The theatre location placed on the building site of Kvaesthusgade, straightening the Port Canal, and taking an advanced position to the eastward, joining or linking it with the pedestrian bridge towards Christiansholm.
Sankt Annae plads preserves its panoramic views to the harbour, reinforcing or strengthening it and taking up sea space. At the same time, leaving the Kvaesthusbroen pier and Kvaesthusgraven basin on its left which could remain as recreational facilities areas for future town planning developments.
The bridge and playhouse on its right side could connect them with the future cultural centre.
The building outline sketch is square (100 metres x 100 metres). If we divide it in two triangles, one for the staff and one for the public, we could obtain two independent areas or organs, with their own lifes and movements, but they mix up vibrate and interrelate among them, at the same time in a complete way.
It has much flexibility of movements in its exterior parts, bringing about them, as if they were an organic motor of the town, as well as the interior rooms, distributions, and possible combinations.
The accesses and distributions are easy, fast and clear. Both for the stage areas as for the workshops, ruling like a factory, which creates adaptability to different conditions and circumstances of the efficient rate of work. We avoid every kind of passages and closed spaces in the public areas. You could enter into the theatre across the foyer directly . One would go up to the second level over open ramps or pads to the open space.
The foyer ramps or pads create different levels inside the same plan, basically for the vision of the space,and most of all, to make it work from every place.
If you walk around the foyer on that great area opened to the light you could feel a sensation of floating or drifting before going into the close area or theatre. It would be an apropriate place to expose art and feel or be art one self.
The foyer moves down into the auditorium, a closed space with two levels, surrounding the stage without leaving empty areas. The spectator occupies the whole place embracing the stage.
The stages, auditorium and foyer are taken as a whole for the enhancement and enigmatic mystery of the theatre itself.
It does not pretend to be a building but an organ, which feels in its element inside the local urbanism.
The architecture gives a strong relation and energy to its town and harbour, and with its forms obtains that the interior opens itself to the exterior, so the citizen finds open spaces or areas for the public without barriers for a freedom to move.
A walking pace, a meeting pace to mix up pedestrians or society with art, outside and inside of the building, now and then, in its surroundings or on the bridge empty spaces for open air artistic demonstrations, sculpture, painting, music, dancing, performances, and so on.
The location is treated to get out plain interrelation between the play house and the open air areas.
The real idea is to build a transparent building, with translucent materials to prevent it from being heavy ,dull and dim.
We think that a building with such materials on the sea water would give the sensation of weightlessness and absence of gravity, which is what we wish, and its shapes go with us in our thoughts. The outline and materials are the builders of the building in this case.
These translucent materials are going to obtain that the building skin will transmit the natural light into the interiors, and the inside or artificial illumination go inside out as it if were a real lamp.
The skin opens extensively to the outside light, which will give a strong expression to the port and magic and glittering to the water.
The translucent cover shrouds the boxes of the three theatres, plays etc, from the west to the east of the whole building, converting it in the floor of the foyer and the roof of the ground floor, impelling even more the sensation of buoyancy or flotability.