Treatment of surface and material reflects the drawn projection onto the site, while the machines physically project into the site. These machines record and compress the events happening within the building onto a single surface – a screen within the Opera House. Thus, the very act of inhabiting the building is transformed into a performance, a reflection of site qualities that transcend physical parameters. The Hotel takes place not as a cohesive whole, but as a series of projections, cast by intangible moments and events that are experienced within the site. The act of drawing is informed by these projections – projecting the building onto the site, through the site, and finally – deep into the site. In doing so, a position in favour of the discursive and subjective nature of symbolic architectural representation is established.