In 1926 Frederick Kiesler first presented his designs for an entirely new form of theatre architecture. Entitled the Endless Theatre, the progressive artiste architecte proposed this ‘endless showplace’ as a site for theatrical and cultural innovation. Due to the complexity and unfamiliarity of his plans, the aim of this project is to map the structural properties of Kiesler's idealised spiral building.

Kiesler is somewhat ambiguous in his descriptions of how the Endless Theatre was intended to operate in performance. However, within a 1961 interview and several artistic manifestos he suggests that the theatre engendered an ‘elastic’ quality. This is assumed to be an extension of his previous experiments into 'continuous movement' and kinetic scenography. Consequently, the plans have been interpreted with the aim of identifying areas of possible motion and 'elastic architecture'.

In order to complete Kiesler’s incomplete and conflicting architectural plans, his proposals for urban housing and later theatre projects were referred to throughout the interpretative process.