Camille Thai
MAKING: A PLAY
FINAL SCRIPT
Introduction
Making a play begins by reversing the relationship of production and retail as deadstock design starts after the selling period ends. The scenes took inspiration from the voyeuristic nature of retail experience through our interface of categorization and supergraphics navigating through each scene, representing the space as a choreographed back-of-house. 20s
Camera Diagram
Scenes are being used as architectural ingredients to create moments of displacement and the overlapping of activities within the space. Camera becomes the constraint, the subject and the designer within the space. 18s
Material
Inspired by misreading Cedric Price’s plan, we begin to question the efficiency of typical factory typology and the waste that came from mass production and quick fulfillment. Our architecture becomes one that obscures the process of making while creating a spectacle of the making. For our program, we created spaces separating by its verticality, allowing the simultaneity of the factory space to be expressed through vision, but obscuring the physical exchange. The design process of our space is constantly being disrupted and distracted. Our factory takes on the overall form of the incompleteness as it consists of deconstructed parts.
Material
The architecture is composed of multiple disconnected volumes, voids, ramps, embracing a central courtyard in the middle. Though scenes happen in individual rooms, isolated and interrupted, the half-cantilevered structure offers possibilities for visual communication among them. Without direct physical connection, multiple scenes may exist simultaneously through the act of seeing and being seen. Dead stock is transported through ramps into different rooms both horizontally and vertically. Abandoning traditional linear procedure, ordinary production-efficient sequences are broken and repurposed. The orientation of each room forms different enclosures of the in-between space. Through different scenes, the programs change from being the subject to our foreground and background with the insertion of the courtyard. 50s
Overall Camera
We catalog all of our cameras, as we see only what the camera sees. They reflect not only the production process of the space, but also our design process as a studio. While the conventional idea of high fashion is exclusive and luxury, the idea of upcycling is more than material treatment, it is a process of creating a bond between the user and the objects. The scenes reveal the craft of making as well as our craft of constructing the scene through the overlays. Through establishing the production process as a layering of craft, affection and care grows for each object in the making. 23s
Arcade
Making a play is where the performance of making takes place. The objects and the makers are all characters in the show. Through engaging the customers in the means of game, which means instead of simply paying the bills, they have to earn certain products, color them, stitch them in a certain way. The ownership between the products is no longer buying and selling, but earning, and making. We would like to discover what it means to create an affection for an object, and how one may see a story of the object as its identity. Personal tailor is no longer decided by the particular designer, but created through the experience and affection held by the customers while he/she plays the game of making. 48s
As Arjun Appadurai wrote in the social lives of things: a commodity "IS NOT ONE OF KIND OF THING RATHER THAN ANOTHER, BUT ONE PHASE IN THE LIFE OF SOME THINGS", upcycling is not simply a recreation of commodity, but also the understanding of a fuller, more complete picture to an object.