OPM and functional furniture in heartwarming harmony

MANILA, Philippines — The constant presence of music in the lives of the Filipino cannot be understated. From the moment we open our eyes to the chirping of the birds in rural settings to the keepsake songs blasting through phone speakers in urban jungles, and everything else in between, such as the radio stations blaring modern hits and reminiscing old favorites, television shows of top diva-idols and homegrown bands, live public concerts and musicales and performances of lauded artists. Music is our there-is-a-forever companion in life.

Enveloped with Original Pinoy Music (OPM), some student-apprentices of the De La Salle-College of Saint Benilde, inspired and influenced by iconic definitive classics, nostalgic tunes of yesteryear and the new breed of repetitive beats and sonic riffs, incorporated these experiences in their very own pieces of functional furniture, such as solitary chairs and sturdy benches, comfy sofas and relaxing recliners, elaborate tables and elegant dressers and the list goes on.

This remarkable collection, undoubtedly a first in our islands, was sparked by geniuses such as Philippine National Artist for Music and Literature Levi Celerio, Philippine National Artist for Music Lucio San Pedro and Philippine National Artist for Music Ryan Cayabyab.

But it did not stop there — other influencers were singer-songwriter, director and film scorer Rey Valera; the power vocalist Regine Velasquez; local music icon Rico Blanco; pop group Hotdog; influential ‘90s bands such as South Border and legendary rock band Eraserheads; and even newer nine-piece group Ben&Ben.

The melodies and harmonies that brought about these stunning yet functional fixtures were songs such as Sa Ugoy ng Duyan, Kay Ganda ng Ating Musika, Limang Dipang Tao, Ako si Superman, Paraiso, Your Universe, Manila, Rainbow and Easy Ka Lang.

In addition to songs as a part in the conception of the project, other muses included the tinkle of chimes with the wind, treasured tribal instruments, the whistle of the breeze, the rustle of the leaves of the trees, the rubble of water on brooks, the flow of the river and even the crash of waves on the shores.

These furnishings were made from locally-sourced materials to represent signs and symbols. Some examples that delved on relationships with others tackled steep wooden curves to depict a sense of home and comfort, unequal steel handrests as a form of support while depicting the act of hugging someone, an embracing wing shape as how a mother bird safeguards her young ones and solid mahogany wood covered with velvet as a constant companion to lean on during difficult times.

Several mirrors reflect our images and emphasize self-care and self-love — to fix and prioritize ourselves before anybody else.

Other fittings utilized metal strips to showcase sheet music bars and unravelled ribbons, abaca and t’nalak weaves to create a hammock that reminded us of our childhood, angklung and bamboo panpipes that symbolized the cries of the avians, blossoming and curled woven rattan and buri back and armrests to state that our local music scene will always adapt and multicolored strings arranged in a curvilinear shape to spotlight the hardships of loved ones to support one another.