The pavilion was built on the principle of urban temporary structures. The visitor finds him / herself in another dimension, where Oslo's textures are intertwined with the silhouettes of the residents. What happens when we depersonalize ourselves in urban realities, what the loss of self identification leads to. The constructs create new featureless forms in the city in a natural way, which are often interesting in their structure - since, on the one hand, this is an extremely pure perception of form and space, and, on the other hand, these structures destroy the holistic view of a traditional city. The scaffolding and frames are of particular interest in the context of exploring the spatial and temporal structure of the City as a macro form. From the point of view of an ordinary man who is attentively listening to the surrounding reality, such framing bears several meanings at once. On the one hand, it seems to violate the traditional space, deprive the ensembles of harmony and, possibly, of consistency. On the other hand, it bears the impress of anticipation of a change: on one side - of renewal, and on the other side, possibly, of return to the old reality. In addition, breaking the traditional forms, such constructs create new featureless forms in a natural way, which can be understood as a reflection of a Japanese concept of empty spaces – "emptiness". The origination of such constructs creates a time gap; the form around the construct exists in several dimensions at once: the dimension "before", the dimension "now" and the dimension "after". And these dimensions exist in parallel within the time of existence of a construct. Moreover, the inhabitant perceives them integrally: he / she knows what was before and sees what is now. But in case of reconstruction, he / she is simultaneously waiting for a renewed "before". Finally, such constructs create a single tie through "emptiness" between totally different cities, since the states "before" and "after" are often unique, while the states of timelessness are much more similar. Thus, the procedure of renewal leads to a loss of identification in some way.
Improvisation: Daniel Rodrigo Qvale,
Guðmundur Helgi Arnarson
Camera: Veronika Krebs