JOURNAL OF MEDIA PRACTICE, 2017

VOL. 18, NO. 1, 63–72

http://dx.doi.org/10.1080/14682753.2017.1305842

Image projection as an architectural design tool

Olga Venetsianou
Department of Architecture, University of Thessaly, Volos, Greece

ABSTRACT ARTICLE HISTORY

The modern viewer is familiar with the cinematic paradigm, in which Received 17 January 2017
he or she is fixed in a darkened auditorium. However, current audio- Accepted 9 March 2017
visual technologies introduce new viewing modes. This article
KEYWORDS
explores the spatial properties of the projection system (projector, Expanded cinema; digitally
screen surface, projection beam and the viewer), during the expanded cinema;
transition from analogue to digital technology, with paradigms from architectural projections;
the 1960s’ expanded cinema to current multimedia installations, in multimedia installations;
particular works defined as digitally expanded cinema. Our aim is screens
to explore how the projection space can be combined with
architectural space, using expanded cinema design principles.

1. Introduction
The screen has a dual quality, as it functions both as a projection surface and as an
architectural element. In most cases, the screen is a necessary supportive element for
materialization of the image, constructed according to the standards of cinematic pro-
jection. However, there are cases when the projection screen and the projected image
are addressed with equal importance. This approach is based on the viewer’s desire to
enter the picture space and increase its immersive effect. So, the cinematic frame is
expanded in order to cover the viewer’s field of vision. IMAX cinemas are an
example of this approach. In this case, however, the classical cinematic paradigm
stays the same: a viewer fixed in his or her seat in a spectacle building. However, exper-
imental cinema attempts to expand the cinematic language result in increasing viewer
involvement in the artwork. A certain group of contemporary multimedia installations
are described as ‘digitally expanded cinema’ – a term coined by the Australian-born
new media artist and researcher Jeffrey Shaw. These installations aim at expanding
the cinematic language by increasing viewer participation in the narrative development.
This paper explores the spatial evolution of the projection system during the transition
from analogue to digital technology and presents ways of using expanded cinema
principles in architectural design, so as to modify and enhance the current built
environment.

CONTACT Olga Venetsianou olgavenetsianou@gmail.com

© 2017 Informa UK Limited, trading as Taylor & Francis Group
64 O. VENETSIANOU

2. The spatial evolution of the projection system

2.1. Pre-cinema and interwar experimental cinema
As part of exploring the expressive qualities of the projection event, contemporary artists
refer to pre-cinematic projection modes that were used before commercial standardiz-
ation of cinematic projection took over. One may note that in pre-cinema, the viewer
has to act in order to produce the moving image (Flip book, Thaumatrope) (Manovich,
2001, 251). In many cases, a particular viewpoint is required for the moving image to be
seen (Stroboscope, Zoetrope). In pinhole structures, the view is defined by a frame. So,
the frame functions as a selection mechanism – a part of the image is selected while
the remaining part is masked. The panorama introduces the viewing mode of a mobile
spectator, as the viewer has to move around the centrally placed platform in order to
experience the image.
The projection screen was also different from contemporary cinema. In Etienne Gaspard
Robertson’s phantasmagoria performances, images of ghosts or skeletons were projected
on smoke, or semi-transparent surfaces in a dark room. Robertson hid the projection
mechanism (a magic lantern on wheels, the ‘Fantoscope’), in an attempt to blur the bound-
aries between projected image and screen space. The audience watched images that
appeared to vanish into thin air under the eerie sounds of a glass harmonica. Prior to enter-
ing the projection space, the audience walked through the ‘salon de physique’, an exhibi-
tion space of scientific experiments and devices. This set-up resembles current multimedia
installations that organize the viewer’s progression through various stages in order for him
or her to be prepared for the main event.
Interwar avant-garde films and writings document attempts to expand the cinematic
frame. Eisenstein proposed a cinematic frame of varying proportions, according to the
filmed subject (Friedberg, 2006, 129), while in Abel Gance’s film Napoleon (1927), a type
of interactivity is introduced as the viewer has to choose where to focus within a panora-
mic image (as the image extends further that the viewer’s field of vision) or among three
different projected images that form a triptych.
The concept of the installation, where the viewer enters the artwork, is introduced
within the Dada movement. In László Moholy-Nagy’s Light Space Modulator (1930), the
light beam is used to expand the artwork toward the viewer.

2.2. 1960s Expanded Cinema

The 1960s’ ‘Expanded Cinema’ artworks aimed at redefining the projection event, by
experimenting with the projection mechanism, the cinematic frame, and the projection
screen. The flat and frontal viewing mode was challenged, while in some cases, the audi-
ence was encouraged to participate in the artwork.
An example of audience participation and interaction was the expanded cinema per-
formance MovieMovie (1967), by Jeffrey Shaw, Theo Botschuijver, Sean Wellesley-Miller
and Tjebbe van Tijen. The performance took place at the end of the experimental film fes-
tival in Knokke, Belgium, in the lobby of the auditorium. The screen was a layered inflatable
air structure on to which various films and slides were projected. The form and flexibility of
the structure invited the viewers to touch the screen and modify the projected image, thus
entering in the projection space. Different viewing modes were introduced, according to
 JOURNAL OF MEDIA PRACTICE 65

the level of interaction with the screen: some viewers are sitting on the foyer steps, others
are standing around the projection screen, while a more daring group was touching the
inflatable screen, thus transforming the projected image (Abel, 1997, 72) (Figure 1).
In some cases, projection does not actually take place. That is because expanded
cinema artworks effectively provide a mechanism or situation where the audiences
may experience the world through a different viewpoint, as in Waterwalk (Shaw and
Theo, 1969), or The Pepsi Pavillion by EAT (1970) where the interior of the dome was
covered by a mirror, thus making the visitors part of a moving image event (Youngblood,
1971, 417).
In Viewpoint (1975), Shaw demonstrates the function of the cinematic frame as
selection mechanism that is also the basis of current augmented reality installations.
Shaw also uses the pinhole arrangement to connect haptic space with previously recorded
images. The viewer only experiences the work when looking through a specific frame. As
Shaw knows exactly what the viewer is looking at, he is able to create spatio-temporal
effects through image projections.

2.3. Digitally expanded cinema

It is argued that the current development of telecommunications and media undermines
the importance of physical distance. In this part, we will focus on the concept of the screen
as surface that records current transformations in these fields. The French cultural theorist

Figure 1. (a)–(d) Jeffrey Shaw, Theo Botschuijver, Sean Wellesley-Miller and Tjebbe van Tijen, Movie-
Movie (1969). With permission by Jeffrey Shaw.
66 O. VENETSIANOU

and urbanist Paul Virilio, in a series of texts, relates the concepts of space, technology and
speed. As Anne Freidberg notes, Virilio does not differentiate the filmic from the televisual
or the digital screen, as in all cases the screen is a field that records the ‘lost dimension’ of
space and time. With this term, he refers to the dimension that is lost during the conver-
sion of the 3d architectural space to 2d image, which in effect renders the built environ-
ment as a projection screen surface (Ruby, 1998, 181).
In The Lost Dimension (1991, first edition in French in 1984), a period hallmarked by the
emergence of live transmission (CNN), Virilio argues that ‘with the interfacing of computer
terminals and video monitors, distinctions of here and there no longer mean anything (his
emphasis)’ (Friedberg, 2006, 186). Public space, meeting places, the agora, have been re-
positioned in the computer screen. This fact is best described in the work Hole in space
(1980) by Kit Galloway and Sherrie Rabinowitz.
As a result, our presence surpasses the actual space we occupy. The German art histor-
ian and media theoretician Oliver Grau has argued that telepresence enables the user to
be present at three places at the same time: the physical space that he or she occupies, the
simulated, virtual, image space (teleperception), and the place where, for example, a robot
may be situated directed by him from a distance (teleaction) (Grau, 2003, 285).
In Lost Dimension, Virilio charts the transformation of the constructed environment due
to an ‘integral cinematism’. This type of transfer from the materiality of architectural space
to the immateriality of the screen image resulted in the confusion in reception of images
from a film projector and the perception of architectonic forms. Architecture, he argues, is
dissolving, or mutating into a wall-screen.
In Jeffrey Shaw’s Place – a user’s manual (1995), the viewer is fixed in a central position in
physical space, but may move freely in virtual space, in order to explore a series of digital
panoramas. The projected image is designed to perfectly fit the projection screen, which in
fact materializes the panoramic movement of the camera. The viewer can only see a
portion of the image, though a moving cinematic frame – the moving frame acts as a
filter. So, the viewer/user’s eye movement constitutes a performance for the other
viewers of the installation. The viewer is positioned on a rotating platform, thus
highlighting the free movement of audiences in the pre-cinematic panoramas. In
Shaw’s T_Visionarium (2008), the spatial set-up is similar (the viewer is positioned centrally
in a panoramic projection screen); however, the projection takes place in a 3d stereoscopic
environment (AVIE) and the frame as a selection mechanism has disappeared. Images and
clips have larger or smaller dimensions, according to the user’s preferences.
In contrast to Place and T_Visionarium, Shaw’s Points of View (1983) and The Legible
City (1989) use the interface in order to connect different spatial arrangements. The
frontal arrangement in Points of View is transformed into a virtual dome structure,
while the – again – frontal arrangement in The Legible City is transformed in a large
virtual environment, which the viewer may explore using the modified bicycle
(Figures 2 and 3).

3. Using expanded cinema principles in architectural design

Expanded cinema artworks experiment with the cinematic language and ultimately
encourage viewer’s participation. We focused on examples where the participation of
the viewer is achieved through the design of the projection system. These constructions
 JOURNAL OF MEDIA PRACTICE 67

Figure 2. Jeffrey Shaw, Place Ruhr (2002), Diagram of the projection system by Olga Venetsianou
(2014, 156).

define a specific architectural environment, where the projected image is modified accord-
ing to the spectator’s viewpoint and his or her movement within the system. This way, the
viewer defines a personal narrative. If we reverse this approach, it could be asserted that
architectural space is perceived by the viewer in motion, as a series of views. So, design
principles based on Expanded Cinema could be used in architectural design.
In ‘Projection exhibition space’, the house of a photographer and her family in the
center of Athens, near the Acropolis, is transformed into an ephemeral exhibition space
with projections, mirrors and light boxes. The location and type of projections are
based on the intrinsic characteristics of the residence. Disused spaces, such as the building
light well, are activated. Reflective surfaces were used in order to augment the space in the
very narrow office. Screen-printed surfaces were incorporated in the false ceilings. A series
of photographs and videos, based on the habitants’ typical walking patterns, were
designed in order to be projected in specific surfaces of the residence.

Figure 3. Jeffrey Shaw, Place Ruhr (2002), with permission by Jeffrey Shaw.
68 O. VENETSIANOU

The ‘Rehabitations’ event was organized by the Onassis Foundation Scholars Associ-
ation. The project aimed at documenting current living trends and consult citizens in
ways to configure their flats without going into major remodeling expenses. The action
was carried out by a team of architects, industrial designers, landscape architects, artists
and social scientists who at some point were awarded an Onassis Foundation scholarship.
Having appreciated the multitude of benefits derived from community service, the team
members volunteered their knowledge and expertise, starting from downtown Athens.
Nine apartments in the center of Athens were redesigned following an open call to the
citizens of Athens. Each team visited a selected residence, met each family and developed
exemplary design proposals.
The architect Olga Venetsianou, together with artist and photographer Angeliki Svoro-
nou, worked on a design proposal for a first-floor apartment in the center of Athens, near
the Acropolis. The photographer, also member of the Onassis Foundation Scholars Associ-
ation, Io Paschou lives there with her husband and daughter. Through extensive discus-
sions, the design team concluded that the couple was happy with the layout of the
house except for the office space, which is very small and narrow. The residents particu-
larly enjoyed the framed views to the outside, and the intrinsic architectural details of
the apartment, a typical 1950s’ high-end Athenian house. Moreover, it was noted that
the apartment is often used for business meetings. So, two types of design interventions
were proposed: The first aims at converting the house into an ephemeral showroom for
the photographer’s work, while the second aims at improving the office space. In building
the ephemeral exhibition area, two image materialization techniques were used: light
boxes and projectors. Each technique results in a different aesthetic quality, so the chal-
lenge of the project was to carefully apply these interventions, enhancing the special qual-
ities of the residence.
Right outside the main entrance of the apartment, there is a window leading to the light
well that is always closed. Olga Venetsianou noticed that it appeared as a closed showcase,
opening to an area of the building that is rarely noticed. This disused space was activated
with a series of projections from Io Paschou’s work ‘In between spaces’ (Figures 4 and 5).
The apartment’s false ceiling detail is characteristic of Athenian houses of that period.
Screen-printed surfaces were placed in the false ceilings, just below the cove lighting, thus
transforming the particular ceiling slot into a light box. As shown in the diagram below, the

Figure 4. Projection in the building’s light well. Architectural design of projections: Olga Venetsianou,
architect PhD, Visual Content: Angela Svoronou, Photographer-Visual Artist.
 JOURNAL OF MEDIA PRACTICE 69

Figure 5. Section through the building’s light well by Olga Venetsianou, architect PhD.

Figure 6. Section through the apartment entrance by Olga Venetsianou, architect PhD.

light box works as a projection mechanism, as the colors of the screen-printed surface
blend with the surrounding environment. The TV screen has a similar effect when lights
are dimmed; the screen functions as a light source (Figure 6).
The living and dining rooms are used as the main exhibition area. A series of images are
projected on the wall surfaces. The projected images together with dimmed lighting alter
the atmosphere of the house and transform it into a semi-public space. The selected works

Figure 7. False ceiling detail, photo by Olga Venetsianou architect PhD.

70 O. VENETSIANOU

and the location of the images create a basic narrative defined by the visitor’s movement
in the apartment’s interior. Images cover the wall surfaces like a veil, creating minimal and
transient changes in space. Based on the architectural design of the projections made by
Olga Venetsianou, Angeliki Svoronou created a work based on the typical residents’ move-
ments. An alternative installation proposal was made, incorporating projections with
works of the resident, Io Paschou.
The office space was described as very important by the couple, so they requested a
way to make it more comfortable. This was a very small and narrow space (1.80 ×
2.20 m). By placing facing mirrors on the two main walls and incorporating a custom-
made shelving unit, the space in the office appeared larger (Figures 7–10).

Figure 8. Screen-printing added in false ceiling detail, works by Io Paschou, photographer, rendering
by Olga Venetsianou, architect PhD.

Figure 9. Projections location diagram by Olga Venetsianou, architect PhD.

 JOURNAL OF MEDIA PRACTICE 71

Figure 10. Projections in the living room. Projected works by Io Paschou, photographer, rendering by
Olga Venetsianou, architect PhD.

4. Conclusion
The projection system (projector, screen, projection beam and the viewer) defines a type
of space. When the space of the projection is combined with the architectural environ-
ment, an additional image layer covers the surrounding surfaces. Thus, a narrative is
created based on the viewer’s position and movement. This type of experience is familiar
in the urban environment where people are facing all types of screens while moving.
However, this paper focuses on the spatial properties of the projection system that incor-
porate the viewer. We traced the evolution of the projection system from analogue to
digital technology, and highlighted the fact that the spatial arrangement of digitally
expanded cinema installations, in particular the viewer’s position, is in fact upgrading
the viewer to user of the artwork. When the interaction with the projection system is
based on the viewer’s position, the installation works as an optical machine that upgrades
the viewer to active participant and enables him or her to experience the work in a unique
way.

Disclosure statement
No potential conflict of interest was reported by the author.

Funding
This work was supported by Alexander S. Onassis Public Benefit Foundation [grant number G ZC
005-1].

Notes on contributor
Olga Venetsianou is interested in the spatial qualities of the projection system, in particular, the
effect of the design of the projection surface in increasing viewer participation in projection-
72 O. VENETSIANOU

based installations. She holds a PhD from the School of Architecture – University of Thessaly (2014)
funded by a scholarship from the Alexander S. Onassis foundation. She has studied architecture in
the Canterbury School of Architecture in the UK (1999) and in the National Technical University of
Athens (2002). Following a few years of architectural practice, she went on to complete the MA in
Digital Arts in the Athens school of Fine Arts (2006). Her work has been published in scientific jour-
nals and presented in international conferences. She offers consulting services in issues related to
screen culture. She works privately as an architect, having collaborated in housing, cultural and com-
mercial projects in Greece and abroad. She is also an adjunct lecturer in the Technological Edu-
cational Institute of Athens, Department of Interior Design, Decoration and Product Design. www.
olgavenetsianou.info.

References
Abel, M., ed. 1997. Jeffrey Shaw – A User’s Manual – From Expanded Cinema to Virtual Reality.
Ostfildern: ZKM/Heinrich Klotz.
EAT (Experiments in Art and Technology) 1970. Pepsi Pavilion for the Expo ’70. Osaka, Japan:
Ephemeral Structure.
Friedberg, A. 2006. The Virtual Window – From Alberti to Microsoft. Cambridge, MA: The MIT Press.
Gance, Abel. 1927. Napoleon. France: Film.
Grau, O. 2003. Virtual Art – From Illusion to Immersion. Cambridge, MA: The MIT Press.
Manovich, L. 2001. The Language of New Media. Cambridge, MA: The MIT Press.
Moholy-Nagy, L. 1930. Light Space Modulator. Germany: Installation.
Ruby, A. 1998. “Architecture in the Age of Its Virtual Disappearance – An Interview with Paul Virilio.” In
The Virtual Dimension: Architecture, Representation, and Crash Culture, 179–187. edited by
J. Beckmann. New York: Princeton Architectural Press.
Shaw, Jeffrey, and Botschuijver, Theo. 1969. Waterwalk. Amsterdam, Netherlands: Air structure event.
Venetsianou, O. 2014. “The Spatial Properties of the Projection System in the Work of Jeffrey Shaw.”
PhD Thesis, Department of Architecture, University of Thessaly, Volos.
Virilio, P. 1991. Lost Dimension. New York: Semiotext(e).
Youngblood, G. 1971. Expanded Cinema. London: Studio Vista.
Copyright of Journal of Media Practice is the property of Taylor & Francis Ltd and its content
may not be copied or emailed to multiple sites or posted to a listserv without the copyright
holder's express written permission. However, users may print, download, or email articles for
individual use.