Monument of Anxiety - Storyboard

Material

Plastic, metal

Material

Concrete

Materi

Sound

Trains

Sound

Trains, passengers, escalators

Sound

Spatial Cutting

Exposition

Spatial Cutting

Exposition

Spatia

Prop (Atmospheric/Iconographic/Demanding Iconographic Prop The Monument of Anxiety is an eaqual part of the underground metro information system.

Prop (Atmospheric/Iconographic/Demanding Iconographic Prop

Prop (A

Material

Concrete, plastic, metal

Material

Sound insulation

Materi

Sound

Trains, passengers, escalators

Sound

A graduate decrease of the metro noise A slow tuning of the mind

Sound

Spatial Cutting

Exposition

Spatial Cutting

Presentation A tactile separation of the visitor from the passengers

Spatia

Prop (Atmospheric/Iconographic/Demanding Iconographic Prop Even though one may not enter the monument, the title will still be present in your memory.

Prop (Atmospheric/Iconographic/Demanding

Prop (A

Material

Concrete, sound insulation

Material

Concrete, sound insulation

Materia

Sound

Quieter than in the metro corridors

Sound

Quiet The room is completely sound insulated, in the distance one will still be able to hear the metro, but a new spatial calmness has occured.

Sound

Spatial Cutting

Point of no return Through the tall square opening one enters the first of nine rooms.

Spatial Cutting

Point of no return The first of the nine rooms is quiet and quite dark. One faces a large round opening. On the other side lies a long illuminated corridor.

Spatial

Prop (Atmospheric/Iconographic/Demanding Iconographic Prop The Monument of Anxiety is an equal part of the underground metro information system.

Prop (Atmospheric/Iconographic/Demanding Atmospheric Prop Sound and lightning play an important role in tuning the visitors’ perception of the following experience.

Prop (A

Metro

Fjerntog

Material

Concrete, quite rough, all grouts are plastered

Material

Rooms: Concrete

Sound

Wide reverb - Because of the size of the room (7,5x8,9x7,2m) and the hard material

Sound

The sound in the corridor alternates significantly between the wide reverb in the open square rooms and the reflection of one’s footsteps in the round openings

Sound

Spatial Cutting

Conflict (rising action) After passing through the first of the nine round openings one enters a square room illuminated from both sides by two huge projections.

Spatial Cutting

Conflict (rising action) The dimension of the eight rooms gradually decreases in width and hight but not in length. The radius of the nine round openings decreases while the length increases in regard to the golden section.

Spatial C

ll still be d.

large or.

rs’

Prop (Atmospheric/Iconographic/Demanding Atmospheric and Iconographic Prop Each of the following eight rooms are illuminated with projections, showing rooms with equal dimensions but with a false perspective.

Round openings: Stone in large square tiles

Prop (Atmospheric/Iconographic/Demanding Demanding Prop The floor in the corridor has a mild slope so as to make the journey more exhausting. The walls gradually narrow to emphasize a false perspective.

Materia

Prop (At

es

Material

Concrete, quite rough, all grouts are plastered

Material

Round openings: Stone in large square tiles

Materia

wide otsteps

Sound

Wide reverb

Sound

Reflective reverb. The round and hard surfaces reflect the sound of one’s footsteps. As the length of the opening increases so does the periods of eccoing reverb.

Sound

Spatial Cutting

Conflict (rising action) The colour and light intensity of the projetions gradually increases.

The false perspective changes.

Spatial Cutting

Conflict (rising action) The difference between sound, material and light inceases the further one wanders through the corridor.

Spatial C

h and decreas-

urney false

Prop (Atmospheric/Iconographic/Demanding Iconographic Prop The projections expand the square rooms on either side. Even though the movement is strictly linear the perceptions are challenged.

Prop (Atmospheric/Iconographic/Demanding Atmospheric Prop Slowly the spatial perception changes from square to round.

Prop (At

und of es the

e further

Material

Round openings: Polished stone in large square tiles

Material

Eccoing reverb alternates with a wide reverb.

Slowly the sound of chattering people and a vibrant city life starts to trickle through the stillness.

Sound

Reflective reverb.

The last round corridor has a radius of 4m, the ideal dimension for hearing the sound reflection of one’s footsteps.

Sound

Conflict (rising action) The intensity of the projections eskalates and reaches its climax in the ninth and final room. The intensity of the light emphasizes the scarse dim light in the round corridors.

Spatial Cutting

Conflict (rising action) The nine round corridors are only lit from below throug a gap between the concrete floor and the stone walls. This restricts the reflection from the polished stone. The spatial alernation is significant.

Spatial C

Material

Rooms: Concrete

Sound

Spatial Cutting

Round openings: Stone in large square tiles

Prop (Atmospheric/Iconographic/Demanding Atmospheric Prop The spatial transformation from square to round end with a 18m long round stone corridor.

Prop (Atmospheric/Iconographic/Demanding Atmospheric, Iconographic and Demanding Prop The round corridors mold the spatial perception. The final 18m long walk in the relatively narrow and dim passage filled with the sound of one’s footsteps tunes the visitor’s self awareness.

Prop (Atm

Material

Black granite cobbles (identical with the new pavement on Kultorvet)

Material

Concrete and metal treated with acid

Material

Sound

City life. Up to 4.000 people cross Kultorvet per hour.

No cars - almost.

Sound

Metallic echo The ceiling, the outer wall and the stairs are all made out of metal. The metal is raised 22cm from the concrete which creates an echo room.

Sound

Spatial Cutting

Climax From the long round corridor one enters a perfectly circular crater.

From the bottom (14m below Kultorvet) one only sees the sky and the top of the surrounding buildings .

Spatial Cutting

Resolution The entrance to the exit-staircase is narrow. Once inside the staircase the vision is limited because of the turning surface, therefore the only indication of other people inside is the echo of their footsteps.

Spatial Cu

on for

p between ction from

m long sound of

Prop (Atmospheric/Iconographic/Demanding Demanding Prop The mere size of the dome, and the fact that the visitor will find itself at the center in the bottom is a strong spatial, psychological and bodily experience.

Prop (Atmospheric/Iconographic/Demanding Atmospheric and Iconographic Prop The sound of your own and others’ footsteps turns your attention back to yourself and your movement through the monument.

Prop (Atm

Material

Concrete and metal treated with acid

Material

Black granite cobbles (identical with the new pavement on Kultorvet)

Mate

Sound

Metallic echo and the sounds from Kultorvet

Sound

City sounds from Kultorvet

Soun

Spatial Cutting

Resolution The reintroduction of Kultorvet happens gradually as one climbes the last stairs.

Spatial Cutting

Denouement Once outside the monument one can either reenter the square or have a glimpse down into the crater.

Spati

metal. The ho room.

e staircase e the only ps.

ntion back

Prop (Atmospheric/Iconographic/Demanding Demanding Prop The physical exhaustion of climbing the 180 stairs and finally reaching Kultorvet. A physical understanding and resolution of the monumental size of the structure and the phenomenon.

Prop (Atmospheric/Iconographic/Demanding

Prop