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