This chapter charts the findings of a research project that examined Meyerhold’s lost architectural experiment using computer-based 3D visualisation as a research method.

Frederick Kiesler’s unrealized Endless Theatre (1916–26) project is employed as a case study for articulating ‘paradata’ in heritage visualization.

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.