On the 23rd August, 2007, the patient woke up to notice a slight blur in the visual field of his left eye. Attributing it to long hours of computer use and stress, Daniel arranged to have an eye examination that afternoon, during which, visual acuity tests were carried out. It was suggested to him that his eyes had been under too much stress and that his vision should clear in a few days. The following morning, he woke to find the level of blurriness had worsened and returned to the opticians. Daniels level of vision had degenerated so much that it was impossible for him to repeat the same visual acuity tests he had performed a day earlier.
That afternoon, he was referred to the Moorfields Eye Hospitals, Accident and Emergency clinic, and on Friday 24th August, he was diagnosed with acute Optic Neuritis. Within two days, (26th August, 2007), Daniel had lost all sight in his left eye.

(Tom Jenkins, neurologist, speaking to the lead consultant at Moorfields Eye Hospital, London)

Technology and architecture have become synonymous. Digital media has become paramount in the practice of architecture, specifically within the context of architectural representation. Consequently, how we design, perceive and experience spatial boundaries has altered. Film production, as a time-based medium, grasps the potential to explore new possibilities of architectural representation and practice within a filmic experience. Since the beginning of the 19th century we have assumed that vision can be explained as a two-dimensional image projected onto the back of the retina, and architectural representation has followed this dogma. Cognitive science has progressed. So too must our concept of architectural representation. It is no longer enough to accept a two-dimensional image as a true representation of the environment that we physically occupy.

With this in mind, the research carried out by Dan during his post graduate thesis constructed a scheme of relations between architectural film making (as a research-led practice) and vision (as experience-led research) based on a set of analytical tools or systems forming the connective tissue between the two. It can be demonstrated that the process of visual perception can be interpreted within the context of film generating a new way of seeing and as a result that the nature of the architectural representation has evolved.