The principle concept behind this poetic project involves capturing full moonlight in an array of mirrors and reflecting it onto a stage for a nighttime performance. Conceived by Humbert Camerlo but never fully executed by engineers Peter Rice and then Nicolas Prouve, this project requires an amphitheatrical site, engaging the history of performance as well as a low-tech solution for a high-tech problem. Further proof engineers can be just as creative as architects, given the correlation of interest, challenge and budget.
This is the terminal: the light
Gives perfect vision, false and hard;
The metal glitters, deep and bright.
Great planes are waiting in the yard—
They are already in the night.
And you are here beside me, small,
Contained and fragile, and intent
On things that I but half recall—
Yet going whither you are bent.
I am the past, and that is all.
But you and I in part are one:
The frightened brain, the nervous will,
The knowledge of what must be done,
The passion to acquire the skill
To face that which you dare not shun.
The rain of matter upon sense
Destroys me momently. The score:
There comes what will come. The expense
Is what one thought, and something more—
One’s being and intelligence.
This is the terminal, the break.
Beyond this point, on lines of air,
You take the way that you must take;
And I remain in light and stare—
In light, and nothing else, awake.
— Yvor Winters, At the San Francisco Airport, 1954
Paul Nash, We Are Making a New World, 1918