架构师提供的文本描述。2013年罗斯基尔德节上，天鹅绒之州提出了将性能和建筑结合在一起的雄心。

Text description provided by the architects. The Velvet State came up as an ambition to combine performance and architecture in a project at the Roskilde Festival 2013.

 © Christian Böcker Sörensen

c.Christian B cker S rensen

该项目的核心是通过表演者和建筑师之间正在进行的对话而产生的，采用这两个学科并将其合并成一个宇宙。

The core of the project emerged via an ongoing dialogue between the performers and the architects, adopting and merging the two disciplines into one universe.

 © Simon Hjermind Jensen

西蒙·赫赫鲁德·延森

来自SHJWORKS(DK)的SimonHjerMindJensen是该建筑概念和设计背后的建筑师。表演部分是在小说皮条客(DK)和集体无意识(英国)之间的对话中发展起来的，由Inga Gerner Nielsen导演。

Simon Hjermind Jensen from SHJWORKS (DK) was the architect behind the concept and the design of the building. The performance part was developed in a dialogue between Fiction Pimps (DK) and Collective Unconscious (UK), and directed by Inga Gerner Nielsen.

 © Simon Hjermind Jensen

西蒙·赫赫鲁德·延森

表演探索了​​的思想，一个感性的社会-一个可能的社会，在这个社会中，对世界的感性和诗意的感知处于中心地位。

The performance explored the idea of ​​a sensuous society - a possible society where the sensual and poetic perception of the world is at the center.

 © Christian Böcker Sörensen

c.Christian B cker S rensen

建筑面积794平方米，最高点7米。它由七个部分组成，它们共同创造了一个统一的结构，构成了表演的框架，并与之形成了一个平行的宇宙。

The physical structure covered an area of 794 square meters with the highest point of 7 meters. It consisted of seven parts, which together created one united structure that framed the performance and together with it formed a parallel universe.

 © Simon Hjermind Jensen

西蒙·赫赫鲁德·延森

结构的七个部分是环，舞台，山脊，反应堆，谷仓，更衣室和庭院。所有零件都是用螺栓组装的胶合板壳和聚碳酸酯的“隔膜”制造的。每个部分都是在与截面本身相同的接触网曲线上设计的。每个部分由一系列的截面组成，这是这条曲线的变化。通过这种方式，每个部分都以自己的外观和空间品质成为个体，同时也是一个更大整体的一部分。

The seven parts of the structure were The Ring, The Stage, The Ridge, The Reactor, The Barn, The Dressing Room and The Courtyard. All parts were built in shells of plywood assembled with bolts and “sewings” in polycarbonate. Each part was designed over the same catenary curve as the section itself. And each part consisted of a sequence of sections which were variations of this one curve. In this way every part became individual with its own appearance and spatial qualities, and at the same time it was part of a greater whole.

 © Christian Böcker Sörensen

c.Christian B cker S rensen

胶合板壳既起到了立面的作用，又起到了支撑结构的作用。采用12、9、6和4毫米厚的胶合板。厚厚的胶合板放在底部，薄的放在顶部。每个胶合板外壳弯曲成一个奇异的曲线，所有这些曲线共同创造了整个工程的结构支撑。炮弹被固定在一个平直的基座上，地面上有一米长的土钉。

The plywood shells acted both as façade and as support for the structure. 12, 9, 6 and 4 mm thick plywood was used. The thick plywood was placed in the bottom and the thin in the top. Each plywood shell was bent into a singular curve and all together these curves created the structural support for the whole project. The shells were fastened to a leveled base which was attached to the ground with one meter long earth spikes.

 © Christian Böcker Sörensen

c.Christian B cker S rensen

建筑展开的一部分是研究同一曲线的变化如何创造出丰富的空间外观。同时，展开对结构概念和装配方法进行了大规模的测试。

Part of the architectural unfolding was to investigate how variations of the same curve could create a rich spatial appearance. Also the unfolding tested the structural concept and assemble methods in a large scale.

 © Christian Böcker Sörensen

c.Christian B cker S rensen

表演行为在仪式上和人类学家阿诺德·范根尼普的阈性概念中都发生了偏离。这种意识被纳入了物理结构中。庭院和建筑内部只能通过三个空间进入。这些空间充当了表演的门槛和阈空间。在感性社会的结构中，由10个原型构成：白翅人、阿尔奇人、独裁者、杀手、粉红水仙、Fetichist、批评家、理想主义者、Voyeur和生物。该社会也有维护者居住，他们维护原型，并让参加节日的人与原型接触。

The performance acts took departure in rituals and in anthropologist Arnold Van Gennep´s concept of liminality. This liminality was incorporated in the physical structure. The courtyard and thereby the inside of the structure was only accessible via three spaces. These spaces acted as thresholds and liminal spaces towards the performance.  Inside the structure in the sensuous society was formed by 10 archetypes: The Bewinged, The Alchymist, The Dictator, The Killer, The Pink Narcissus, The Fetichist, The Critic, The Idealist, The Voyeur and The Creature. The society was also inhabited by maintainers that maintained the archetypes and engaged the festival participants with the archetypes.

 © Simon Hjermind Jensen

西蒙·赫赫鲁德·延森

舞台在节日的环境中是不传统的。地板只有30厘米高，舞台两侧都可以到达。因此，舞台上的客串演员可以很容易地向节日或感官社会靠拢。

The stage was unconventional in the festival setting. The floor was only 30 cm tall and the stage was accessible from both sides. The guest performers at the stage could therefore easily manoeuvre towards the festival or towards the sensuous society.

 Floor Plan