Thus, it comes as no surprise that an exceptionally tall, big Eastern Tyrolian such as Martin Bergmann should claim that places become poetically charged by celebrating and carrying out rituals, so that rooms can be described by ascending and descending poetic curves.
The matter they use to create the non-measurable quality of poetry is often equally intangible: Bergmann talks about light, which can be put to use just like walls, or fog, which EOOS have applied to the A1 lounge
in Vienna’s Mariahilferstraße: there, a façade animated by sequential wafts of mist transmits a feeling of transcendency.
Transformation is another factor that lends poetry to spaces. "Different aggregate states for different needs: An environment that is transformed in response to the situation, with properties such as the day and night sides of objects. Spaces are like tools used by people to translate their needs into reality."
In his view, the aisles of Saint Stephan’s Cathedral in Vienna, Saint Mark’s in Venice, or the cathedral of Cracow are environments that emanate such a kind of poetic power. The only changes EOOS perceive in those spaces are their traditional rituals. "Rituals are increasingly being shifted from their sacred context to our consumer culture, resulting in a new responsibility for designers and entrepreneurs towards society."
Bergmann considers elevators another environment that has the quality of a tool, particularly when he thinks of the poetic quality of Ludwig Mies van der Rohe’s lobbies in Chicago’s skyscrapers. Because, seemingly elevators are nothing but small enclosures in motion, while supporting the whole weight of the tower.
Up and down the poetic curve.