Everything Eternal

Everything Eternal

After each act of obsolescence, our consumption lingers in the land in the forms of archeology and treasures, we live in a biosphere where nothing can be truly obsolete. From print-heads to garments, built-in obsolescence was a design strategy introduced by Bernard London in 1932, intended to save the States from the Great Depression. It since became the groundwork of design, a way to govern. It fuelled the ephemeral desires of consumers, fleeting seasons, and deluded ownership. Cheaper, Newer, Faster is the new trinity of business success. The Obsolete has become uncritical and the new has become casual, aimless. 

An empty room that is only affordable by the wealthiest; A coffee cup, recast a hundred times; a phonograph player, engineered to play Spotify; A National Park, celebrating the most critical obsolescence; An Auction House sold the first t-shirt made in twenty years. A once-in-a-lifetime event devoted to the rare chance of throwing away... 

The man from the empty room walks into a village where built-in obsolescence never existed; A landscape where things last forever; A world where obsolete objects become a carefully curated landscape of archeology. Questioning the nature of obsolescence is a village without demolition, a city of specimens, spanning over twenty thousand kilometers. Spatial literature employed as a critique to our city of consumption, the narrative of abnormal spatial sequences questions the acts of obsolescence, redesigning the architecture of consumption in a village called Everything Eternal.