One day, Nick Ervinck wants to create a scale model of the basilica of Koekelberg, which will be 14 metres long. This modular sculpture will be composed of metal pipes, connected to one another by a system of screws. A many-sided tent will then be hung inside this meccano-skeleton, which will serve as a video room. The projected video tour will be so lifelike, shining like a hyper-realistic trompe l’oeil, that the viewers will have the momentary illusion of witnessing a filmed representation of the actual construction instead of an imaginary, digitally constructed image. Ervinck chooses for the clear delineation of geometrical volumes, typical of Art Deco, as this language is more suitable for his enterprise than the nervous rhythms of Gothic vaults. While the replica is more than 100 times smaller than the life-size basilica, the entire reconstruction was a grand task in itself. This ten time smaller scale model is not a modular construction, but consists of two 3D prints in polyamide, which were then printed and composed in about forty separate pieces. The cage was also given a rust-imitation. After it had been carefully and repeatedly sanded and varnished, the tent was placed inside the skeleton.