The current paper is referring to the science fiction book Solaris by Stanislaw Lem. The composition consists of the design of architectural elements and characters described in the book for the production of an animated film. S. Lem doesn’t seem to make much effort to expand the elements of scenography to the extent that they seem bizarre or over-developed in relation to the immediate reality. His interest seems to be focused on the existential quest of man in the world and this happens through his encounter with something that appears to be a higher consciousness than his own. The issue of transferring the text into the iconography of cinema is handled using influences collected from the immediate reality. This occurs through copying references from modern technological objects and appliances and reconstructing them in an environment that objects play their role not as symbols but as geometries that intensify the synthesis according to the actions described in the book. The main topic here is the atmosphere. Reading the text brought up an association to the noir movies (black and white image choice, and the use of filters such as vignette and film grain). The various elements of “scenography” are designed and placed, based on the direction of the camera, facing facts that promote the story. There is no emphasis on the actual book’s descriptions as much as in inventing them again in relation to the intensities of the script and the case of action with absence ofthe narrative’s time frame.