The proposed intervention utilizes an existing orchestra comprised of both Israeli and Palestinian people to catalyze desire and enact a space where event and play take on the role of mediator between these divided cultures. To not simply encourage play but to do so by manipulating the space to neutralize cultural preconceptions, habits, and practices and allow for the enacting of individual human desires.
In both Bernard Tschumi's Manhattan Transcripts and Rudolph Laban's Labanotation, abstract object-space relationships to describe non-prescriptive motion through space.
I explored a similarly ambigious series of spatial cues across a border condition. The space is designed such that movement and interaction is ambiguously suggested by spatial opportunity and curiosty.
Giorgio Agamben also discusses the concept of profanation, "to return something to the common use of man." He discusses this concept simultaneously with the term sacralize or to separate, to take common things and put them into sacred spheres where only some can have access to them. In the construction of the wall, the land along the border is sacralized. Simply removing the wall would do nothing to remove the scar it has left on the land and the people who reside under its power. However, reversing the negative operations of the wall and subverting its use restores the space that the power seized. To profane strips the wall of its power and returns it, and the land, back to common use.
“the passage from the sacred to the profane can, in fact, also come about by means of an entirely inappropriate use (or rather, reuse) of the sacred: namely play.”
The main theatre space is accessible only by the musicians, who use it as their main performance space. The facade has apertures along it that funnel the music into the surrounding air. The mesh wraps the concrete interior, suggesting a complete form that has yet to be realized due to the unstable conditions of the project site.
Individual performance spaces are distributed along the boundary line. The spaces are also only accessible by the musicians, neutralizing the land through performance. Along either side of these nodes, circulation paths allow people to occupy the boundary and interact through semi-transparent conditions.
Interruptions in the landscape are the first indication of the interventions along the wall. The landscaped areas act as free public space, giving both sides areas to gather. Some of the spaces stretch into land on the other side of the wall, allowing people to temporarily occupy the opposite side of the wall.
Spaces along the circulation path allow people to interact through virtualized experience. Light and shadow abstract the figure to the point of curiosity and desire to engage with people on both sides of the deconstructed wall condition. Though one may not realize who they are connecting with, the existence of the connected allows the barrier between the cultures to begin to break down.
Transparency and irregularity of the facade and circulation allows for exploration and wandering within the project. The performance spaces are open to the point that one might be drawn to the distant sound of music and wander to explore its origin. There is never direct visual connection to the performer but semi-transparency allows people to engage in the shared experience of performance.
The tectonic expression of the project alludes to the fragmentation of its surroundings.
The materiality itself is a détournment of the existing site materials. To detour is to take an existing image or condition and repurpose its reading. This concept is expressed in the use of mesh and concrete to redefine the existing identies as barriers to instead afford movement and interaction.