recto verso - taubman college of architecture and urban planning · 2019. 12. 18. · the title...
TRANSCRIPT
inside-outjacket china textile inside-out manufacturing industrialization hanger folded english dress chinese western void recto-verso vellum uncanny translation text structuring stitched sewn scale roots revolution relationships red culture read process perversely peek paper operations newsprint fashion jacket china textile inside-out manufacturing industrialization hanger folded english dress chinese western void recto-verso
Obl
ique
vie
w o
f ins
talla
tion.
The
top
, hun
g on
a h
ange
r w
hich
mor
phs
from
the
can
opy
itsel
f, is
mod
eled
af
ter
the
icon
ic C
hane
l jac
ket
with
red
pip
ed e
dges
. All
patt
erni
ng a
nd c
onst
ruct
ion
by a
utho
r.
Many cities in China use population as a way to describe their size, and Shenzhen is no exception. Often, approximations of population are made that are inaccurate up to several million people. These discrepancies attest to the fact that at some point, accuracy may no longer be important when the numbers exceed all expectations of how big a city may be or how fast it might grow. In a matter of thirty years, Shenzhen became more than just a Special Economic Zone that regulates trade, but also began to filter the millions of migrant workers who flood there in search of work. The census data does not always account for these workers as they often temporarily live six to a room in workers’ complexes before moving on to another city in search of unskilled manufacturing jobs. The census effectively renders these migrant workers nameless. As they no longer live within the provinces of their birth, they are without rights or benefits. Yet staying in their original provinces would limit potential for future employment and economic advancement. There are currently approximately 130 million migrant workers in China. The projection for the year 2025 is 350 million.1
These migrant workers are the source of China’s sudden economic explosion and rapid urban transformation. Without their labor, China would still be an agrarian society—not the conglomeration of 4.5 million people that we know it as today. In 1978 when Deng Xiaoping initiated
market reforms, there were only 172 million urban residents; today, there are over 579 million. That is forty percent of the population in China. The prediction is that by the year 2030, the urban population will reach sixty percent.2 No one
could have predicted the scale of this explosion.
If statistical data were any way to speak objectively across cultures, language barriers, and political affiliations, the numbers might reveal the intimate ties America has with China. Sixty percent of the world’s buttons for clothing are made in China. Datang, known as “socks city,” produces
Recto VersoTsz Yan Ng
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mountain fold
valley fold
cut line
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positioning mark
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cut linemountain foldvalley foldoverlap joint stitchingpositioning markoverlap zone
mountain fold
valley fold
cut line
overlap joint stitching
positioning mark
overlap zone
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inside-outtranslation text structuring stitched sewn scale roots revolution relationships red culture read process perversely peek paper operations newsprint fashion jacket china textile “The observer is offered the chance to peek inside” folded english dress chinese western void recto-verso vellum uncanny translation text structuring stitched sewn scale roots revolution relationships red culture read process perversely peek paper operations
guid
e
fold
Fold
Dim
ensi
ons
as in
dica
ted.
The
n fli
p ah
ead
two
page
s an
d do
the
sam
e!
Engl
ish
vers
ion
of T
he L
ittle
Red
Boo
k.
Por
trai
t of
Cha
irm
an M
ao o
n th
e op
enin
g pa
ge o
f Q
uota
tions
from
Cha
irm
an M
ao T
se T
ung
(oft
en r
efer
red
to a
s Th
e Li
ttle
Red
Boo
k).
Ref
erri
ng t
o th
e cu
lture
of c
opy
in t
he fa
shio
n in
dust
ry, t
he
jack
et is
mad
e of
vel
lum
rep
rint
s of
The
Litt
le R
ed B
ook,
C
hine
se o
n th
e ou
tsid
e, E
nglis
h on
the
insi
de.
The
orde
r of
rea
ding
is fr
om le
ft t
o ri
ght
from
cen
ter
fron
t ar
ound
the
bod
y.
inside-out“The observer is offered the chance to peek inside—however perversely—into the intricate character” western void recto-verso vellum uncanny translation text structuring stitched sewn scale roots revolution relationships red culture read process perversely peek paper operations newsprint fashion jacket “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.”
Pro
duct
ion
and
fold
ing
proc
ess
show
ing
nuan
ced
shift
s du
e to
the
geo
met
ric
conn
ectio
n fr
om r
adia
l-pat
tern
to
para
llel-p
atte
rn fo
lds.
Rep
rodu
ctio
n of
the
pag
es o
f Mao
’s Q
uota
tions
in n
ewsp
aper
be
fore
sew
ing.one third of the world’s socks—approximately nine billion
pairs per year. As for manufactured products in the United States, seventy -two percent of Americans’ shoes come from China, as do fifty percent of our kitchen appliances and eighty percent of all children’s toys.3 Manufacturing in China might occur at a scale of operation inconceivable to us, but it is in fact our very own industrial-capital model that China has utilized, giving it a distinctly Chinese form. Industrial China in the 21st century is no longer communistic, but capitalistic; capitalism is the new global and economic paradigm. While one might be flattered by China’s emulation of our economic model, if we begin to trace the myriad of forces at play and the impetus for such large-scale manufacturing, it becomes apparent that they are ultimately fueled and stimulated by our very own consumer culture and economy.4
Factories are not only figures on the landscape, but they become landscape themselves. Cities declare a purpose and suddenly explode into instant-cities, unhindered by the weight of history or the morphology of urban conditions. One
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inside-outenglish dress chinese western void recto-verso vellum uncanny “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.” “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.” “The observer is offered the chance to peek inside—however perversely—into the intricate
fold
guid
e
Fold
Dim
ensi
ons
as in
dica
ted.
The
n fli
p ba
ck t
wo
page
s an
d do
the
sam
e!
The
Engl
ish
vers
ion
of T
he L
ittle
Red
Boo
k is
pla
ced
diag
onal
ly in
pla
n to
act
ivat
e th
e ce
ntra
l hi
ngin
g of
the
bod
y, le
adin
g th
e ob
serv
er t
o ro
tate
aro
und
the
pape
r dr
ess.
Upp
er p
ortio
n of
the
sid
e sh
owin
g up
side
dow
n En
glis
h te
xt fr
om
the
insi
de a
s th
e dr
ess
hits
the
gro
und
and
fold
s in
side
out
.
example of this amplified development is the China Yiwu International Trade City. In the middle of Zhejiang province, there is a mall with 30,000 stalls of wholesalers displaying their goods which are ready for export. World pricing on any single product can be commanded here, and if one were to spend one minute in each shop, eight hours a day, it would take two months to go through the entire mall.5
Paradoxical situations surface as quickly as the presence of these mega-cities. While the latest runway collection from any fashion house can be copied and reproduced the next morning, the branding of authenticity is ever more pronounced. There is fake Chanel, and there is real Chanel. Not only do the manufacturing processes of China strangely mirror our own, but the physical landscape does as well. On one level, architectural icons are reproduced without any doubt of authenticity. For example, the Splendid China Theme Park houses a scaled replica of the Great Wall of China, while the World Theme Park in Shenzhen displays the skyline of lower Manhattan. In contrast, urban planners supply instant, gated suburban communities, taking our American suburban model to the extreme. Precisely because the replica is to approximate and appropriate the lifestyle and symbolic values of its referent, it might be judicious to ask what happened to Mao’s Cultural Revolution. As the Chinese landscape begins to resemble our own, it becomes increasingly relevant to ask
inside-outcharacter of China’s textile manufacturing.” “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.” “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.” “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s
The
plac
emen
t of
the
pie
ce d
irec
tly b
ehin
d th
e w
indo
w is
to
invo
ke t
he s
ense
of p
eeki
ng a
t a
win
dow
dis
play
. Bor
row
ing
from
de
part
men
t st
ore
win
dow
exh
ibits
, the
aim
is t
o se
duce
the
vie
wer
to
ente
r th
e ga
llery
, muc
h lik
e co
nsum
er p
rodu
cts
bein
g di
spla
yed
in s
tore
fron
ts. T
he li
ghtn
ess
of t
he p
aper
cre
ates
the
eph
emer
al q
ualit
y of
the
inst
alla
tion.
why and how this strange phenomenon came to be.6
As part of the Fellows Exhibition, Recto | Verso is an investigation into China’s textile manufacturing, dealing with issues of labor and China’s rapid industrialization process. The entire installation is sewn, stitched, and folded out of vellum and newsprint with the Chinese text of Mao’s Little Red Book printed on one side and its English translation on the other. The title Recto | Verso—two sides of the same thing—not only refers to the uncanny scale of China’s operations with roots in Western industrialization, but also the paradoxical outcome of the Cultural Revolution, of capitalism, fashion, and the culture of copy en masse. The inside-out, upside-down relationships are expressed through the structuring of the paper dress and canopy/hanger for the jacket. While Chinese is read upright on the outside of the jacket, modeled after the iconic Chanel jacket, the dress by its continuous folds flips the inside-out, exposing the now upside-down English. The folded textile continues back up, flipping again to become the hanger for the jacket. As such, the interior is a void with the upper half of the body unattached to the lower. The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.
The installation is not meant as a criticism, nor does it intend to prescribe a right or wrong strategy for China’s industrialization in the 21st century. It is not a generalized, monolithic analysis to portray China’s rapid transformation, but rather an invitation to take a more careful and nuanced look at China in terms of three unique aspects: scale, labor, and landscapes—territories physical and conceptual.
1. Naomi Klein, “China’s All-Seeing Eye” in Rolling Stone,issue 1053. May 29, 2008. 2. Peter Hessler, “The Road Ahead” in National Geographic, Special Issue, China: Inside the Dragon. (May 2008), p. 177.3. Michael Wolf, “Factory to the World” in National Geographic, Special Issue, China: Inside the Dragon. (May 2008), p. 170.4. For a more in-depth look at how consumer demands drive our economic motor, see Jacques Leslie’s “The Last Empire” in Mother Jones. (February 2008), p. 28–39, 83–85.Examples of tracking natural resources necessary for various manufacturing industries in China are given. Two notable industries are illegal logging for furniture production and cashmere manufacturing for the textile industry, p. 35–38. Both industries inevitably serve the consumer society of North America employing methods championed by US industrialists. While industrially developed societies of Europe and America can wag their fingers to denounce environmental damages incurred by the Chinese manufacturing boom, from air, water, and land pollution to desertification, it should be highlighted that those industries provide cheaper furniture and reduced-cost cashmere sweaters for Americans and Europeans. Both the implementation of sales
margins and the idea of using products and profiting from dirty work occurring in someone else’s backyard deserve closer examination. While the first industrial revolution change the landscape of Europe and America, this industrial revolution in the 21st Century would shape not only most parts of Asia, but also define the global economy that almost all other industrial nations are bound to, whether they like it or not. The phenomenon of China is a threshold through which to enter that study. 5. Peter Hessler, “China’s Instant Cities” in National Geographic. (June 2007), p. 88–117.6. Note the playing off of Saul Steinberg’s New Yorker cover “View of the World from 9th Avenue” (March 29, 1976) with the recent Economist cover by Jon Berkeley “How China sees the World and how the World should see China.” (March 21, 2009).
Many thanks to these individuals who helped with the folding of this installation: Kamana Dhakhwa, Jamie Galimberti, Juan Mercado, and Allison Newmeyer. Special thanks to Katharine Lyons who saw the entire process from beginning to end, from the seed that became the project to this very publication.