Motorized tracks are built inside one of the abandoned carriages, allowing the materiality of the site to define the structure of the recording device. The captured footage is then played back on eight iPads that move around the space mapping the carriage interior and re-tracing the exact path of the camera, spatially and temporally. Through the moving screen, a duality exists between the perceived real space and screen space, which creates a third space between the two for the mind to enter into, and for the body to position itself between. The iPad’s physical movement around the architectural site simultaneously conceals and reveals the real architectural site directly below, the track of the motorized rig de-materialized by the pre-recorded iPad image. This de-materialization of the filming apparatus is particularly effective in the moment where the iPad glides over a hole in the train carriage wall – as the film is pre-recorded the image on the iPad reveals an empty space and the motorized track appears to vanish. The viewer experiences the materiality of the train carriage from the inside out as the reading of detail builds the comprehension of architectural space. As the motorized Ipad physically moves around the architectural site, the screen representation cancels out the real architectural site directly below. The track of the motorized rig is de-materialised by the Ipad image. The cinematic re-presentation appears “more real than the real site itself”.