Anamorphosis and I share certain interests and principles: we are both interested in the Kinaesthetic and psychic interaction we can have with space or an artwork; how we move within a constructed environment; and the possibilities of enabling the individual to inhabit a space in an expansive way, where the focus is on the actual experience of being there. Snow and ice interest me as materials because they have no value, they are temporary, they do not belong to anyone, they are unbounded, abundant and joyous. I also admit to having certain romantic notions about snow and ice: Snow Queen, Lara and Zhivago breaking into the ice-covered summer house and Caspar David Friedrich’s Wreck of the Hope. These have a narrative element, they are about an image and its strong associative power. Much as I love the romantic possibilities, here the challenge was to use the material freely without this pictorial baggage.
My work is often constructed using geometric shapes, and I have always been interested in the purity of form and indiminishable nature of crystalline structures in materials that have no skin but are themselves the whole way through. So, I wanted to use the snow and ice in a way that allowed the natural processes, the weight, the pressure, the cracking, the uncontrolled elements to become part of planned environment. We were not interested in creating voluptuous bodily forms; we agreed that the pavilion would have a sense of archaic structure, of first forms, rooted in basic shapes.
The Morphic Excess of the Natural/Landscape in Excess
Art Architecture: Engagement with the morphic process  a quiet, non-ironic critique of the formalist and anti-formalist paradigms  brings art and architecture together. We have no preconceptions about form. We do not see snow/ice as an unbounded neutral material. Rather, we animate the frozen and its own morphic language, seeing it as an active psychic process, at once mythic and ordinary.
Enjoyment  Space: Snow/ice is a material of collectiveness and joy. It liberates us from the anxieties of perfection and ownership. In psychoanalytic terms, snow/ice is the material of lack.
The Morphic Principles: Crystal and Archaic Theatre: Snow is falling landscape in excess, nature’s own animation, simultaneously natural and artificial. Eva worked with the concept of the crystal (mythical and structural). Anamorphosis focused on the archaic theatre the spatial condition of play, collectiveness, static function and interaction, turning snow into a performance of itself. We inverted the theater form twice: first, terraces became a sheltered alcove and an extrovert terraced hill and, second screens of ice became a stage for light and shadow play as people walked through the piece.
Realization/Symbiosis: The morphic excess of the natural did not demand that the artwork transcended reality, nor that architecture was simply functional. When it was snowing, Crystal and Theatre spoke the same morphic language, and art and architecture exchanged roles: architecture sculpted the landscape whilst art built and materialized it.