Wayang Theaters

                As vernacular architecture is shaped by climatic conditions, the resulting forms often assume a mythical role. Exploring structures from houses to simple altars, the concept of a spirit ladder has been derived. As the spirit world is a mirror of ours, they descend from the sky, "climbing down" this vertical. Can the rules established for the movement of supernatural beings also be applied in a modern facility, and what role can they play? Movement through the visitor center is conceptualized through an exhibition of everyday life and the mythological world of spirits, which are separated from each other only by a curtain through which they communicate through shadows or optical illusions in glass. The world of stories is further explored in the kaleidoscope at the entrance to the facility and the research center. The form is also reflected upside down, like an imprint in the ground, where there is a linear theater with an auditorium on two sides. There, performances are presented from two angles: the world of the living and the world of spirits.

Researching wayang theaters, both puppet and dance theaters, I found examples where these two types merge into one.  This was followed by a series of drawings of dancers in various traditional costumes.

 Also, while researching legends, I came across the myth of Manohara, (half-woman, half-bird) kinnari.