This new perception reverberates through the relationships that people maintain with memorial traditions and places they consider sacred. New technologies, by introducing feelings of dematerialisation and synchrony and by fostering a replacement of human memory with computer memory, call for a compensatory reaction, expressed by the growing number of memorial spaces dedicated to past events.

Immersion is therefore a reflection on the influence of architecture on the human being. In fact, a building can have an effect on the mind, on emotions and on behaviour. It is the duty of architecture to conceive spaces that stimulate creativity, attention and further still relaxation and communion.

Immersion, through its cubic form and its proportions, offers two interpretations. It can be seen simultaneously as a critique on the construction of social housing and other apartment blocks in the Seventies as well as an appraisal of minimalist forms.

In fact, to observe Immersion in its entirety, one must circumnavigate the structure before entering it, thereby establishing a relationship between the viewer, the artwork and the entire space. This calls to mind the polyhedrons of Tony Smith, that similarly create a physical interaction with the viewer.

In creating a perfectly symmetrical pavilion whose dimensions are inspired by the geometric properties of the universe while also respecting the laws of proportionality – where each part is equal to the whole – this experiment reminds the viewer that he too is an individual belonging to a whole: humanity. Thus, this structure resembles the religious edifices whose purpose is to increase the energetic potential of visitors, which according to us should be the ultimate ambition of all architecture.