ISSN: 2977-814X

ISSUE DOI: https://doi.org/10.51596/sijocp.v4i1

Volume 4 Issue 1

journal.spacestudies.co.uk

Imaginary Landscapes in Film Science Fiction Production

of the 21st Century: A Comparative Analysis of Blade

Runner and Cloud Atlas as Speculators of Present and

Future Realities

Pico Pérez Daniela, PhD candidate, XJTLU Xi’an Jiaotong-Liverpool University -

University of Liverpool, China

https://orcid.org/0009-0006-9128-0870

Loehlein Gisela, Dubai CEO Magenta Clover / design director AKDesigno, United Arab

Emirates

Dall’Asta Juan Carlos, Associate Professor, XJTLU Xi’an Jiaotong-Liverpool University,

China

https://orcid.org/0000-0002-8600-2757

@2024 Pico Pérez Daniela, Loehlein Gisela, Dall’Asta Juan Carlos

Published by SPACE Studies Publications owned by SPACE Studies of Planning and Architecture Ltd.

To cite this article:

Daniela , P. P., Gisela, L., & Juan Carlos, D. (2024). Imaginary Landscapes in Science Fiction Film Production

of the 21st Century: A Comparative Analysis of Blade Runner and Cloud Atlas as Speculators of Present

and Future Realities . SPACE International Journal of Conference Proceedings , 4(1), 43–51. https://doi.

org/10.51596/sijocp.v4i1.42

D.Pico20@student.xjtlu.edu.cn

This article is an open access article distributed under the terms and conditions of the Creative

Commons Attribution(CC BY) license

This article is published at journal.spacestudies.co.uk by SPACE Studies Publications.

journal.spacestudies.co.uk

SPACE Studies Publications

ISSN: 2977-814X

ISSUE DOI: https://doi.org/10.51596/sijocp.v4i1

Volume 4 Issue 1

journal.spacestudies.co.uk

Imaginary Landscapes in Film Science

Fiction Production of the 21st Century: A

Comparative Analysis of Blade Runner and

Cloud Atlas as Speculators of Present and Future

Realities

Pico Pérez Daniela, PhD candidate, XJTLU Xi’an Jiaotong-Liverpool University - University of

Liverpool, China

https://orcid.org/0009-0006-9128-0870

Loehlein Gisela, Dubai CEO Magenta Clover / design director AKDesigno, United Arab Emirates

Dall’Asta Juan Carlos, Associate Professor, XJTLU Xi’an Jiaotong-Liverpool University, China

https://orcid.org/0000-0002-8600-2757

Article History:

Received April 7, 2023

Accepted January 22, 2024

Published Online July 31, 2024

https://doi.org/10.51596/sijocp.v4i1.42

Abstract

Science ﬁction has been used as a tool for speculation and exploration in popular culture,

enabling architects to envision new forms of architecture, habitats, and spatial appropriation

that address current and forthcoming societal challenges. This study observes how imaginary

landscapes depicted in science ﬁction cinema inﬂuence contemporary architectural design and

the conceptualisation of habitats and urban landscapes.

The methodology involves a critical review of scholarly literature concerning the interplay between

science ﬁction and architectural design, juxtaposing these ﬁndings with an analytical study of

two contemporary ﬁlms renowned for their inﬂuential visions. As a result, the correlation found

between science ﬁction cinematography and contemporary architecture displays speculations

for spatial proposals as a critique to challenge the existing social and political structures to

explore alternative visions of space that challenge traditional notions of ownership and redeﬁne

the human relationship to an increasingly hyper-technological city habitat.

In conclusion, imaginary landscapes offer architects a unique opportunity to speculate and

disseminate new possibilities for the future while also reconceptualising current realities. As

speculators of present realities, they trespass on the immediate constraints and limitations of the

present, imagine new possibilities for the future, and venture into new space dimensions.

Keywords: imagina

ry landscapes, scienc

e ﬁction, emerging t

echnologies, AI, f

uturistic landsca

pes

1. Introduction

The dichotomy of urbanity, as presented in science-ﬁction (SF) cinema, offers a rich framework

for observing the evolution of cityscapes. Urban prototypes, utopias, and speculative realities

Corresponding Author: Pico Pérez Daniela, PhD candidate, XJTLU Xi’an Jiaotong-Liverpool

University - University of Liverpool China D.Pico20@student.xjtlu.edu.cn

journal.spacestudies.co.uk

43

within SF have been portrayed throughout ﬁlm history. Generally, it creates a complex interplay

between temporality and spatiality; these cinematic portrayals often juxtapose current realities

with future projections, serving more as cautionary or speculative narratives than as precise

predictions of urban development (Gold, 2001, p. 135).

The pivotal role that urban settings play in cinematic narratives gained signiﬁcance a few decades

ago, intending to understand the association between the physical urban landscape of the city

and the urban landscape in the screenscape of ﬁlm (Aitken & Zonn, 1994; Clarke, 1997; Gold,

2001). Particularly, discussion around SF cinema opens at the conﬂuence of multiple academic

disciplines, including urban studies, architecture, ﬁlm, ecology, geography and the social sciences.

This interdisciplinary nexus offers untapped potential for academic exploration that extends well

beyond any initial scepticism that may be prompted by the genre’s conventional ties to popular

entertainment.

Contrary to this scepticism, this paper suggests that SF cinema, beyond its status as a cultural

artefact, serves as a mass medium for disseminating speculative thought, contributing

signiﬁcantly to the collective imagination of urban futures. It shapes the collective consciousness

of not just cities but also architectural forms and, by extension, modes of living for communities

and individuals within an envisioned alternative future.

2. City and Architecture Portrayal in Science Fiction Cinema

Looking at architecture and urban design, science ﬁction (SF) is frequently contemplated for

its prognostications concerning urban futures and for being a source of creative stimulus

for designers (Butt, 2018). On the latter, it has been widely agreed that early SF cinema, like

the cult ﬁlm Metropolis, concepts developed in ﬁlm have inﬂuenced theories and practices

of architecture and urbanism, not simply due to its physical presence in cities but because it

embodies the essence of urbanity. Through the adoption of innovative narrative mechanisms,

visual technologies, and editing methods, it conveys the rhythm and dynamism characteristic of

modern urban existence. (Donald, 1999; Hubbard, 2006, p. 135)

Fritz Lang’s iconic ﬁlm Metropolis, released in 1927, depicts a futuristic cityscape characterised

by towering skyscrapers (Lang, 1927). The ﬁlm is set in the then-distant year of 2026, fostering

viewers’ engagement with a speculative future. It addresses themes of class conﬂict and

industrialisation’s perils, encapsulating early 20th-century societal anxieties while offering a

vision of hope. Metropolis presents a prophetic urban environment, providing audiences with a

collective vision of future cities marked by urgency and the transformative pace of technological

progress. The narrative was ﬁrmly rooted in a technologically advanced future, allowing audiences

to explore potential urban landscapes and alternate realities.

Moreover, the shared sense of space-time territoriality between real cities and urban settings

of SF ﬁlm has provoked scholars to look at ﬁlm as a method of reading and mapping aspects

that involve social, economic, political, and especially architectural discourses. Indeed, we can

relate the early SF ﬁlms that portrayed the ultramodern phase of architectural modernism led

by Le Corbusier. Giedion believed that the true spirit of this modern architecture could be best

captured by ﬁlm and not by other visual arts. He thought that ﬁlm offered a unique way to see

architecture from different angles and perspectives through the dynamism that only cinematic

movement can provide (Giedion, 1995, p. 176).

As we progress through history, the 1960s witnessed an architectural movement transcending

conventional representation methods to convey its concepts. Archigram, initiated in 1961 at the

Architectural Association in London and active until 1974, forged ahead with depictions of future

urban landscapes characterised by high-tech dynamic vision of the city like Peter Cook’s Plug-in

City (1964), Instant City (1968), and Ron Herron’s Walking City (1964). These futuristic utopias were

steeped in the idea of a technologically advanced, consumer-oriented society (Koeck, 2013). To

communicate such progressive ideas, the Archigram group members employed a dynamic

amalgamation of graphic art, narrative text, and imagery, emulating the lively essence of ﬁlm to

illustrate their vision of a utopian cityscape.

In a parallel vein, Archigram’s revolutionary spirit also inﬂuenced the Italian collective Superstudio,

44

SPACE Studies Publications

established in Florence in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia. Their avant-

garde concepts showcased an unbounded spanning urban expansion, articulated through

three fundamental principles: the architecture of the monument, the architecture of the

image, and technomorphic architecture. They communicated their narrative-driven visions

using photomontages and storyboard illustrations, which the inﬂuential magazine Casabella

disseminated in print media. Similarly, the Archizoom group delivered their own provocative

interpretation of the future with the Non-Stop City series (1969). This project envisioned a radical,

manufactured, and inﬁnite architectural expanse characterised by its repetitive structures,

creating an impression of endless horizontal progression juxtaposed against delicate vertical

supports (Budzynski, 2011; Koeck, 2013, pp. 10-12). While the visionary projections of these avant-

garde architects stayed within the realm of imaginative montages, physical models, and ﬁlm, their

conceptual legacies continued to inspire current generations of pioneering architects, including

ﬁgures such as Rem Koolhaas, Bernard Tschumi, and Zaha Hadid, among others.

However, Koeck argues that the imaginative endeavour of sculpting architecture and urban

spaces is no longer the exclusive domain of architects and urban planners, the traditional

sculptors of ‘abstract spaces’ as conceptualised by (Lefebvre et al., 1991, pp. 229-291). Instead, this

creative process is increasingly in the hands of a ﬁlm-literate public, endowed with the capacity

to interpret and assimilate spaces and places disseminated in screen realities. Indeed, inhabiting

the city in the twenty-ﬁrst century entails an omnipresence of digital moving images and layers

of ongoing circulating information that permeate our existence permanently, engaging us with a

frequency and intimacy unprecedented in human existence (Koeck, 2013, pp. 2-6).

Science ﬁction relies on disseminating innovative ideas about future cities to a broad audience,

serving as a wellspring of inspiration for designers and urban thinkers. The human mind adeptly

bridges the gap between visual and other sensory experiences, creating a uniﬁed perception of

space. Merleau-Ponty elaborates on this comprehensive perception:

“Therefore, my perception is not merely an aggregation of visual, tactile, and auditory data: I

perceive wholesomely with my entire being: I apprehend a singular essence of the object, a

singular mode of existence, which appeals to all of my senses simultaneously” (Merleau-Ponty,

1962, p. 18).

This integration of perception extends beyond physiological interaction with space; it also

encapsulates the visual depiction of space in cinema, reﬂecting the role of ﬁlm as a medium that

can shape and inﬂuence our understanding of architectural and urban spaces (Koeck, 2013, p.

65). Consequently, by analysing two iconic pieces of SF ﬁlm, Blade Runner and Cloud Atlas, we

will examine their portrayal of advanced technologies as central to the fabric of future cities. we

will explore the tangible manifestations of previously discussed theoretical concepts as these

ﬁlms crystallise speculative ideas into vivid urban narratives.

3. Imaginary Landscapes of Blade Runner and Cloud Atlas

This paper selects two seminal SF ﬁlms, Blade Runner, ﬁrst released in 1982, and Cloud Atlas,

released in 2012(Scott, 1982; Tykwer et al., 2012). Both ﬁlms are particularly insightful in their

portrayaloftechnologiessuchasartiﬁcialintelligence(AI), augmentedreality(AR), andvirtualreality

(VR), which are increasingly becoming integral to the architectural design process and shaping

new dimensions of urban life. By analysing the depiction of these technologies in the ﬁlms, this

paper aims to understand their potential impact on the evolution of architectural design and the

transformation of urban living, as well as to explore their depictions of imaginative architectural

and urban utopias that mirror contemporary speculations on the future of cities. Viewing Blade

Runner and Cloud Atlas as cinematic gateways into futuristic cities, we aim to unravel the

interweaving of architecture with technology to forge unprecedented urban experiences. The

analysis will uncover not only how these ﬁlms envision futuristic urban landscapes but also how

they offer a critique of current architectural trends and urban challenges. While Blade Runner

and Cloud Atlas share thematic similarities, they approach their subjects from different angles

and employ different narrative and stylistic techniques to convey their messages. Blade Runner

has left an indelible mark on the science ﬁction genre, shaping discussions on artiﬁcial intelligence

and ethical dilemmas. Conversely, Cloud Atlas extends its speculative reach, presenting a layered

journal.spacestudies.co.uk

45

narrative on human interconnectedness and the cyclical nature of the cosmos. The subsequent

discussion will dissect these narrative strategies, examining how Blade Runner’s inﬂuence on the

science ﬁction genre and Cloud Atlas’s intricate storytelling distinctly enrich the discourse that

envisages imaginary landscapes for future urbanism and architecture.

4. Analysis and Discussion

Before delving into the analysis, it is pertinent to brieﬂy describe the ﬁlms selected for this study.

The ﬁrst Blade Runner, directed by Ridley Scott, was initially released in 1982, with subsequent

signiﬁcant releases, including the Director’s Cut in 1992 and the Final Cut in 2007. The ﬁlm has

ascended to cult classic status within the science ﬁction genre; Sean Redmond describes it as

“one of the most lauded ﬁlms ever made… it acts as a doorway into the wishes, hopes, fears,

inner stresses and tensions of an era” (Redmond, 2008, pp. 7-8). Such a portrayal extends to

its imaginative depiction of a dystopian future Los Angeles, where the ﬁlm’s impact is manifest

not only in its narrative but also through its visionary urban design. Critics and scholars have

commended Blade Runner for its complex cinematographic inﬂuence and neon-lit skyscrapers.

This visual amalgamation exempliﬁes postmodernist architecture and underscores a stark,

overcrowded urban milieu. The ﬁlm’s dark, gritty aesthetic has established a benchmark for

depicting future cities, profoundly inﬂuencing the visual language of cyberpunk and the broader

science ﬁction genre (Bucatman, 2012; Kuhn, 1999).

On the otherhand, Cloud Atlas, directed by Tom Tykwerand the Wachowskis and released in 2012,

while not as universally acclaimed as Blade Runner, is an ambitious cinematic feat that interlaces

six different narratives spanning from the 19th century to a post-apocalyptic futuristic utopia.

Critics have noted the ﬁlm’s imaginative storytelling and exploration of how individual actions can

signiﬁcantly impact different eras and landscapes. The ﬁlm’s approach to architecture and urban

design is as varied as its storylines, featuring everything from the historical buildings of the past

to the futuristic skyscrapers of Neo Seoul. The movie has been discussed in academic circles for

its thematic complexity and the way it visualises imaginary landscapes, using a rich tapestry of

settings to delve into the human experience and the cyclical nature of the universe. Despite its

mixed reviews at the box ofﬁce, Cloud Atlas has acquired attention for its unique structure. It is

often examined for its contributions to the science ﬁction genre and reﬂections on connectivity

and morality (Bayer, 2015; Mezey, 2011).

From an architectural standpoint, both ﬁlms offer distinct future visions through the lens of

urban design and architecture. On the one hand, Blade Runner presents a profound vision with

tangible implications for urban planning and design. The depiction of a dystopian Los Angeles is

characterised by what is often termed ‘retroﬁtted architecture,’ a process of adding new features

or technology to older buildings instead of demolishing and rebuilding. In an SF cinematic context,

its depiction of retroﬁtted architecture suggests a future where historical and new architectural

elements are intermixed, creating a layered, hybrid urban landscape that reﬂects a civilisation’s

evolution or stagnation over time. This layering of new structures atop older ones results in

a dense, chaotic, and vertically stratiﬁed metropolis that has deﬁned the cyberpunk aesthetic,

inﬂuencing contemporary architectural design by synthesising high-tech elements and visible

decay, as seen in neon-lit signage and massive digital billboards (Koeck, 2013, p. 172). These

cinematic cities have inspired architects to consider the scale and impact of megastructures

within urban settings.

On the other hand, Cloud Atlas, with its multiple storylines spanning different time periods,

presents various architectural styles and philosophies. The ﬁlm portrays architectural styles

ranging from traditional 19th-century buildings to 1970s brutalism, reﬂecting each era’s cultural

and social conditions. However, for comparison with Blade Runner, the attention will be centred

on the story set in Neo Seoul of 2144, which presents a vision of a sleek, high-tech city with

inﬂuences from contemporary green architecture and sustainable design. This vision includes

vertical urban growth, advanced transportation systems, and buildings that incorporate organic

forms settled in a post-apocalyptic future where architecture supports the cyclical nature of

human development and the potential for progress (Bayer, 2015).

46

SPACE Studies Publications

Blade Runner offers a cautionary tale of urban decay and the potential alienation within

future cities, while Cloud Atlas suggests a more varied narrative, showing architecture’s role

in reﬂecting the continuum of human civilisation and the possibility of rebirth from the ashes

of the past. The architectural impact of both ﬁlms lies in their ability to present vivid, thought-

provoking environments that challenge viewers. Both ﬁlms provoke a reconsideration of current

architectural trajectories, especially with the emerging inﬂuence of AI, AR, and VR technologies,

particular subjects of interest that will be further explored in this analysis.

Blade Runner imagines a city with towering skyscrapers that pierce the smog-ﬁlled skies,

dominated by a colossal pyramid-like structure, the Tyrell Corporation building, which symbolises

corporate power and architectural ambition. At the street level, the scenes are claustrophobic,

ﬁlled with a mix of people and cultures that have converged into a chaotic melting pot of activity.

This density provides a manifest contrast to the spacious and sterile upper levels inhabited by

the elite. We could argue that Marc Augé’s notion of ‘non-places’, transient spaces that do not

hold enough signiﬁcance to be regarded as ‘places’, can be seen in the portrayal of Los Angeles.

The city is ﬁlled with spaces facilitating temporary interaction but lacking the meaningful social

connections deﬁning a ‘place’(Augé, 1995).

Similarly, to Rem Koolhaas’s Delirious New York concept of the ‘culture of congestion’ and

the metropolitan lifestyle. Blade Runner’s Los Angeles, characterised by its high density and

vertical stratiﬁcation, echoes these themes, illustrating a city where space is a commodity and

architecture is as much about the spectacle as it is about function. Architecture in Blade Runner

is not just about the structures themselves but also about how technology is integrated into

them. The omnipresence of neon signs, holograms, and large video screens on building facades

creates a sensory overload, suggesting a future where digital media is embedded into the fabric

of the city. The ﬁlm’s architecture also signals an ecological dystopia of a disastrous ecological

future, where natural elements are scarce, and the environment is an afterthought. This is utterly

represented by the absence of green spaces and the prevalence of artiﬁcial lighting, which is

necessary due to the permanent dark haze that envelops the city.

On the contrary, Neo Seoul storyline, set in 2144, presents a different kind of futuristic space. High-

tech urbanism is depicted as a city that has embraced technology to create a clean, efﬁcient,

and highly automated urban environment. The sustainable features and green design elements

in the futuristic city of Neo Seoul reﬂect the principles of Ecological Urbanism (Mostafavi et al.,

2010), a novel concept rooted in interdisciplinary approaches which advocate for integrating

ecological systems with urban planning. The ﬁlm presents a scenario where architecture and

technology coexist with environmental consciousness. The architecture is sleek and smooth, with

curvilinear forms and surfaces that reﬂect a more optimistic belief in technology’s ability to foster

a harmonious future. Unlike Blade Runner, where the ground level is congested and polluted,

Neo Seoul’s habitable spaces are elevated, suggesting a world that has overcome environmental

degradation by building above it. The city’s design emphasises ﬂuidity and movement, with ﬂying

vehicles and dynamic infrastructures. An indicative of an imaginary landscape that is responsive

and adaptive rather than imposed and monolithic.

The representation of artiﬁcial intelligence (AI) in Blade Runner and Cloud Atlas is deeply

interwoven with spatial use and interaction, and each ﬁlm explores this relationship in distinct

ways. In Blade Runner, AI is primarily embodied in the form of replicants, bioengineered beings

virtually indistinguishable from humans. The ﬁlm’s spatial use and interaction with AI reﬂect societal

tensions and questions about identity and consciousness. Moreover, the urban environment is

one where surveillance is constant, and space is segregated by class and by the distinction

between humans and replicants. It resembles Michel Foucault’s concept of the panopticon, where

surveillance is intrinsic to societal control, paralleled in Blade Runner’s urban environment. The

constant surveillance and police blimps and patrols reﬂect a society where space is controlled

and monitored, aligning with Foucault’s observations on the relationship between power and

spatial organisation (Foucault, 1977).

Moreover, AI beings are used in space environments deemed too hazardous for humans and

are forbidden on Earth, suggesting a utilitarian view of AI relegated to the peripheries of human

journal.spacestudies.co.uk

47

spaces. Replicants in hiding create makeshift homes in abandoned or derelict spaces, such

as the scenes showcased in a dilapidated Bradbury Building where Roy Batty, a replicant and

antagonist of the story, and his group seek refuge. The ﬁlm’s central spaces, like the streets

of Los Angeles and the apartment of the central character, Rick Deckard, also known as the

Blade Runner, are sites of confrontation and negotiation between humans and replicants. A

representation of social stratiﬁcation in the fashion of Mike Davis’s exploration of urban dystopia

in City of Quartz examines Los Angeles as a city of stark contrasts and social inequalities. Blade

Runner mirrors this analysis, depicting a city where the social hierarchy is spatially manifested:

afﬂuent citizens reside in high-rise towers above the chaos. At the same time, the less privileged

occupy the crowded, chaotic streets below (Davis, 1990).

Cloud Atlas approaches AI differently, particularly in depicting the futuristic city of Neo Seoul and

the fabricant Sonmi-451, a genetically engineered server at a fast-food establishment. Fabricants

like Sonmi are conﬁned to speciﬁc zones within the city, such as the restaurant where she works,

which indicates a strict spatial hierarchy. Fabricants are not allowed to leave their designated

areas, highlighting how space is used to control and limit the agency of AI. Sonmi-451’s journey is

one of spatial transgression as she moves from the conﬁnes of her servile environment into the

wider world. The ﬁlm also depicts specialised spaces such as the university, where a character

educates Sonmi and a rebel safe house that offers her a view of the city skyline, symbolising

her expanding consciousness. The contrast between the narrow, functional spaces allotted to

fabricants and the expansive spaces associated with knowledge and rebellion highlights the

transformative potential of AI.

In Blade Runner and Cloud Atlas, AI characters navigate spaces largely determined and controlled

by human needs and fears. In Blade Runner, replicants are conﬁned to the margins and must hide

within the human-dominated cityscape; however, in Cloud Atlas, fabricants are initially restricted

to utilitarian spaces but eventually transcend these boundaries. The spatial experiences of AI

in both ﬁlms reﬂect their quests for identity, freedom, and recognition, and they challenge the

viewers to consider the ethical and societal implications of creating intelligent, sentient beings.

The ﬁlms suggest that the physical spaces AIs inhabit and interact with reﬂect their status and

the evolving relationship between humans and the artiﬁcial entities they create.

The approach of the ﬁlms to VR and AR is not as direct or explicit as the depiction of the AI

narrative of the story. Still, both are portrayed as elements that suggest a future where virtual and

augmented experiences are integrated into daily life and spatial interactions.

BladeRunnerpresentsavisionofthefuturewherethelinebetweenrealandsyntheticexperiences

is blurred, which can be seen as a precursor to the concept of VR as we understand it today.

Jean Baudrillard’s concept of hyperreality is evident by the presence of hyper-technological

elements that suffuse the cityscape and contribute to a sense of detachment from the real

environment as individuals in a context where simulated experiences become more real than

reality itself. This aligns with postmodern architectural styles that mix historical references with

a futuristic aesthetic, challenging traditional narrative of space and function (Baudrillard & Glaser,

1994).

The cityscape is augmented by massive digital billboards and holographic advertisements that

dominate the skyline, indicating a fusion of physical and digital space where the physical world

is ‘augmented’ by additional layers of digital content. This suggests a form of AR where the

urban environment is overlaid with virtual elements that are part of the everyday experience of

the city’s inhabitants. The character of Rachael, a replicant, suggests an advanced form of VR

or AR, where artiﬁcial beings are virtually indistinguishable from humans and can interact with

them in physical space. While not VR in the conventional sense, the replicants represent a reality

augmented by artiﬁcial consciousness. Using implanted memories in replicants also touches

on the theme of VR, creating artiﬁcial experiences perceived as real, inﬂuencing how replicants

perceive and interact with their space.

Cloud Atlas spans various timelines and does not focus explicitly on VR in the storyline set in

Neo Seoul. Fabricants like Sonmi-451 undergo a form of virtual indoctrination, where their entire

education about the world and their place in it is delivered through pre-programmed knowledge.

48

SPACE Studies Publications

Guy Debord’s critique of the spectacle can be applied to the AR-enhanced environments of Neo

Seoul, where the spectacle of technology could be seen as a tool for control and distraction.

However, the ﬁlm suggests that such spectacles can be subverted for enlightenment and

resistance, as seen in Sonmi-451’s journey (Debord et al., 1970). The ﬁlm features advanced

holographic technology that characters interact with, which serves a similar function to VR. It

presents a virtual space in which viewers can experience different realities and how characters

within those realities interact with their worlds. This technology integrates digital elements

seamlessly into the physical world, enhancing and altering the characters’ experiences. Edward

Soja’s concept of Third space, where space is simultaneously real and imagined, can be found in

Cloud Atlas. The ﬁlm’s spaces, particularly in the futuristic segments, are multifaceted, acting as

a canvas for social commentary, political critique, and speculative imagination, embodying Soja’s

multidimensional view of space (Soja, 1996).

In Neo Seoul, advanced holographic interfaces are commonplace. These holograms augment

the characters’ interactions with space, providing access to information and services within the

physical environment. This technology integrates digital elements seamlessly into the physical

world, enhancing and altering the characters’ experiences. Edward Soja’s concept of Third

space, where space is simultaneously real and imagined, can be found in Cloud Atlas. The ﬁlm’s

spaces, particularly in the futuristic segments, are multifaceted, acting as a canvas for social

commentary, political critique, and speculative imagination, embodying Soja’s multidimensional

view of space(Soja, 1996). Furthermore, the narrative structure of Cloud Atlas, with its interlinked

stories and reincarnations, can be interpreted as a form of AR for the viewer. The ﬁlm augments

the viewer’s reality with the experiences of characters across different eras, changing the viewer’s

perception of the human experience and the ﬂow of time.

In both ﬁlms, the use of AR-like elements represents more than just technological advancement;

it signiﬁes a shift in how characters understand and engage with their world. In Blade Runner, AR

elements highlight the overcrowding and overstimulation of the city, affecting human interactions

and the experience of urban space. Whereas in Cloud Atlas, the augmented aspects of reality

question the nature of freedom and truth, as characters navigate through layers of control and

manipulation. Both ﬁlms use these elements to explore themes of identity, reality, and humanity,

using the augmentation of space as a narrative device that deepens the ﬁlms’ exploration of

these complex issues.

5. Conclusion

However, in the realm of architectural discourse, the differences are stark in the tonality of

each ﬁlm’s vision. Blade Runner offers an urban environment that could serve as a warning,

representing the potential perils of unchecked technological integration within cityscapes. Cloud

Atlas, while not without its dystopian elements, allows for a more nuanced conversation on

the potential of technology to transcend existing societal constraints, proposing a vision where

technology may catalyse societal evolution. Therefore, one can interpret these ﬁlms as more than

mere speculative ﬁction; they are critical projections that challenge the viewer to consider the

trajectory of our urban environments. They invite a reﬂection on how current architectural and

urban design practices might adapt to the growing omnipresence of AI, VR, and AR technologies.

The ﬁlms underscore the necessity for architects and urban planners to engage with these

technologies as tools for creation and as new sources of creativity that serve as fundamental

elements that will deﬁne our urban landscapes’ future morphology and ethos.

Acknowledgements

Funding was received for this work. This research was supported by the Xi’an Jiaotong-Liverpool

University Fully Funded Postgraduate Research Scholarship, China, and the University of Liverpool

School of Architecture Research Visit Scholarship, UK. The funders had no role in the study

design, data analysis, interpretation of the results, or preparation of the publication.

Conﬂict of Interests

No potential conﬂict of interest was reported by the author(s).

journal.spacestudies.co.uk

49

Biographical notes on authors

Daniela Pico Pérez is an Ecuadorian Architect and Researcher. Her career has been marked

by fruitful collaborations with teams spanning China, South America, Europe, and the UK. She

has been a registered Architect since 2016 and holds a MArch Degree from the University of

Liverpool since 2019. Daniela is pursuing her PhD candidacy jointly at Xian Jiaotong Liverpool

University and the University of Liverpool, signifying her commitment to academic excellence

across borders. Her research focuses on the disciplinary and methodological momentum

of discontinuity between architectural design, urban design, and landscape. Her work aims

to understand the design principles that can be identiﬁed in landscape in a theoretical and

practical endeavour by bridging the gap between these two domains, fostering innovation to

uncover the design practices across diverse media.

Professor Gisela Loehlein was raised in a brick manufacturing dynasty family in Germany that

had employed robotics in the 1970s via a European-funded project. She is a renowned academic

and visionary leader with extensive global experience in academia, practice and governance.

Prof. Gisela has an extensive portfolio across the USA, Europe, Australasia and the Middle

East. She has steered policy alignment, international quality assurance initiatives, recruitment,

retention, and business development. She serves as an advisor to senior leaders, organisations,

governments and universities around the world on capacity-building and internationalisation,

bringing innovative and meaningful change to the future of higher education, architecture and

design.

Dr Dall’Asta explores design and research with a global footprint. Renowned for investigating

experimental design methodologies and integrating digital knowledge into teaching, he holds

Bachelor’s, Master’s, and Doctorate degrees in architectural and urban design at Politecnico

di Milano (POLIMI). His expertise covers urban regeneration, multiscale design processes, and

human-centred design methodologies. Over two decades, Dr Dall’Asta has left his mark on three

continents, collaborating with ﬁgures like Kengo Kuma, Mecanoo, and Balkrishna Doshi. Since

2002, he has been a licensed architect, practising independently. His portfolio encompasses 50+

research projects, including ﬁve published books, Journal articles, papers, and presentations

globally.Currently, as the Master in Architectural Design Programme Director and the Urban

and Landscape Research Lab Director at XJTLU Xi’an Jiaotong-Liverpool University in Suzhou,

China, Dr Dall’Asta embodies a commitment to pushing boundaries in design, academia, and

theory. His trilingual proﬁciency and global experiences add a distinctive layer to his persona.

Endnotes

This paper has been presented at the SPACE International Conference 2023 on Cities,

Architecture and Cinema.

References

Aitken, S.,

Geography

books?id=kCiYSkjd0eUC&lpg=PP1&pg=PP1#v=onepage&q&f=false.

&

Zonn, L. E. (Eds.). (1994). Place, Power, Situation, and Spectacle

a

of Film. Rowman and Littleﬁeld. https://books.google.com.ec/

Augé, M. (1995). Non-places : introduction to an anthropology of supermodernity. Verso London.

Baudrillard, J., & Glaser, S. F. (1994). Simulacra and simulation. University of Michigan Press Ann

Arbor.

Bayer, G. (2015). Perpetual Apocalypses: David Mitchell’s<i>Cloud Atlas</i>and the Absence of

Time. Critique: Studies in Contemporary Fiction, 56(4), 345-354. https://doi.org/10.1080/00111619

.2014.959645

Bucatman, S. (2012). Blade runner (2nd ed.). Palgrave Macmillan British Film Institute New York,

London.

Budzynski, S. (2011). Continuous Spaces: Object and Imagination in Superarchitettura

[Contemporary Italian Architecture; Radical Architecture; Superstudio; Archizoom]. 2011(1). http://

www.palinsesti.net/index.php/Palinsesti/article/view/15/23

50

SPACE Studies Publications

Butt, A. (2018). City Limits: Boundary Conditions and the Building-Cities of Science Fiction. Open

Library of Humanities, 4(2). https://doi.org/10.16995/olh.233

Clarke, D. (1997). The Cinematic City. Taylor and Francis.

Davis, M. (1990). City of quartz : excavating the future in Los Angeles. Verso London.

Debord, G., Black, & Red, P. (1970). Society of the spectacle. Black & Red Detroit.

Donald, J. (1999). Imagining the modern city. University of Minnesota Press Minneapolis.

Foucault, M. (1977). Discipline and punish : the birth of the prison. Allen Lane London.

Giedion, S. (1995). Building in France, building in iron, building in ferroconcrete. Getty Center for the

History of Art and the Humanities Santa Monica, Calif.

Gold, J. R. (2001). Under Darkened Skies: The City in Science-ﬁction Film. Geography, 86(4), 337-

345. http://www.jstor.org/stable/40573613

Hubbard, P. (2006). City. Routledge New York, NY. https://public.ebookcentral.proquest.com/

choice/publicfullrecord.aspx?p=274419

Koeck, R. (2013). Cine-scapes : cinematic spaces in architecture and cities / Richard Koeck.

Routledge. https://doi.org/10.4324/9780203721186

Kuhn, A. (Ed.). (1999). Alien zone II : the spaces of science-ﬁction cinema. Verso.

Lang, F. (1927). Metropolis Parufamet.

Lefebvre, H., Nicholson-Smith, D., & Harvey, D. (1991). The production of space. Blackwell Publishing

Oxford, UK.

Merleau-Ponty, M. (1962). Phenomenology of perception. Routledge London.

Mezey, J. H. (2011). A multitude of drops: Recursion and globalization in David Mitchell’s Cloud

Atlas. Modern Language Studies, 40(2), 10-37. http://www.jstor.org/stable/23339629

Mostafavi, M., Doherty, G., & Harvard University Graduate School of, D. (2010). Ecological urbanism.

Lars Müller Publishers Baden, Switzerland.

Redmond, S. (2008). Studying Blade runner (Rev. student ed.). Auteur Leighton Buzzard [England].

Scott, R. (1982). Blade Runner Warner Bros.

Soja, E. W. (1996). Thirdspace : journeys to Los Angeles and other real-and-imagined places.

Blackwell Cambridge, Mass.

Tykwer, T., Wachowski, L., & & Wachowski, L. (2012). Cloud Atlas Warner Bros.

journal.spacestudies.co.uk

51