Laust Sørensen, Michael Droob, Laura Kieler, Lieven Dhollander
The magic of the theater is drawn by the stage curtains division between reality and staging.
The pavilion's main material is mylar, a particularly strong type of polyester film known from solar panels and space expeditions. It is made up of a series of circular spaces of different sizes. The spaces are lighted through skylights in various colors.
The plan is infinite, reveals no front or rear, entrance or exit. The mass of the fabric can be entered from all sides. Up close, the viewer is folded into the staged reality and becomes part of the story. The body's meeting with the fabric creates motion in the pavilion through the liveliness of the material and creates a constantly changing spatial experience. The rooms' different color schemes and eternal spatial change is the instruments of the drama.
When the viewer reaches the pavilion's center, the colored light ends, and the viewer is at the same time in the middle and on the outside of the story, in an inverted baroque room of gold with a view to the sky. The world has for a while been reduced to the sum of gold and airglow.
1. As a viewer you only see the scenery from one point.
2. This scenery invites the audience into the middle of the stage for a look behind the curtain.
3. The pavilion has spaces with varying degrees of intimacy.
4. The pavilion can be entered from all sides.
5. The color spectrum in the roof reflected in the silver inside.
6. The pavilion's central space is golden and opens to the sky.