In the entrance hall of Montalbán 11, a mural of Induction Chromatique à Double Fréquence greets the visitor. This piece, placed on a niche, defines the building’s vertical circulation module and contains within the elevator, intervened by the same artist, and the heritage-protected stair due to its historical value. In this piece, a variety of color ranges continuously appear and disappear based on the direction and intensity of the light source, and on the spectator’s viewing angle and distance. The color perceived is there, but it is not; its existence is virtual. This chromatic effect produces a vibration that leads and accompanies visitors during their journey.

Induction Chromatique (Paris 1963) is based on the afterimage phenomenon: the retinal persistence effect. If, for a while, you keep your gaze fixed on a plane with certain colors and then look away, your eyes will retain an image of this plane for a few seconds, but you will see it in a different color: the induced or complementary color, the existence of which is virtual.

In the entrance hall of Montalbán 11, the mural of Induction Chromatique à Double Fréquence directs the visitor towards the elevator, from whose cabin they will have the opportunity to contemplate at a vibrant Chromointerférence that evolves during the ride and changes on each floor. The intersection between the black lines pattern on the glass panel and the colors on the background panels produce color interferences that change as the patterns cross each other. The rider remains stationary, it is the motion of the elevator that gives rise to numerous color ranges which are absent in the medium. After 60 years of artistic career, the artist conceives his first Chromointerférent elevator.

Chromointerférence (Paris 1964) emerges when moving a translucent print over the Couleur Additive modules. This relative motion gives rise to color interferences that change with the transit of the patterns. On the other hand, the pattern movement produces motion in the opposite direction of the actual movement.

The sensorial experience designed for Montalbán 11 results in a universe of color created by the shining of light on Tranaschromies placed in every apartment, whose reflections are in constant change due the motion of the sun throughout the day and whose chromatic blend changes with the viewer’s movement. The piece, of novel design, acquires a new virtual dimension when light shines upon it —be it natural or artificial—which goes beyond the intrinsic solid three-dimensionality of the object, claiming ownership of the space around it, and in constant interaction with the events and colors of its surroundings, all without disrupting the flow of air, light, or sound.

Transchromie (Paris 1965). Overlapping a structure made up of translucent sheets placed at different distances and in a certain order, produces chromatic blends in constant change whose reflections cast onto its surroundings. The interaction of this piece with its environment gives rise to visual situation of ambiguous spaces.

The sensorial experience designed for Montalbán 11 results in a universe of color created by the shining of light on Tranaschromies placed in every apartment, whose reflections are in constant change due the motion of the sun throughout the day and whose chromatic blend changes with the viewer’s movement. The piece, of novel design, acquires a new virtual dimension when light shines upon it —be it natural or artificial—which goes beyond the intrinsic solid three-dimensionality of the object, claiming ownership of the space around it, and in constant interaction with the events and colors of its surroundings, all without disrupting the flow of air, light, or sound.

Transchromie (Paris 1965). Overlapping a structure made up of translucent sheets placed at different distances and in a certain order, produces chromatic blends in constant change whose reflections cast onto its surroundings. The interaction of this piece with its environment gives rise to visual situation of ambiguous spaces.

The sensorial experience designed for Montalbán 11 results in a universe of color created by the shining of light on Tranaschromies placed in every apartment, whose reflections are in constant change due the motion of the sun throughout the day and whose chromatic blend changes with the viewer’s movement. The piece, of novel design, acquires a new virtual dimension when light shines upon it —be it natural or artificial—which goes beyond the intrinsic solid three-dimensionality of the object, claiming ownership of the space around it, and in constant interaction with the events and colors of its surroundings, all without disrupting the flow of air, light, or sound.

Transchromie (Paris 1965). Overlapping a structure made up of translucent sheets placed at different distances and in a certain order, produces chromatic blends in constant change whose reflections cast onto its surroundings. The interaction of this piece with its environment gives rise to visual situation of ambiguous spaces.