The tent is transparent, flexible and mobile, and it can be disassembled. It is a module which is compatible with itself. Its dimensions are variable, and its growth is independent of the conditions and circumstances of its environment. Regarded from the exterior, it could be either a container or a sculpture. When one enters it, it becomes a container, a projection room, or an archive (which preserves many different things). It reflects the nomadic behavior of a visitor and the temporary nature of his or her presence. The tent's skin is permeable to light. One can be seen as a shadow by someone outside the tent. The only source of light within the room is a projection. For this reason, the lighting changes constantly. Therefore, the structures are temporary, and the room tends to be in a state of perpetual dissolution and transformation.
Shelves are mounted along a side wall of the tent. These shelves are empty. It is up to the visitor to fill them, to fill them with life, to make determinations. These shelves are directories, or trajectories: pathways and also hierarchies. They are the material correspondence to and prerequisite for potential archives. A shelf is an object of the everyday world, an interlocking structure consisting of an arbitrary number of compartments and subdivisions, a container for memory and forgetting, for privacy, and for externalized human memory: a sentimental object in all its functionality. At the same time, it is a thing which can be subjected to potential growth, which invents its own form and its own room within a room, the compartments and departments of which branch off again and again.
The shelf which remains empty in one room will be used in another, artificial room. The latent potential of the real room, which is hypothetically changed by the virtual action of a visitor (reflection), becomes virulent in the projection. The light given off by the projection is not only light in a material sense; it also makes shifts perceptible. The artificial room (because it is more variable than real one, and its parameters are exchangeable) can be made visible, more easily: as a projection which utilizes the stability of the real architecture in order to refute that which has just been established. This illusory room is just as empty as its real counterpart; on the other hand, it contains things or standardizes itself into an animated sculpture which cannot be entered, but which is all the more visible. Deciding which of the two rooms existed first is impossible.