• NEIL SPILLER
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    Parker's Piece, Cambridge

    'Virtual Reality' is a oxymoronic expression that is just as overused as the word 'cyberspace'. Contrary to all the ebullient soft- and hardware vendors and one could argue that much is trumpeted and little achieved. Conversely one might optimistically respond to such criticism that these are the first small steps towards the huge architectural potential of full bodily immersion in the virtual space. Your children might already be more familiar with such environments than are you. They may well have already pushed on a Head Mounted Display and flexed a dataglove. This type of Virtual Reality can give architecture strange properties. It liberates us from the turgidity of our world into the fluidity of the digital world; a world where architecture can slip and slide without structural engineering, where it can be snake skin or the sleekest of chrome without joint or oxidation, where double curvature costs nothing and stuff can suddenly disappear. The old rules of architecture go 'splat' against this electric windscreen. New definitions of what is called architecture are happening every day. Full Virtual Reality allows us to view and manipulate these new architectural dreams at close quartets for long periods of time.

    Works:

    Turing Tower and Glider Elevations