[un]Buildable Escape

According to Adorno, the essay does not allow its domain to be written. Instead of achieving something scientifically or creating something artistic, the endeavor of the experiment reflects the childlike freedom that ignites without hesitation. The freedom in [Un]buildable Escape is a new vision revealed by the interconnectedness of the montage units projected on the screen. Each frame is a hermitage of 20 different people, a depiction of their inner tensions. Each answer is a section of nature; each scene is a living molecule. In their coexistence with other molecules, depictions of nature are produced by interacting both physically and chemically. With the conflicting variations of images in graphics, plane, volume, light, space, and time, it reveals what has not yet been imagined. With a moving method that can give the contradictory concreteness of the forms of existing relations, the dialectical coexistence of what is and what has not yet been of the common retreat imagination of different minds is presented. The essay film has a fragmented structure that rejects the attempt to understand a unity focused on the “grand narrative,” opposes the linear narrative, and is the cinematic counterpart of the hermitage depictions. For this reason, it is like a laboratory with its dialogic form that intertwines social, psychological, and architectural narratives and is suitable for the analysis of relationships. The kinetic structure of the images combined in the film is far from being fixed, and yet it is possible to talk about a holistic structure in the film. Each fragment of the image gains meaning within the relationship of the image to the whole and functions as a part of the whole. This situation expresses the integrity of both the film itself and the nature it represents. The aim here is not the pleasant sequencing of randomly assembled episodes; on the contrary, it is the dynamic realization of a film that moves with the idea of a whole, far from a fixed narrative logic.

Figure 1. Film Poster

Figure 2.  This drawing, with its simple hut nestled within untouched nature, embodies Marc-Antoine Laugier’s Primitive Hut concept, reflecting the idea that the ideal architectural form emerges from our fundamental need for shelter and connection with nature, offering refuge from the complexities of modern life and fostering the restoration and awe that the natural world provides.

Figure 3.  Essay film