Scanline is a minimalist yet powerful audiovisual installation by 1024 architecture that visualizes the slow erosion of our planet through the language of light, sound, and digital space. Comprising a 2K video projection, a single red laser beam, and a two-channel ambient soundscape, the piece follows a relentless line as it travels across a stark, computer-generated wasteland.

As the red beam scans the desolate terrain, it exposes a dystopian landscape—digitally rendered, depopulated, and deteriorating. The environment it reveals is neither past nor future, but a speculative present haunted by environmental degradation and societal neglect. With no dialogue, no figures, and no resolution, Scanline becomes a quiet but forceful meditation on territory, climate, and the human footprint.

Originally conceived as part of a broader investigation into digital land art and environmental storytelling, the work resists spectacle in favor of slow, deliberate progression. The movement of the laser becomes a form of witnessing—its unwavering path suggesting a forensic scan of what remains after collapse.

Scanline invites viewers to confront the consequences of environmental loss not through urgency, but through a poetic austerity that mirrors the silence of deserted lands. It is a visual lament—a reminder that every line drawn across the Earth leaves a mark, whether seen or ignored.