Working with designer Rhianne van Rheede-Toas, the design schematics for a chair, 'Sedemus' were approached as score.  With time and pitch as parameters, each dimensional perspective is read and realised as musical composition.  Subsequent amalgamation and the use of binaural panning creates a three-dimensional sonic representation of the chair.  Sounds used are contextually sympathetic, informed by the chair's intended environment: office space.

Schematics within architectural and interior design are an example of instruction in which interpretation is not subjective.  A design schematic is a true representation of an object intended for construction.  Flaw in design equals flaw in truth in relation to the completed object as intended.  In comparison, musical notation allows for a degree subjective interpretation.  Design schematic as score is the dualistic: instructional to enable reading yet with parameters that are open to subjective interpretation.  Subsequent realisation is wholly instructive; it requires mathematical rigour to be definitively representative of the contracted object.  One way in which design schematic differs from notated music is perspective: the realisation of both is three-dimensional yet only schematic considers multi-perspective instructions. 

Exploration of design schematic as notation offers a potentially valuable method of instructions for the realisation of composition: true sonic representation of a physical object.  An object's existence as sound implicates questions that have a deep philosophical resonance with objectivity and perception.