The scene.

Do you like our owl?
Is it artificial?
Of course it is.
It must be expensive.
Very expensive. I'm Rachel.
Deckard.

[ Blade Runner, 1982 ]

What is interesting is how the individuals in this scene interact with each other. They come from completely different worlds and now meet in this environment. This is more or less a neutral place, as it does not directly belong to the backgrounds of the individuals. The owl comes from a natural world and is completely alienated from it. Both physically and in the fact that it is an artificial creature. Nevertheless, it observes the situation, which is typical owl behaviour.

Rachael seems to come from a higher society and still has the most connections to this place. This is not the case with Deckard. They try to find out what they can expect from their counterpart. But they do it in a distant, foresighted way. The conversation runs very flat and functional. There is only a thin line of connection between the two that no one wants to develop.

The combination of individuals and abstract behaviour and environment makes for an exciting scene. Like aliens landing on a new planet and meeting each other for the first time. Not really knowing what to do.

What does empty look like?

What is abstract?

How different can bodies be?

How to enter another world? - Ask Alice interpretation

The worlds are so different from each other. [1] Each one on its own. It is hard to believe that they exist. Not to mention that they can come together. But they are all here. Surreal. Are they natural or artificial? [2] There must be a way to find out? To get inside. They are not completely closed. There are small access points. Such openings, created in this severe manner, segmented the incoming light so as to model, almost sculpt, the space from luminous lines that cut through the darkness and whose shape changed continuously. [3] Sometimes there is the strange sympathy of soft reflections and silvery sheen. [4] But the lights are relentless. A few verticals and diagonals are roughly inscribed within the lenticular outline. [5] A strange framework emerges. Even where [its] ornament is not intrinsically geometric it is almost always contained by geometric form. [6] Showing their beauty and fears. Their secrets and myths. How it changes. But something obviously went very wrong. [7] Was that not enough to see this world? To understand it? To connect with it? They do not come together. […] [8]

[1] Ockmann, Architecture Culture 1943 1968
[2] Leatherbarrow Eisenschmidt, Twentieth Century Architecture
[3] Acocella, Stone Architecture Ancient and Modern Construction Skills
[4] Leatherbarrow Eisenschmidt, Twentieth Century Architecture
[5] Evans, The Projective Cast Architecture and Its Three Geometries
[6] Frampton, Modern Architecture A Critical History
[7] Mallgrave, Modern Architectural Theory 1
[8] Fuller, Synergetics

How is it to be explored?