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Other Projects by WAI Architecture Think Tank
Wall Stalker
A Stalker is what people in
Arkady and Boris Strugatsky’s Roadside
Picnic (1971) call a whole new
profession of misfits that risk their lives in the Zone (a mystical place of
transcendental powers) to seize valuable things. A Wall Stalker then, is
somebody who is taking the same risk to grasp whatever he can find in an
equally mysterious Wall.
Wall Stalker is an animated
architectural narrative, in which the characters of Andrei Tarkovski’s 1979
film Cталкер (Stalker) (based on
Roadside Picnic)become the protagonists of a three man exodus from
a city of icons, in search for the essence of architecture.
After opening with the title
illustration, the first image of Wall Stalker shows an overview of Egoville,
the capital of Ego in which the skyline is highlighted by a wasteland of
desolated icons. This post-apocalyptic environment offers no hope for the three
characters as they decide to break away from this city product of the cynicism
of man, and reach for the legendary wall, where they believe the essence of
architecture can be found. Once the
characters leave the city behind them, they find themselves melancholically
traveling through a purgatorial landscape of post-iconic desolation. Submersed
in a forsaken desert with their last hopes about to evaporate, they finally spot
the legendary wall they’ve been looking for. The mysterious presence of this mystical
element becomes accentuated by its striking visual silence. Free of any kind of
symbolism and stripped of any ideological aesthetic, the wall only offering for
the three exhausted men is its inherent inertness. After completing their
intended journey, the new predicament of the three wanderers will be how to
grasp the mythical “essence” of the wall. From that moment on, their lives and
the city will never be the same.
Wall Stalker is a graphic journey
through the fictional subconscious of architecture. Using pieces of Jan
Garbarek as acoustic background the architectural narrative is built around
twelve chapters/photomontages that depict the three men odyssey through the
dialectics of architecture and the city they created. The compositions of the
twelve chapters not only absorb into its plot Tarkovski’s film but also pieces
of El Lissitzky, Vladimir Tatlin, Paolo Soleri, Caspar David Friedrich, and
Giambattista Piranesi in the form of collage, in order to create a scheme full
of symbolism while simultaneously being disconnected from any other plot.
Wall Stalker is divided into
three parts with four chapters/photomontages in each. The first Part is titled
Egoville and includes The capital of Ego, The Meeting I, Exodus, and The Last
Glimpse. The Second Part is named Un Voyage Purgatoire and includes Les Portes
du désert, Sea of Sand, The wanderer, and Conquest. And the Third Part is The
Wall, which includes The Meeting II, Inquisition, No turning Back, and
Blindness.
Wall Stalker is the first of a
trilogy of architectural narratives of WAI Architecture Think Tank that explore
the essence of architecture.
Arkady and Boris Strugatsky’s Roadside
Picnic (1971) call a whole new
profession of misfits that risk their lives in the Zone (a mystical place of
transcendental powers) to seize valuable things. A Wall Stalker then, is
somebody who is taking the same risk to grasp whatever he can find in an
equally mysterious Wall.
Wall Stalker is an animated
architectural narrative, in which the characters of Andrei Tarkovski’s 1979
film Cталкер (Stalker) (based on
Roadside Picnic)become the protagonists of a three man exodus from
a city of icons, in search for the essence of architecture.
After opening with the title
illustration, the first image of Wall Stalker shows an overview of Egoville,
the capital of Ego in which the skyline is highlighted by a wasteland of
desolated icons. This post-apocalyptic environment offers no hope for the three
characters as they decide to break away from this city product of the cynicism
of man, and reach for the legendary wall, where they believe the essence of
architecture can be found. Once the
characters leave the city behind them, they find themselves melancholically
traveling through a purgatorial landscape of post-iconic desolation. Submersed
in a forsaken desert with their last hopes about to evaporate, they finally spot
the legendary wall they’ve been looking for. The mysterious presence of this mystical
element becomes accentuated by its striking visual silence. Free of any kind of
symbolism and stripped of any ideological aesthetic, the wall only offering for
the three exhausted men is its inherent inertness. After completing their
intended journey, the new predicament of the three wanderers will be how to
grasp the mythical “essence” of the wall. From that moment on, their lives and
the city will never be the same.
Wall Stalker is a graphic journey
through the fictional subconscious of architecture. Using pieces of Jan
Garbarek as acoustic background the architectural narrative is built around
twelve chapters/photomontages that depict the three men odyssey through the
dialectics of architecture and the city they created. The compositions of the
twelve chapters not only absorb into its plot Tarkovski’s film but also pieces
of El Lissitzky, Vladimir Tatlin, Paolo Soleri, Caspar David Friedrich, and
Giambattista Piranesi in the form of collage, in order to create a scheme full
of symbolism while simultaneously being disconnected from any other plot.
Wall Stalker is divided into
three parts with four chapters/photomontages in each. The first Part is titled
Egoville and includes The capital of Ego, The Meeting I, Exodus, and The Last
Glimpse. The Second Part is named Un Voyage Purgatoire and includes Les Portes
du désert, Sea of Sand, The wanderer, and Conquest. And the Third Part is The
Wall, which includes The Meeting II, Inquisition, No turning Back, and
Blindness.
Wall Stalker is the first of a
trilogy of architectural narratives of WAI Architecture Think Tank that explore
the essence of architecture.
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