This paper concretelypresentsthe design processesand results of ComposerTod Machover’sBrain Opera, an intemctive, muhi-medi% traveling opera. It will present the importance of mcees@l cdabmation between iulists and seirmtists at the fimetional intersection of their rwearch--&slgn. It will discuss the opposing design strategies neeemary for integrating teehnolo~ into the physical emvimmnent at various levels of scale, fium architecture to intexface. At the level of architecture, flexibility in deaiga is strewed. In interface desigq the needs for apecifieity and detail, new materials and manufacturing pmcessm am presented. The paper will demonstratehow the aesthetic goals of the Brain Opera’s visual designers, creating an O@C, humorous and unexpected technology environment influenced audience interaction. ‘Ilw eonfliet between artistic control and interactivity will also be examined through the speeific re@s of acoustic design in the projeet. The influences of ~ e@W@S technology and funding on the design of r e Brain O~a are also revealed. The ~minence of the ~scenium arch stage in existing muac venues and its influence on new media projects is presented. Suceesaful and umucm4d models for audience participation are also presemted. Concrete intesface examples are used to eotmterthe notion of intuitive itmaface design. F~y, the Brain Opera is presented as a design model for an interactivereseamhlabmtory.