The project seems to be a logical continuation of Kogler’s confrontation with architecture beyond space and style. Liberated from spatial and physical constraints, the CAVE offers ideal preconditions for a free-wheeling mode of dealing with elements of architectural design. As is typical of his work, Kogler employs modules–here as textures for a three-dimensional, computer-generated model. Thus, images that were previously scanned have found their way back into the digital dimension.


Analogous to the structure of the visual 3-D model, Franz Pomassl creates acoustic spaces in the form of "audio rendering pipelines," the objectives of which are to expand the human system of perception and, in doing so, to intensify the plasticity of the application.

The visitor to the auditory 3-D environment determines the interactive sound syntheses by means of his positioning in and on the visual object and the dynamics of his movements.

The activity of the user in moving about in virtual space can, accordingly, be seen as an operation on a dynamic audio mixing console. In individually selectable channels, specific sound characteristics are assigned to the pipeline systems characterized by Kogler’s textures.

At the junction of the channels, all volumes are maintained in a constant relationship to each other; if the relative position changes, the mix relationship of the volumes shifts in conformity with the distance of the coordinates to the respective sound triggers.