ABSTRACT
This chapter examines three case studies by architects Diller and Scofidio. Namely, the installations of Facsimile (2004) and Para-site (1989) alongside their seminal project Slow-House (1989). These cases showcase in practice the screen's apparatus—which includes recording cameras, the filming technique of manipulating the footage and the screen's projected moving images. Founded on the dialectic investigation of perception and representation the chapter examines fundamental notions of the screen's spatial performance such as the undecidability of moving images beyond being true or false in terms of illusion, showing a space from an impossible point of view or making the architectural subject question the nature of recorded and unmediated space.
