The Morning Line is both ruin and monument, the blackened frame of a cathedral-like structure; a drawing in and of space; an ‘anti-pavilion’. Unlike traditional architectural pavilions, it takes the form of an open cellular structure rather than an enclosure, basing its eloquent visual language on a radical cosmological theory developed by Paul Steinhardt and Neil Turok.

Built from an idealized ‘universal bit’ that can be reconfigured in to multiple architectural forms, The Morning Line uses fractal cycles to build a model of the universe that scales up and down. The architectural and engineering systems capitalize on recent developments in parametric design developed by Arup AGU, and push them to their limits. There is no single way in or out, no final form. The Morning Line's narrative by Matthew Ritchie revisits John Milton’s “Paradise Lost” to propose a new kind of place that might exist after the second ‘fall’ of mankind – while at the same time acknowledging the unpredictable nature of such a future. Deep inside the structure, an interactive film describes the evolution of the universe as a story without beginning or end, only movement around multiple centers.

A platform for contemporary music, The Morning Line is as much an instrument as a building, saturated with speakers, using a unique interactive ambisonic system designed by Matthew Ritchie and the Music Research Centre at York University. Thyssen-Bornemisza Art Contemporary designated the The Morning Line to be a modular structure, which is capable of being radically reconfigured for alternative performance venues and can adapt to a changing program of contemporary music.

The interactive system registers the movement of anyone inside and converts their presence to build new and scaleable forms of music, new stories created by every visitor. It offers a site primarily concerned with generating infinite potential meanings and uses. In other words, it is not only designed for the future, it creates it.