架构师提供的文本描述。文艺复兴时期罗森堡城堡的园林设计是丹麦最古老的园林设计范例。该设计在很大程度上借鉴了欧几里德几何学的原理。这种绝对空间的语言长期以来被认为是世界的建构原则。由此衍生出来的建筑、都市主义和景观设计，本质上是为了利用绝对形状：直线、方形、三角形、球体和圆锥体，从混沌中创造秩序。在后期，增加了巴洛克元素，如迷宫和对角线路径。另外，还介绍了两条绿树成荫的林荫大道-卡瓦里冈根和大梅冈。经过这些改造后，花园从未被彻底改变过。直到今天，这种经典的空间表现形式一直被小心翼翼地保留着。

Text description provided by the architects. The Renaissance garden design of Rosenborg Castle is the oldest known example of garden design in Denmark. The design draws heavily on principles of Euclidean geometry. This language of absolute space was long regarded as the construction principle of the world. The architecture, urbanism and landscape design that were derived from it, were essentially aiming to create order out of chaos using absolute shapes: line, square, triangle, sphere and cone. In a later stage baroque elements were added, such as mazes and diagonal paths. Also Kavalergangen and Damegangen, two tree-lined avenues, were introduced. After these alterations the garden was never drastically changed. This classical representation of space was meticulously maintained until today.

© Walter Herfst

(WalterHerfst)

这就是设计一个展馆的背景，这个展馆是所有公众都可以访问的，它在空间表达上显得很有创意，而且用它的成语来说也是一种挑战。在保持可拆卸性的同时，设计必须在非常有限的预算范围内实现。因此，织物在哥本哈根皇家花园引入了一个新的空间概念，将对“亭子”的理解延伸到花园设计中最基本的建筑元素：栅栏。这种对空间的新认识，是对园林设计中严格秩序的质疑，让位于矛盾与混杂，是一种“模糊策略”。这一战略解决了三个独立的悖论：挑起内外的概念，引入一个自相矛盾的透明迷宫，并创造一种运动错觉。

This is the context for the question to design a pavilion, which is accessible to all public, appears innovative in its spatial expression and is challenging by its idiom. While remaining removable the design had to be realized within a very limited budget. FABRIC therefore introduced a new spatial concept in the royal garden in Copenhagen by stretching the understanding of the ‘pavilion’ towards the most elementary architectural element in garden design: the fence. This new understanding of space provided by questioning strict order in the garden design and give way to ambivalence and hybridity is a ' blurring strategy' . This strategy addresses three independent paradoxes by provoking the notions inside and outside, by introducing a maze that is paradoxically transparent and by creating an illusion of motion.

© Walter Herfst

(WalterHerfst)

首先，栅栏作为一种独立的结构被设计用来限制跨越边界的移动。通过折叠和褶皱围栏的位置，它产生了新的意义，在空间上包括或排除。

First of all, the fence as a freestanding structure is designed to restrict movement across a boundary. By folding and wrinkling the fence on the location, it produces new meanings of being spatially included or excluded.

© Walter Herfst

(WalterHerfst)

第二，栅栏的开口形成了穿过展馆的路线。大多数开口的外观就像一个部分升起的窗帘，使栅栏看起来非常轻。通过避免视线上明显的路线上的开口，游客们被迫通过圆形空间的顺序找到他们的路。并不是所有的空缺都是所有人都能接触到的。有些展馆只允许孩子们进入展馆，当他们探索展馆时，他们逃离了父母的凝视。这么说，篱笆就像迷宫中的一个看得见的东西。

Secondly, openings in the fence create routes through the pavilion. Most openings in their appearance resemble a partly raised curtain, making the fence look very light. By avoiding openings on obvious routes on sightlines, visitors are forced to find their way through the sequence of circle shaped spaces. And not all the openings are accessible to everybody. Some openings only allow kids into the pavilion, escaping their parents gaze as they explore the pavilion. The fence so to say acts like a see through maze.

© Walter Herfst

(WalterHerfst)