The outer facade will have the appearance of gossamer like material that creates a semi-transparent veil for the inner volume which appears to be made entirely of light. The building as a whole thus becomes an iridescent object that it is half there and at the same time in a sense not there. Perpetually changing colour, both solid and transparent. It is alive. As one approaches the outer veil of the building the inner volume becomes sharper, while the outside remains slightly off-focus even in close proximity. The facade of the inner volume becomes the source of light for the atmosphere between the inner and the outer forms. Having entered through the outer veil one finally sees the inner volume sharp edged. This is the penultimate atmosphere prior to the theatre event itself.
As spectators approache the building, the public within the outer volume will appear as silhouettes moving horizontally through planes of coloured light. The figurative line of the human form thus abstracts the minimal line of the inner facade. Arriving at the theatre is therefore the beginning of the theatre experience: the public play the active role as both the observers and the observed. As stated, the combined colours of the grid of the inner volume can join to influence the outer veil (and the space in between).
The outer facade will be connected to the inner volume on all six levels by floating bridges and staircases light as air; an adventurous and yet stringently composed labyrinth landscape is created. The bridges form a continuous line to the light installations of the inner volume, making the experience of the building one of fluidity and continuity. Once the spectator is in between the two facades - the inner light facade and the outer glass/aluminium facade, one is facing both the real and the reflection of the real: the reality of the inner light facade and the reflection of it floating in the surrounding forest.
The simple, geometric structure of the outer and inner facade is repeated in the heart of the performance area on the balconies that surround the space on all four sides. The horizontal line of the grid which supports the balconies has a thin line of coloured changing light within the surface of the structure. Having entered the inner volume of the theatre one is aware of the same classical formality of the architectural language of the building as a whole. You are now inside the heart of a three dimensional drawing.
Steven Scott and Trine Holm.
The title "Erwartung" (Eng.: Expectation) shown on the website is a symbolic reference to the composer Arnold Schönbergs
(1854-1951) opera with libretto by Marie Pappenheim. It is a monodrama set in a forrest.
