![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-031.jpg)
Blow x Blow by Deegan Day Design
Los Angeles designers Deegan Day Design have created an angular installation framing two dual-projection screens at the SCI-Arc gallery in Los Angeles.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-061.jpg)
Called Blow x Blow, the installation will host an exhibition about prisons and museums, as well as exhibiting work by artists exploring new media and hosting a series of talks.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-161.jpg)
The space is divided by two surfaces, folded around to frame and become the screens.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-081.jpg)
The angled geometries were created by digitally bouncing a single vector line around a grid-frame with the dimensions of the gallery space.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-121.jpg)
The exhibition will run until the 13th December 2009 with changing visual media throughout and public discussions with artists, architects and critics.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-101.jpg)
Photographs are by Joshua White.
Here's some text from the designers
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Within and without Architecture?
Blow x Blow stages a bout between two trends in exhibition: the claiming of gallery space by architects, and the ceding of that space to the ambient possibilities of new media.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-141.jpg)
To chart this collision, techniques of cinematic projection and scripting are repurposed to spur new orders of spatial and structural sequencing, and new environments for communing with new art.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-231.jpg)
The installation derives first from the filmic, rather than architectural, relationship between script and projection - the former usually serving as the template or pretext for filmmaking, and the latter its (increasingly historical) mode of delivery and final fruition.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-221.jpg)
Projection precedes script in our equation, with the parameters of the projected image ‘cast’ in roles of formal generation.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-241.jpg)
‘Bounce-line’ scripting, in which a single projection-based vector is allowed to rebound ad infinitum through the space of the gallery, evolved in two more disciplined directions.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-191.jpg)
First, the space of the gallery was reconceived as a 6’x7’x8’ gridded frame, the proportions of which allow a 4:3 televisual image on one face, and a 9:16 cinematic aspect ration on the diagonal.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-131.jpg)
These dimensions also mimic those of a prison cell.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-111.jpg)
Within this matrix, a randomized 16-part vector path was developed in which each third vector point was triangulated back to its origin to create a continuous, faceted surface.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-041.jpg)
A ‘braid’ of two of these paths supports two dual-screen projection areas.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-071.jpg)
Rather than simply blacking out the gallery, the spanning surfaces of the vectorpaths create a ‘grey room’ condition in which viewers may see each other, but projected images are shaded from clerestory exposure.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-091.jpg)
The title Blow x Blow alludes to a few ‘blown’ opportunities, including Antonini’s Blow Up (1966), Gordon Matta-Clark’s Blow Out of 1976, and George Yu’s earlier pneumatic installation in the SCI-Arc Gallery, also titled Blow Up.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-021.jpg)
The choreography of freedom and constraint in the design of Blow x Blow also keys to its inaugural programming, ‘Collections+Corrections’: Architectures for Art and Crime, a study of prisons, museums and their complementary roles in contemporary high design and US urban renewal.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-251.gif)
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Duration in exhibition, like sentencing in incarceration, is a variable we hope to test.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-261.gif)
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After a two week-run of ‘Collections+Corrections’, the installation will host work by leading artists working in new media in a series entitled ‘Friends of Friends’.
![](https://static.dezeen.com/uploads/2009/11/dzn_Blow-x-Blow-by-Deegan-Day-Design-271.gif)
Click for larger image