Laura Muyldermans & Sophia Holst

Laura Muyldermans (1987, BE) is a Brussels-based architect. Most of her work departs from casual conversations, unexpected encounters and random observations, leading her to question and broaden conventional and normative experiences of the built environment and the spatial everyday. An attitude that results in diverse outcomes such as renovations, public interventions, artistic projects, scenography’s, interior design or publications. She combines her practice with an academic position at KU Leuven, where she currently leads the design studio ‘Poetics of the Ordinary’. In 2022, she received the Belgian Building Awards 'Rookie of the Year' and in 2023 the Brussels Architecture Prize for Promising Young Architect because of her versatile, socially committed work – from art installations to conversion architecture – and her fresh take on the urgent issues of contemporary architecture.

‍Sophia Holst (1988, NL) is an architect-researcher based in Brussels, active in the architectural fields of Belgium and the Netherlands. She obtained a Master’s degree in Visual Arts at the Sandberg Instituut in Amsterdam and a Master in Architecture at the KU Leuven in Brussels. She collaborated with architecture offices Studio Anne Holtrop (NL), Nu architectuuratelier (BE) and CRIT architects (BE), and completed her residency at the Jan van Eyck Academy in 2021. With support of the Dutch Talent Development Grant from the Creative Industries Fund in 2023 and the Flemish Kunstendecreet in 2025, Holst currently works on the foundations of an alternative architecture- and research practice, in which critical urban theory and applied design are interwoven.

In the long, narrow hangar at Horst on the Asiat Site, they introduce a scenography that transforms the space into a living organism of light, sound, movement, and interaction. They started from the essence of the club: a place where bodies move — sometimes together, sometimes alone — in varying rhythms and intensities, through night and day.

The scenography is built around a compact central dance floor, framed by four monumental coloured nets. These rotate and respond to the intensity of the moment. In their closed state, they create a cocoon of intimacy, a central core where dance is concentrated. At busier moments, they open outward expanding the space and allowing the dance to spread.

A play of exponential colour gradients emerges and disappears in flashes of light. The scale of the space constantly reinvents itself in synergy with the energy of the night. Around the dance floor unfolds a topographic landscape of platforms and structures, each with its own character: dancing on an elevated stage, dancing before a folding screen, behind the DJ, on a balcony, or atop a sheltered pyramid. These diverse settings give rise to a choreography of varied movements.

The industrial monumentality of the hangar is accentuated by cross-shaped masts clad with reflective aluminum panels. They catch the light and mirror movement, like abstract dance partners. The ceiling becomes a carpet of light points, designed by Ofer Smilansky. A single beam of light slowly traverses the length of the hangar — like a sun crossing the space in 24 hours, a temporal marker for non-stop dancing.

During the week, the club transforms into an intimate venue for concerts, debates, or lectures. The dance floor becomes a stage, hosting musicians or speakers. The nets transform with it, the scenography adapts, and the space responds to the composition of the moment.

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Ofer Smilansky

Brussels-based artist Ofer Smilansky (1982) creates awe-inspiring audiovisual installations, visceral solo shows and keen light systems for stage.

Ofer loves synaesthesia. In his work, he utilizes the textures, colors and gestures of light, sound and movement as a whole to compose powerful pieces. Music, visuals, bodies and volumes influence each other and interact in an often disturbing tension leading to fantastic eruptions.

Ofer loves computers. His long-time practice of electronic music and experimental approach to digital creation make him a skilled and versatile artist that masters a variety of software and hardware.

Ofer loves drama. He strives to turn the often detached character of computer-based art into a vehicle for truly emotional experiences, both for the general public and for digital arts enthusiasts, depending on the nature of his work that ranges from soft to hard core. 

Ofer loves people. He collaborates with choreographers, musicians and other audiovisual artists towards a whole that is greater than the sum of its parts.

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Space divided by three - Celestial sphere, sky and ground

Each of the three layers measures time at a different pace, creating a polyrhythmic composition. A layer represents a part in the sound spectrum: ground is throbbing corporal subs, sky is mindful data mids, celestial sphere is holistic ethereal highs. 

The spatial light composition dialogs with and accents the structural scenography. It allows drama to objects, amplifying their shape. 

One large source of light travels through the space marking the passage of time like the sun across the celestial sphere. A cluster of smaller lights occupies the sky forming a 3D topography, a contour of the structures below. Powerful wash lights hold the ground, eruptions of coloured light emerge from within the structures that surround us.

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