Costume is critical. It is critical to making performance, critical to spectator- ship, critically overlooked within scholarship, notable when in crisis, and a means of critically interrogating the body. It is therefore critical that we discuss costume. Yet, it is equally imperative for costume to find appropriate methods and frameworks to support new forms of practice. A critical discourse of costume aims to promote new questions and scholarship on the intersections between body, design and performance. This is the concern of critical costume.

This article returns to Diller Scofidio + Renfro's temporary structure for the Swiss Expo in 2002. Blur Building, or Blur, underlines the occurrence of time through its continuously shifting structure and ephemeral state.

To interrogate the role of architecture within intermedial digital opera, this article returns to a model of performance architecture as conceived by Swiss scenographer Adolphe Appia (1842–1928) and German architect Heinrich Tessenow (1876–1950) for the Festspielhaus Hellerau (1911).

This research project examines the dramaturgical implications of three historically significant unrealized theatres through the process of computer-based 3D visualization.

The Festspielhaus Hellerau (1911) is recognized as the first purpose-built “studio “performance space. Scenographer Adolphe Appia and architect Heinrich Tessenow’s architectural legacy is once again an active site of experimentation following a2006 renovation. Moreover, the current artistic residency of William Forsythe’s dance company has continued Appia’s vision for afuture performance practice through an intermedial approach. Importantly, the body, within the work of Forsythe and Appia, remains alocus of artistic convergence as it encompasses the “open “architecture at Hellerau.