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07 Shaw Text 7

The architectural structure was a conical inflatable with an outer transparent membrane and inner white surface. Projected images appeared on both surfaces and the space in between was used to materialize the images through inflating balloons and tubes or injecting smoke. The work transformed the cinema screen into a 3D interactive space where the architecture and audience could modulate the projected images, creating a sensual merging of actuality and fiction.

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Rodrigo Santos
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33 views1 page

07 Shaw Text 7

The architectural structure was a conical inflatable with an outer transparent membrane and inner white surface. Projected images appeared on both surfaces and the space in between was used to materialize the images through inflating balloons and tubes or injecting smoke. The work transformed the cinema screen into a 3D interactive space where the architecture and audience could modulate the projected images, creating a sensual merging of actuality and fiction.

Uploaded by

Rodrigo Santos
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as RTF, PDF, TXT or read online on Scribd
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The architectural form of this inflatable structure was conical with an outer

transparent membrane and an inner white surface. The projected imagery first
impinged lightly on the tightly inflated outer envelope and then appeared on the
semi-inflated inner surface. In the intermediate space between the transparent and
white membranes, various material actions were performed to materialise the
projected images. This included the inflation of white balloons and tubes, and the
injection of smoke.

This work sets out to transform the conventional flat cinema projection screen into a
three dimensional kinetic and architectonic space of visualisation. The multiple
projection surfaces allowed the images to materialise in many layers, and the bodies
of the performers and then of the audience (many of whom spontaneously threw off
their clothes) became part of the cinematic spectacle. In this way the immersive
space of cinematic fiction included the literal and interactive immersion of the
viewers, who modulated the changing shapes of the pneumatic architecture, which in
turn modulated the shifting deformations of the projected imagery. A sensual
conjugation of actuality and fiction was achieved through a mediated
dematerialization of their respective boundaries. Such a convergence of architectonic
and cinematic space clearly prefigures the modalities of mediated architecture that
today are being built in Cyberspace, such as Asymptotes virtual Guggenheim Museum
(www.guggenheim.com).

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