The factory is not a space, but a condition, which adapts to its surrounding and appropriates it in the favour of productive forces.
While the factory produces a mishmash of personal data, individual opinions and self-regarding narratives (content), it is the byproduct – or context – that establishes its identity.
This byproduct is the eternal presence of labour in all aspects of life – but especially in our homes.
Whereas in preindustrial societies household and domestic realm used to be the primary site of labour and production, factories divided this spatial proximity due to their increasing scale and intensity of work.
As a result of this an alienation between the two conditions took place, which turned home into a commodity and artificially constructed image of retreat.
Today, we have entered a state, which combines a new spatial proximity of work and domesticity with the efficiency of the assembly line.
This proximity does not remain within the entity of a fixed place or program, but rather travels with the worker and his or hers individual as well as collective pursuits.
The factory therefore acts as an amplifier just as much as a mediator between the two poles of domestic privacy and a connected workforce, by constantly inverting the same space according to its changing requirements.
Yet, each inversion the mechanical system produces is related to a different mode of work; may it be physical or digital.
The worker, who is also the sole inhabitant of his own micro-factory-unit simply oscillates/commutes between a narcissistic self-observation (mirror) and an infinite public network of peer workers – all within the confined interiority of the room.
It is only the in-between or junk-TIME, or in the collapse of the entire system, that the worker finds retreat from the latter.
The factory re-animates the ruins of the former houses, dwellings and homes and turns them into an integral part of the globalised production circle by exceeding the modernist notion of being merely product.
By looking at the process of inverting space according to its mode of production – rather than the factories actual site or product – the project seeks to take root in the idea of a baroque functionalism.
Functionalist, because the factory follows a strict dictate of efficiency and rationalisation in its goals of production – baroque due to their high frequency of changing set-ups, which create a condition of excess and movement if read in time (film).