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R E - S T O R Y

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- The O.T.M.I.* project

Master ThesisNinna Kapadia, Konstfack 2015

* O.T.M.I. = Obsolete Technical/Mechanical Item

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R E - S T O R Y

Is a story about transformation and resurrection, in which we follow the journey of seemingly

dead things’ souls.

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Master Thesis – Ninna Kapadia Konstfack VT-15R E - S T O R Y

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C A S T O F C H A R A C T E R S- - - - - - - - - - - - - - - - - -

The Mad Scientist

Character: Used to be completely mad, digging up the dead at the cemetery and trying to bring them back to life. Since actually succeeding in bringing the spark of life to a friendly monster the life of The Mad Scientist has changed completely. More than the spark of life was found. Now no longer mad but retaining a temper.

Characteristics: Impatient. Pretentious. Serious.

The Friendly Monster

Character: Born in the laboratory of The Mad Scientist, The Friendly Monster was first completely helpless. The Friendly Monster had no knowledge of earlier life, or about anything really, but proved to be a fast learner. Eager to understand the world, The Friendly Monster researched every aspect of it. Learned about poetry and philosophy from a newly found friend, The Poet.

Characteristics: Curious. Gentle. Sincere.

The Poet

Character: The Poet is a true romantic, an intellectual free-spirited personality who sees good things in everything. Old friend of the Mad Scientist.

Characteristics: Epicurean. Unprejudiced. Noetic.


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T H E S C E N O G R A P H I E S- - - - - - - - - - - - - - - - -

The Laboratory

Interview 1: The Mad Scientist

- Tell me about your laboratory.

- It’s where I do all my work and spend all of my time. Almost. Since succeeding in creating The Friendly Monster, we hang out quite a lot together at the home of The Poet. Sometimes we go to the glade by the old tree and watch the sunset, and The Poet reads us something. Oh, you wanted to know about the laboratory. It was not always like this. Before, when I was Mad, it was more of a mess, nuts and bolts everywhere. These days, I’m tidier with my workspace, but I still keep many nuts and bolts. You never know...

- This is the table where The Friendly Monster first came to life, you know. I do all my autopsies and resurrections right here on this table. The table itself is actually created out of an O.T.M.I. named Hermes, a very sturdy one. Used to be a typewriter. Contained many useful components.

- This power-tower has been improved many times with new parts found on O.T.M.I. Now it’s just right I think, but how it works, is my secret. The levers and knobs can only be handled by me alone. Hahahahhahaahhhhhhaa. Hm hm. Sorry.


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The Laboratory (contd.)

Interview 2: The Friendly Monster

- Tell me about The Laboratory.

- I was born here. It’s the first place I can remember. At first I was afraid of everything, even of my creator. The Mad Scientist was really MAD back then, and not happy with how I turned out. I wanted to touch everything in the laboratory, all the cogwheels, the power-tower, all the levers and knobs were so fascinating to me. But Mad Scientist stopped me, luckily, even if it felt quite brutal at the time. I didn’t know anything back then and I guess I could have caused a disaster. There was a fight between us, and I ran off. By the time I returned to The Laboratory, after a long time, I had learned to read and write. I could express and accept myself. I saw my place of birth in a completely new light. I wasn’t scared anymore, and The Mad Scientist and I’ve now become the best of friends. I can now even understand the room. I have learned how the power-tower works and I can keep my hands off the knobs and levers, even if my curiosity sometimes makes it difficult. The anatomy posters and all the unused parts are the only things in The Laboratory that still make me a little bit uncomfortable. Sad might be a better word for it. The Poet always calls me “nostalgic and soft hearted beyond belief”, and I guess I am. However, if I am it’s all The Poet’s doing! It was The Poet who showed me the world and encouraged me to go where my curiosity wanted to lead me, but fear stopped me!

– Wait! Don’t tell The Mad Scientist that I know how to operate the power-tower!

Interview 3: The Poet

– Tell me about The Laboratory.

- I actually helped The Mad Scientist to excavate the O.T.M.I. and bring them to The Laboratory. I was persuaded and I also felt that someone needed keep an eye on The Mad Scientist. Long were the nights when we discussed natural philosophy, and studyied the anatomy of the O.T.M.I., trying to unfold to the world the deepest mysteries of creation. This was the quest of The Mad Scientist, and a topic of great philosophical interest to me.

- I did not participate in the autopsies however. Too gruesome for my flavour, and what The Mad Scientist did in The Laboratory when I wasn’t there, I do not know. I do know that The Mad Scientist spent a lot of time setting up The Laboratory. All things there originate from O.T.M.I. I think it’s fundamental for the resurrection to work that all parts in for instance the power-tower, have had another purpose before becoming obsolete. My theory is that the parts would be charged with the essence of their earlier function, and that charge had something to do with the spark of life that resurrected The Friendly Monster. The Mad Scientist will not speak to me of this in detail. I suppose it is his secret.


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The Nature


- Tell me about The Nature.

- I used to dislike spending time outside, but since The Poet showed me his favorite spot in the world my mind has changed. It is a glade with an old tree by a small lake. The Poet can probably describe the spot fantasically, with an excellent choice of words. I would just say it’s a very serene place to me. The tree makes me feel humble. It has some peculiar branches though. Strange. But who am I to speak about strange things in nature? Heheheee. Heehe.

- Why did you dislike spending time outside?

- Naaah. Nature is so abundant with life. And death. So many questions that scream for answers. The purpose and meaning of it all is a bit overwhelming when you’re directly exposed to it, don’t you think? It is distracting, really.


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The Nature (contd.)



- Curiosity, earnest research to learn the hidden laws of nature, gladness akin to rapture, as they were unfolded to me, are among the earliest sensations I can remember. I was deeply smittened with the thirst for knowledge. I investigated my surroundings with tremendous joy and fear at the same time. When I was new, and still knew very little, nature was the one thing that didn’t confuse me but something I rahter adored. First a bud, bursts into spectacular beauty, then withers, falls to the ground and mergers with the soil - this seemed self-explanatory. This cyclical process also showed me the concept of time in a very tangible way. Nature itself was my first teacher.

- The word nature, I had to discuss with the poet. It seems both to inhabit the total entity of absolutely everything and at the same time suggest a boundary of some sort. A boundary between the natural and what? The even more improbable word unnatural? How can something even be that?! Un-natural. If everything existing is spawned from nature, then nothing can be un-natural can it?

- The Poet often talks about the awful and majestic in nature. Nature is at times a double edged sword. If you treat it with respect it will reward you, but it can also destroy you.



- Nature. Too catastrophical to endure, too magnificent to seize. Too inscrutable to avoid. Everything spawns from nature. Everything. All of us. It is us and we are it. It’s magnificence is evident in the sublime shapes of the mountains, the changes of the seasons, tempest and calm. The sight of the awful and majestic in nature indeed has always had the effect of solemnizing my mind and causing me to forget the passing cares of life. Sometimes, I feel a cold northern breeze play upon my cheeks, which braces my nerves and fills me with delight. Do you understand this feeling?

- I do. I hear you have a favourite spot?

- Certainly, I still remember the first time I entered the glade. My senses were gratified and refreshed by a thousand scents of delight and a thousand sights of spectacular bloom. The flowers and the trees formed a scene of singular beauty.

- I know The Mad Scientist “is longing to penetrate the secrets of nature. I don’t. Nature should retain its secrets just like you and me. I think we ought to respect that. What magic would we still have in our lives if all was revealed?


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The Poet’s Home


- Tell me about The Home of The Poet.

- Oh! Next to my laboratory, The Home of The Poet is probably my favourite place! Very unencumbered atmosphere. I always feel very welcome, mad or not. But, would I declare that to the amiable character of my friend, The Poet, or to the constitution of the surroundings? That answer would require quite extensive research on the topic. I have very shallowly researched some of the materiality of The Home on behalf of The Friendly Monster, and my conclusion is that there might be components from an O.T.M.I. sewing machine in the walls and the fireplace. That is it. That is all I know about it.


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The Poet’s Home (contd.) Interview 8: The Friendly Monster

- Tell me about The Home of The Poet.

- There is a special atmosphere there. It could be a memory. I don’t know how to explain it. The very first time I came to The Home of The Poet was just after I had runned from The Laboratory and The Mad Scientist. I was utterly terrified but the gentle manner of The Poet and the atmosphere of The Home calmed me down. There was a familiarity about The Home. The wallpaper pattern and the fireplace ecpecially. But that night, my first night, I did not even know what memory was. I had none. The ephemeral sensation of a fond memory was my very first possitive sensation. And it was in the company and home of The Poet. I still don’t know what the sensation is about though. The theory of The Mad Scientist is that the O.T.M.I.’s I originate from might have once been used in the same home as the O.T.M.I. that constitute the wallpaper and the fireplace. It appears to have once been a sewing maschine The Mad Scientist says. The Mad Scientist doesn’t like to talk about this, I can tell. Too much of a reminder of what happened my first night I think. Not the proudest moment for The Mad Scientist.


- Tell me about your home.

- It is what it is. A home. My home. This is where I reside. It has every luxury that I need; a fire to keep me warm when there’s a chill in the air, lights so I can see when the sun has set. Here I can enjoy the company and speech of my dearest friends, interchanging thoughts and ideas.

– I think our placid homes and our contented hearts are regulated by the same immutable laws as nature and should be treated with the same respect. My home is like my friends; mine to protect, love and cherish.

– The Friendly Monster has the habit of bringing home firing sufficient for the consumption of several days, which vastly contributes to the warmth in my home in more than a physical way. Dear Monster.


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The Cemetery


- Tell me about The Cemetery.

- To examine the cause of life, we must first have recourse to death. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world. What place could be more ideal than the cemetery? What more could a scientist ask for? A place abundant with excellent specimens of O.T.M.I., charged with usage and affection from previous owners. I was at the cemetery excavating suitable components when the idea about usage charging came to me. If the O.T.M.I. excavated had become obsolete due to the passing of time just as a flower withers, rather than it malfunctioning it may contain parts still suitable for life, I thought. The Cemetery was, and still is, to me the greatest source of inspiration and where I found a possible answer to the question, “What makes life?”.


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The Cemetery (contd.)



- The Cemetery is where the O.T.M.I. end up when their original manufacturing purpose has been spent. Truly sad if you ask me. I was there once with The Poet, and it nearly broke my heart. Wait! Do I have a heart?! I’ll have to ask The Mad Scientist. My curiosity drew me there though. I wanted to understand what made these meticulously created items end up in such a dismal place. Many of them still seem to possess functional qualities, but they are just lying there doing nothing, unwanted. – The Poet says it has to do with nature. The constant improvements nature always creates new demands. The Poet is very pragmatic about the whole thing, says it’s the way nature works. Birth, life, death and improvements in between. Good or bad? I don’t think even The Poet can answer that question. Perhaps nature can...



- It is a manifestation of the passing of time. The cycle of life. Where the O.T.M.I. have ended up when unwanted. Time has taken them away from their intended function and placed them here. Like when the flower is at its most beautiful and splendid stage and then only moments later letting go of its stem, whirling to the ground and withering away.

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R E - S T O R Y

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- The O.T.M.I. project

Behind The Scenes

R E - S T O R Y – Behind the Scenes

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Master Thesis – Ninna Kapadia Konstfack VT-15

T A B L E O F C O N T E N T S

Page

Background..................................................16

Project.....................................................16

Method and Approach ........................................17

Collecting Material...................................17

Investigation.........................................22

Product Design Analysis: Eumig P8...............22

Deconstruction........................................25

Sound...........................................25

Autopsy.........................................27

Anatomical Investigation........................28

Resurrection..........................................30

Film Making.....................................31 Characters......................................32

Scenography.....................................35 Final Reflections...........................................40

Project Map.................................................42

References..................................................43

Credits.....................................................44


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B A C K G R O U N D- - - - - - - - - -

This master thesis began with the discovery of the text “Ending the Depression Through Planned Obsolescence”. It was written in 1932 in New York by the real estate agent Bernard London.

London has an intricate suggestion on how “planned obsolescence” would save the United States from the depression:

“I would have the Government assign a lease of life to shoes and homes and machines, to all products of manufacture, mining and agriculture, when they are first created, and they would be sold and used within the term of their existence definitely known by the consumer. After the allotted time had expired, these things would be legally “dead” and would be controlled by the duly appointed governmental agency and destroyed if there is widespread unemployment. New products would constantly be pouring forth from the factories and marketplaces, to take the place of the obsolete, and the wheels of industry would be kept going and employment regularized and assured for the masses”.

In present times, the text is wonderfully entertaining and utterly utopian when Bernard describes how, through state control over everything built and manufactured, to keep production and consumption at high levels. This ensures that everyone has work. Work in itself seems to be considered the undisputed goal of all human life. What was to happen to the obsolete items? “They should be thrown into a junk pile.” Any objections regarding environmental issues, antique value or people’s emotional bond to their things are not found in London’s text. And now for the alarming part: Built-in planned obsolescence in products is a fact today and “planned obsolescence” an established term.

P R O J E C T- - - - - - -

What happens to the essence of an object when it becomes out of date and is no longer in use?

Can you give new meaning to an obsolete item and find new eligibility for its existence?

What is the essence, and can you find it by deconstructing, analyzing, transforming and ultimately recontextualizing the object?

If it is the function that has become obsolete and not the actual parts, how can they be used again to serve a purpose?

These are examples of questions that have sprung from my sentimental affection for certain obsolete technical/mechanical items (project name: O.T.M.I.). To me as a product designer these are important and relevant questions.


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They are important for two reasons: one is the concern over the actual obsolete item. I am addressing the sense of dignity in the meticulously designed object that has become obsolete.The other reason is the concern over the limited resources of our planet, which affects everyone, not only due to the impact on the environment and the ecological systems but also from a societal point of view. It often appears as if we are not taking advantage of technological development to enhance our quality of life, so we can work less and have more free time. Instead, it is an instrument to increase consumption and economic growth, which has become the language of our time. The things we own communicate who we are, or at least want to be, and therefore consumption has become extremely important in our society. It is a form of self-validation. Our economy systems has become dependent on this consumption.

Initially, the idea was to use the parts of the O.T.M.I. as material and to take advantage of their meticulous designs and re-use them in a manner that show their qualities. When their original practical function has become outdated their parts can be reincarnated and function in a totally different context. The story of this transformation became my project.

Also by studying the O.T.M.I., I hope to be able to use the aesthetics and essence of them to demonstrate that caring for these objects could keep them away from the junk pile. At least for a little while longer.

M E T H O D & A P P R O A C H- - - - - - - - - - - - - - - - -

1. Collection of obsolete items. The materials collected are mainly obsolete technical items: typewriters, analogue cameras, film cameras and equipment, projectors, sewing machines, etc. The items originate from the industrial era before plastic became a common material.

2. Investigation of the O.T.M.I.: What is it about them that evokes my interest?

3. Deconstruction/death/autopsy.

4. Resurrection: What can they be at this present time?

Collecting Material - - - - - - - - - -

I always keep a look out for items discarded that seem to have a certain quality about them. To describe this quality I would say that they are mainly mechanical and the material is often mostly metal. They seem to be carefully designed, durable and of high quality, and made for domestic use. At the same time tthey were high precision products. Since researching planned obsolescence in products, my conclusion is that these items were probably not designed with planned


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obsolescence in mind but rather with high quality, maintenance and reparability. They were designed in a time when the product designer was an engineer. Their common denominator is that they have lost their original purpose due to technological development. They are the O.T.M.I. They are my material, my medium.

The collection of material was conducted between November 2014 and the 9th of January 2015. The selection was made according to the criteria above.

These are the main objects:

Sewing Machine type Husqvarna Class 12


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Typewriter Hermes

8 mm film projector Eumig P8


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VU-editor Ohnar

Typewriter Olivetti


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8 mm film camera Eumig C3

Film editor Crown


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Investigation - - - - - - -

In documenting the objects their characteristics were analyzedand formulated. When categorizing the apperance, I noticed the relationship between the O.T.M.I. and I began to deepen. There weres wordless conversations about the imaginary world regarding the O.T.M.I.’s functional life. Where did it experience their hey day? The home where it had lived in back then, what was it like? What had surronded the O.T.M.I.? How can I use these imagninatory spaces, their properties, functions and aestetics?

Product Design Analysis: Eumig P8

The Eumig P8 is a 8 mm film projector from 1955. It was the most common projector for domestic use of its time and by all appearances, a high quality product. The outer casting is coated in an industrial structural paint that signals durability. Every mechanical detail is very precise in function and seems to work just as intended despite its age. It is heavy, mostly metal. The rounded corners makes it really durable and insensitive to bumps. The different levels and shapes of the outer casting can almost be seen as a landscape. It is


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easy to imagine a miniature person walking around there in the grassy-structure painted field. Perhaps taking a walk along the road, divided by black markings instead of white.

It is very user friendly. The components are quite understandable even without an instruction manual. The feel of quality is striking. When handling the different mechanical parts, this impression is elevated. There is no resistance or malfunction. Every action is smooth, and the parts work in harmony with one another.

Visually, it is clearly a product of its time. The industrial green color could easily be found on a suit worn by some smart guy in the TV-series Mad Men. Actually the entire look, projector, case and all, could easily translate to the appearance of that guy with shoes, coat, briefcase and dark shiny hair. Or, it could be a color and pattern palette for an entire collection of clothes.

On/off switch: Robust, almost oversized with a sound that leaves no doubt, what so ever, that it has done its job of on/off switching.

Knurl headed screw: The straight patterned knurl indicates turning of the screw. Surface with the same type of paint as the rest is a particularly careful detail.

Film roll: Lightweight aluminum wire bent into a decorative and durable wheel.


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Lever for opening the film gate: The four grooves creating friction seem perfectly spaced. The action of turning the lever slides the lens forward in one smooth motion.

Feed spool arm: The revealed cog wheels are a fantastic example of design explaining the use. The different colors of the metal, the shapes and sizes, its appearance is simply perfect. The turning of the cogs is as smooth as can be.

Take-up spool arm: Folds back into the projector. The folding of the lock function is perfect to the touch. It snaps into place in either locked or unlocked position. The black metal plate corresponds to the film spool that should be fastened here.

Black dashed lines: With small arrows on the outer casting to show how to thread the film. The lines seem to be sprayed on the structured surface.


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Socket for table lamp: The lamp connected to this socket will automatically switch off when the projector is turned on and when the projector is turned off the lamp will turn on again. I rest my case. Furthermore, the simplicity of solely two metal rings with their iconic space that clearly indicates their use.

Motor speed regulator: Bakelite knurled lever which slides in a slot. The manouvering is easy to understand.

Deconstruction - - - - - - - -

The time had come to to disassemble the O.T.M.I. To move the project forward this step was inevitable, but this deconstruction started to feel difficult. It would really be the pronounciation of death of the O.T.M.I., but there was no way around it now. It was time. However, the first part of the deconstruction was sound extraction, which postponed the heartbreaking physical dismanteling a little longer.

Sound Extraction

The O.T.M.I. (Obsolete Technical/Mechanical Item) make characteristic sounds when in use. Mechanical sounds. Typewriter. Projector. Camera. Sewing Machine. When hitting a key on a typewriter the sound is quite loud and it is obvious to the eye where it comes from. The metal arm


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with its embossed letter is flung forward towards the paper. Flick. The arm that holds the colour ribbon positions itself. Click. When the arm hits the ribbon, the clicking sound confirms that the letter is stamped on the paper. The arm flings back. Next sound: The dunking sound of the paper carrier moving a little bit to the left so that the next letter can be stamped adjacent to the first. Flick, click, dunk. Click. The arm with the embossed letter comes to its resting position, between the others, waiting for its next command. Flick, click, dunk, click. Flick, click, dunk, click. Flick, click, dunk, click. Flick, click, dunk, click.

Pling!

The pling indicates hitting the margin marker. It is time for the carriage to return. Push the lever to slide the carriage back to the beginning of the row, rrrrrrr, and make the paper roll up a little bit, scrrr.

The sound of the typewriter is really dictating the user what to do. Instructive sound. Dictator typewriter. Dictator Olivetti. Wonder what Olivetti could be in another life? Would he rebel against the order and structure, or would it remain the Dictator?

Before disassembling the O.T.M.I. I recorded their sounds. In contrast, the corresponding objects of today are quieter. Making almost no sound at all. The things that needed to be dictated are now automatic. You don’t even notice when a row is filled when writing on a computer. Less physical movement is required, only fingers need to move. No need to lift an arm to change lines. Automatic. It happens without effort.

In the recording studio the O.T.M.I. behave like genuine divas. They need special attention to perform. For instance, Eumig P8 (the projector) demanded a new fuse and a special kind of extension cord. It also wanted a special kind of drink. Eventually it sang its song. And so did the rest of them. Eventually.


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When the recording session was over and the sounds of the O.T.M.I. hit me from the speakers, I was struck by how completely different the sound is perceived when separeted from the action of the O.T.M.I. When the sound of hitting a typewriter key filled the room, without me actually doing it, it felt like I had performed the first part of the disassembly. The sound was separated from the object and the action, de-constructed. It had become an isolated part of the O.T.M.I. At this moment, a part that could now run off on its own and become (a) part of something new.

Autopsy

The time had come to start the autopsy. There was severe hesitation on my part. They felt so much alive while the sound extraction was going on, so much attitude. Now I had to definitely kill and disect them, carefully stabbing them repeatedly with screwdrivers. Kill your darlings.


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Anatomical Analysis

The interior of the O.T.M.I. were above all expectations. The materiality, colors and shapes of the parts was fantastic and of great aesthetic value, highly corresponding to their splendid exterior. Phew!

In this phase of the project, the parts separated from their intended function revealed themselves as separate unique objects free to enter a new context. Anthropomorphism, our built-in ability to personify and translate figures into something recognizable, became evident, along with the similar effect; Pareidolia, seeing faces in objects. I love the fact that there are actual words and research to support this phenomena.

First the parts needed to be cleaned

Splendid variety of screws. Bolt City

Tree found in typewriter

Birds found in typewriter

Interior of engine in sewing machine

Pattern of engine gaskets


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Another engine pattern

More patterns from engine parts

A body along with scattered body parts?

Is it a profile of a face? Surface seems treated with protective coating

Metal wire found in engines. Some with unexpected colors

Metal parts from typewriter asflowers and trees

Outstanding shapes

I see eyes

I see a gaping mouth, glaring eyes and hair, a beard perhaps


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Resurrection - - - - - - -

So, what could they possibly become at this time? How would I connect this to my field? The O.T.M.I. were all created to be handled by human hands and that was also their scale, physically too small to be made into anything of human size. I felt like a mad scientist having all these anatomical parts of O.T.M.I. lying around ready to be resurrected into a new function and a new life. The connection to Mary Shelley’s classic novel, Frankenstein - the Modern Prometheus was obvious: Resurrection of the dead. Assembly of dead parts. Fill these parts with essence. Insert the “Spark of life” as Shelley’s scientist puts it. Which is what? Is it possible to assemble the parts into something functional that would charge them with something, that would make them come alive again? Animate them?

The parts resurrect to tell this story. The story of their transformation and resurrection. The O.T.M.I. parts (re-)present themselves as the characters, the scenography and the soundtrack. The story, a “Re-story” of the story of Frankenstein.

Re-story is built through the concept of film making as a film can contain all parts of the O.T.M.I.: The recorded sound turns into the soundtrack, the parts transforms into characters and scenography. Thus, into their own story.

Actor Boris Karloff with his wife on set for “Frankenstein”.


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Film Making Mary Shelley’s Frankenstein story worked as the frame for the transformation and resurrection of the O.T.M.I. The Frankenstein story was deconstructed and reassembled with parts from the text “Ending the Depression Through Planned Obsolescence” and my own thoughts about the O.T.M.I., into a storyboard. The Storyboard came to act as a structure for the resurrection and to form the concept for the design of the setting of this fictive film.


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Characters

The Mad Scientist

The Mad Scientist was the first character to come alive. Built from a faceplate from the O.T.M.I. sewing machine, different facial expressions can be achieved, both by turning the head upside down and also by turning eyes and mouth.

A body to go with the face. Stylish typewriter-legs.

Mad Scientinst getting teeth. Teeth turns to hair when glad.

Glad Scientist. still without arms

The Mad Scientist achieving the means to express different emotions. Happy.

Sad. Mouth and eyes turned.

Mad. When upside down, the mouth act as crazy hairdo.


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The Friendly Monster

In Mary Shelley’s classic novel Frankenstein - the Modern Prometheus, the monster is described by its creator: “It’s unearthly ugliness rendered it almost too horrible for human eyes”. The scientist is obviously discontent with his creation. In contradiction to most films based on the novel, the monster in the original story becomes an educated creature, kind hearted, devoted and very friendly, as is The Friendly Monster resurrected from the O.T.M.I.

Faceplate from C3 film camera

Mouth found in typewriter

Body parts still disconnected

Meet The Friendly Monster


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The Poet

The Poet came to life as a character seemingly by chance at first. The fictive story called for a character that was unprejudiced, someone to befriend the monster and mediate between The Mad scientist and The Friendly Monster. As the parts of The Poet came together its character started to show.

A foot beeing able to turn to show expression

Sparkling eyes and a complicated hat.Must be a poet.

Delicate fingers found in typewriter. The ability to shrug shoulders.


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Scenography

The main criteria in creating the scenographies were that the material used would be re-used and mainly created with material from O.T.M.I. Even the chipboard that constitutes the frame is re-used. The measurements of the scenes were decided based on the expected size of the characters, the scenes should be in a size the characters reasonably could act within. The scene should also fit through a regular doorway, for practical reasons, and be in a scale determined by the actual size of the O.T.M.I. parts. I aimed to create the scenes with an atmosphere that reflects my sentiments of care for these products. A sentiment that in my interpretation can be derived to that they are so carefully constructed and designed.

The Laboratory

The Laboratory is the workspace of The Mad Scientist and where the resurrection takes place. The Mad Scientist need a good strong table and off course many knobs, cogs and levers, Posters of O.T.M.I. Anatomy, and of course a Power-Tower.

Floor: Pattern made from engine gasketsWall: Galvanized sheet metal 1. Control panel: Lower front panel shell from Ohnar, top panel shell and light: Crown. Cog wheels: C3, Wall clock. Levers and knobs: Sewing Machine Husqvarna Class 122. Autopsy table: Table top: bottom plate of Typewriter Hermes. Legs: rubber roll of Typewriter Hermes3. Power tower: Cogwheels and parts of 4. Shelf: Typewriter Olivetti5. Lighting: Sewing Machine Husqvarna Class 12 lighting.6. Anatomy posters: Instruction manuals, old Masonite board, springs from Typewriter Hermes

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The Nature

The scene representing the nature is a glade in the woods. As in nature numerous tings are going on. Birds flying across the sky. Ducks swimming in the lake. Flowers and trees growing as the like. The wire in the backlit glass catches the rays of the light from the ever setting sun.

Floor and left wall: Found cardboard, green pigment in oilRight wall: Galvanized sheet metal, lacqueredBack wall: Wire glass 1. Green tree: Sewing Machine Husqvarna Class 12.2. Flowers in big tree: Typewriter Hermes, Typewriter Olivetti3. White flowers: Facit calculator 4. Lake: Galvanized sheet metal5. Grass: Typewriter Hermes, Typewriter Olivetti6. Mountains: Steel case of Ohnar7. Bare trees: Typewriter Hermes, Typewriter Olivetti

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The Poet’s Home

The Atmosphere of The poet’s home represents the character. It’s placid, warm but without clutter. A space filled with thoughts that can thrive and grow. The warm light from the wall lamp and the fireplace reflect in the brass screws holding the engine gaskets that constitutes the wallpaper pattern.

Floor, wall panel and window shutters: Wood case for Sewing Machine Husqvarna Class 12 and wood from discarded speaker. Wall: Pattern of engine gaskets Sewing Machine Husqvarna Class 121. Fireplace: Sewing Machine Husqvarna Class 122. Fireplace door: Metal mesh from CRT TV 3. Choke: Eumig P8 4. Lighting: Eumig P85. Espagnolettes: Typewriter Hermes

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The Cemetery

Is actually a junk pile, where all the O.T.M.I. have ended up. But the cross tells us that in the film it is a cemetery. The wire in the glass catch the very cold light that seem to emerge from the ground, underneath the big pile of crushed glass and O.T.M.I. Light from underneath and back creates an eerie atmosphere worthy of a cemetery.

Floor and side walls: Black cloth, definitely used before. Back wall: Wire glass, behind it to catch the light: crushed glass from CRT TV 1. Cross: Typewriter Hermes2. Parts from O.T.M.I.3. Birds from Facit calculator

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F I N A L R E F L E C T I O N S- - - - - - - - - - - - - - - - -

As a designer of products and interiors I contribute to create and develop new things. In the design I dictate the material used and the methods of manufacture. This makes me directly responsible for the impact my design has on the environment. I may also contribute to the desire for new products. To consumption. This is why I am always torn between the desire to create and the environmental guilt creating new things brings. The question: “Do we really need to bring more things in to this world?” is ever present in an inhibitive way.

This duality was the seed to this project.

In the proposal for the master’s thesis I wrote that I intended “to investigate how to give new meaning to obsolete items and find new eligibility for their existence”. That they would be transformed from obsolescence, to act as spaces and characters in their own story were first unexpected but soon evolved into the logical thing to do. I have resurrected them, mainly by assigning a new spatial function, as scenography. But for how long? When the curtain has dropped for the last time, the scenography is obsolete. Where will it end up? At the junk pile/cemetery?

In the later part of the project which included presenting it to others, in oral presentation and in exhibition context, it became evident that the interpretation of the work has a lot to do with the methodology used: To ask the questions: What is the narrative of the obsolete objects? How can we (re-)write the narrative of the object and use it along with its spaces and sounds to create an interior?

I was asked if there could be a whole profession around using this methodology and the answer would of course be yes. It would add the dimension of mythmaking and re-inventing already existing objects to the role of the interior designer, in a more profound way than it is today. I like the idea of the common scenario where a commission would be to transform for instance an entire office to represent the story of the vision of the company, but with the twist that you could only use what the company already have; re-invent, transform and resurrect. The cost would be in the time spent creating the transformation and not in buying new material. The strain on the environment would be minimal. The labour would be shifted from producing new to re-evaluate already produced material. This corresponds to the shift in the values of the characteristics of the labour force. The producing factory worker is about to disappear from our society in favour of a labour market more geared to services. It is however problematic that we continue to consume extensively and that production is simply moved abroad and often to less developed countries where the environmental strain continues.


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The mayor topic seems to boil down to TIME. How we treat and value time. And particularly in relation to environmental destruction and our personal health. I have during the spring exhibition been struck by how many visitors spontaneously been talking to me about how they enjoy spending time with their own obsolete objects and transforming them to something new. I have heard testimonies of the durability and the comforting sound of the sewing machine, of the recognition of the typewriters and their particular properties and functions, about the sudden spark of a re-using idea, but mostly, visitors have been discussing our relation to time and consumption.

Further development - - - - - - - - - -

The dream future scenario for the project at this point is to find collaborators and means to develop the storyboard to an actual script and make the film. There would also be interesting to find out if the work as exhibited during Konstfack spring exhibition would be suitable in other exhibiting contexts. All the still unused parts I plan to either use in an workshop where people could create their own characters and stories or arrange as a painting with a contradictional bombastic nature motive. I strongly feel this project will go on and it has so many possibilities. Re-Story, the O.T.M.I. Project is only one outcome. Re-Story is the foundation name and it can have several subtitles.

“How is this interior architecture?” - - - - - - - - - - - - - - - - -

During the project the question “How is this interior architecture?” recurred. Also “Are you an artist or writer or interior designer?” This has worried me a bit. Do we need such distinct boundaries between the disciplines? If we were to hold on to traditional views on these trades, it would contradict Konstfacks position as seminal institution. However, to clarify my answer, I would say that my work borders to all of these disciplines, including scenography, and broadens the role of the interior designer. As Interior Designers we have the opportunity to transform space and fill it with stories. New stories. Imagination is an important tool: We benefit from having the ability to imagine how different surfaces will reflect sound and light. Our imagination is highly visual. I think many of us find it easy to imagine a scenario, hearing the sounds of an old fashioned typewriter in an adjacent room. There must be someone there, typing. I have transformed my imaginary world of the O.T.M.I. to visual elements that support the content and values of a story, through researching the objects, discovering how to best clarify and support the story. The Re-Story.

Stockholm 2015.05.29


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BACKGROUND

Environmental and

economic issues.

Why create new

things?

Personal sentiment:

Poor obsolete item!

O.T.M.I

Obsolete through

technological de-

velopment. Function

gone, quality parts

left

PARTS

CHARACTERS –

The voices

INTERVIEWS –

The story

STORY

SCENOGRAPHY

Main focal point of the project

FRANKENSTEIN

Frame story

Frame story

Develops

into

RE-STORY

SOUND

FILM. Resurrection as a story constructed within the notion

AUTOPSY

of fi lm production

RESURRECTION

P R O J E C T M A P- - - - - - - - - - -


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R E F E R E N C E S- - - - - - - - - -

Films:Frankenstein 1931, directed by James Whale. The character of The Monster performed by Boris KarloffCity Lights, 1932, directed by Charlie Chaplin. Chaplin makes silent movie even though sound film now was possible. Chaplin writes, directs, produces, acts and compose the sound in this produktion.

Texts on my desk:Frankenstein - The Modern Prometheus, Mary Shelly WollstonecraftEnding the depression through planned obsolecence, Bernard London, 1932The System Of Objects, Jean BaudrillardSå kan vi leva hållbart 2030, Naturvårdsverket, Christer SanneVi kan leva utan tillväxt, Essä DN 2009-10-14, av Christer SanneThings Come Apart, Todd McLellanCradle To Cradle: Remaking the Way We Make Things, William McDonoughTransformations: The Art of Recycling, Jeremy Coote & Chris MortonRemake It Home: The Essential Guide to Resourceful Living, Henrietta ThompsonLost & Found: Critical Voices in New British Design, Nick BarleyLonger Lasting Products, alternatives to the throw away society, edited by Tim CooperImagine No Possessions, Christina Kiaer

Other:Museum Of Obsolete Objects: https://www.youtube.com/user/MoooJvMCentennial Lightbulb: http://www.centennialbulb.org/cam.htmGlödlampskonspirationen, Dokument utifrån 19 sept 2012, SVT: https://www.youtube.com/watch?v=ffWnm3jL7BcKonstverket i reproduktionsåldern: https://www.marxists.org/ svenska/benjamin/1936/konstverket.htmProsperity Without Growth, Tim Jackson: http://www.ipu.org/ splz-e/unga13/prosperity.pdfTED-talk, Tim Jackson: An economic reality check: https://www. youtube.com/watch?v=NZsp_EdO2Xk


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C R E D I T S - - - - - - - This Master thesis was conducted between November 2014 and may 2015 at Konstfack, University College of Arts, Craft and Design at the Department of Interior Architecture and Furniture Design, InSpace.Professor and tutor: Ulrika KarlssonSenior Lecturer and tutor: Anna OdlingeSenior Lecturer and tutor: Rochus Hinkel Architect and tutor: Daniel Johansson

Special thanks to (in no particular order):

Andreas Nobel, lecturer, as external supervisor a superb supporter and supplier of excellent quotes to hold on to.Reino Björk, lecturer/ glass studio manager, Tobias Birgersson, lecturer, Fredrik Ingemansson, lecturer, Anders Winell, visiting lecturer, for the generosity, the professionalism and the self confidence building posture towards me as a student.

Seth Kapadia as the voice of The Poet and sound technician and especially for extensive support, encouragement, insightfulness and excellent caretaking of home and children. Helen & Rudy Vigil, Hanna & Hormaz Kapadia for proof reading and valuable insights.Lars Stenman for photography and assistanceJohanna Adebäck and Yuko Maki for fruitful discussions and wonderful support. Emilia and Mirja Öster for practical assistance, mood boosting and the ever so cheerful smiles. Hung-Ming Chen for the excellent aid in the screwdriver job and also for the ever so cheerful smile. Beata Cavallin as the voice of The Friendly Monster.Magdalena Moqvist as the voice of The Mad Scientist. All members of the class of IAM2 2015: Alexandra Gruber, Andreas Säfwenberg, David Andrén, Hayoung Kim, Jacob Granat, Jessica Lindeberg, Julia Schollin, Mana Trio Flingdal, Maria Mattsson, My Adamsson, Patrik Pettersson and Seungyeon Yoo for sharing of point of views, contemplations and valuable coffee breaks.

Photo credits. All images by Ninna Kapdia except: Page 5, 6, 8, 10, 12, 19-22, 36-39: Lars StenmanPage 31: Unknown

“Make decisions or only time will pass” Yuko Maki

“It is harder to think than to do” Andreas Nobel

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