A propagandium: London

A propagandium: London

The building is vertically divided into three zones: the bottom level or the backstage and the stage, the middle level or the “direction”, and the top, public level or the hill.

The stage

The key architectural concept is the stage, a series of giant seesaws constantly moved in coordination with the on stage events, symbolizing the rocking for dominance. A large seesaw in the middle is surrounded by four smaller ones on each side. Each of these seesaws can move separately, thereby creating different ways of entering and leaving the stage from the front and sides, allowing performers to appear and disappear from the middle of the stage.

The seesaws in neutral position create a flat surface three meters above the bottom level, and in their rocking can move down to the bottom level allowing entrance to the stage. The largest seesaw can be further sunken two additional meters, allowing the seesaw to rise up to the top level where the crowd is, thereby allowing the crowd to enter the stage and potentially “weigh” the winner, or simply join in on the festivities. With a stage this adaptable, the choreograph of the performance can incorporate the stage, adding versatility to the performance.

The backstage

The bottom level or the “underworld” is where the magic happens. This level is exclusive to staff, select media, and the preforming gangs. It’s reached by either the two large stairways that connect to the top levels, or the large ramp descending down to the entrance, with another secret way of entering or leaving: through the hidden stairway to the underworld in one of the bathroom stalls with “per aspera ad astra” written on the door, to signify an almost ironic attempt to console or inspire the performers. The ramp and the stall act as two polar opposites in approach of entering the backstage, the ramp acting as a red carpet, an exposed entrance open to the eyes of the public and media, while the stall leads to the underground, a place of hiding, and can make people appear and disappear on and off stage in shame or mystery.

Upon entering through the main entrance there is a library-bar, exclusive to the performers, where both books and liquor can sharpen the mind, a traditional place of some healthy pre-face off squabble.

The backstage itself is a system that is symmetrical on both sides of the seesaw, functioning as a semi-transformable space that can adapt to the workings of a party using it. A “dressing room - makeup - costume - dressing room - hair - props - stage” cycle is considered, creating two intertwining blocks of spaces functioning circularly, needed for these functions, one for the gang, and one for the idol. Most of these spaces are planned to be limited by sliding curtains or moving thin walls, allowing the space to adapt to the ideology of the gang, increasing or reducing the spaces needed for each of these functions, merging or separating the idol with the gang, labeling dressing rooms and bathrooms however they see fit.

On each side there is a large area in front of the entrances to the seesaws meant as a lounge area, a warmup area or a meeting area, illuminated by the light coming through the stage. These areas on both sides of the stage are connected by large hallways from which the stage can be entered, large enough to move any necessary equipment through.

From the Idols dressing room a hallway, through a room of mirrors, leads to a small platform in the cafe, where a press conference can be held by the idol or the gang.

In front of the main entrance a series of pillars are erected, some constructive, some free in space: an ambient for the gate of the underworld.

Direction

The middle level is reached by two staircases with elevators from the backstage. It is another large symmetrical space with windows surrounding the stage. This space is meant to be used for the technical equipment, lights, sound, where a performance is controlled from. The window overlooking the stage is set above a slot with a rail going around the stage, on which machines (light, smoke, sound, fire) can be mounted.

A hall with tinted windows connecting this level with the front staircase leads to a small exit above ground and overlooks the cafe area through a gallery.

The hill

The top level is simple: A hill descending to the stage covered in soft grass from which the event can be spectated. Simple and truly public, and ordinary hill can be ignored by the passing people or climbed to see the ongoing events.

Over the stage a series of steel supports hold a large web of ropes stretching over the whole stage. These ropes can be climbed by a select crowd for an intense experience directly above the stage. The ropes can be removed and mounted depending on the event.