The point is not the fastest path from A to B, but the journey in between. “To make something accessible, make it inaccessible”. From the outside, mounds and minor trenches form an obstacle face-on, but an accessible path from another angle. An inaccessibility for humans, making it an accessibility for non-humans to fill the gap. From dry earth, mixed 19th century infill of various material, brick, earth, clay and so on, to mud, to reeds and vegetation, a spiraling criss crossing spiral path of a continuous change of direction and by that an awareness of where one places his/her feet.
The layout in the end is a condensed classical theater. It is fixed, but directed to the path of entering. To enter is to become part of the interaction of the scenery. This classic set-up describes the configuration of the apparatus; the user/audience have a designated place and orientation of what to look for, the drama on stage/the phenomenon of condensed information of a reality. With all these determined factors accounted for, there still lies an indeterminacy of what angle the audience views the play, their previous experiences, or what the actual play itself is, and how this shifts to slightly different experiences