The bandstand exists itselft as an ornament in every park it is settled, descendant of the romantic pavillions in the gardens of the aristrocracy and the post war art-deco bandstands in urban parks.
The idea of the Sphinx lies in the redefinition of the role of such a construction as a decoration.
It becomes more of a living machine, a structure that is the heart of the event responding to the croud, the music, the mood of the party.
The ornament therefore serves the functionality of the “creature”.
The aesthetics of the machine as they were traced in the pop-rock culture of Marc Fischer’s stage designs, the crane mechanisms, the Lebbeus Woods expressive drawings, the steam punk aesthetics of Paolo Soleri’s visions, become the starting point of the design.