another challenge was to create custom-made seating which would fit into all areas of the undulating room. The space’s 1,800 Philharmonie seats feature a synchronised backrest and seat mechanism so that, when folded up, they take up very little space. The room also has 282 similar chairs with fixed backrests, suitable for more shallow tiers. The seats are upholstered in fabrics in five shades and come in four wood tones and five widths. The wood was treated to make it as glossy as a piano. The differently coloured seating demarcates different areas in the space, according to the architect’s criteria.

Nouvel conceived Philharmonie as an adjustable, versatile concert hall, which can be adapted to any kind of concert or show. This needed two types of moveable seating systems and the Figueras seats had to adapt to this requirement. The choir, behind the orchestra, has a telescopic platform for 319 people, and Figueras has placed one of its most compact, comfortable chairs in that area. The second moveable system is in the stalls in front of the orchestra and allows Figueras’s 476 chairs to be concealed under the floor. Thus equipped, the stage moves back, allowing standing room for around 1,000 people for concerts of other types of music. 

Finally, Figueras’s Oxymore seat, designed by Nouvel, was chosen to increase capacity, if needed — 300 chairs can be used or stowed away, depending on the occasion. Thanks to this adapatibility, the concert hall can host classical, pop, jazz and rock concerts as well as all kinds of shows.

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