The preparation process of the drama is usually hidden inside a closed small theater, which is only opened during performances. In the Covid-19 situation, a very small amount of performance makes the actor’s life difficult to sustain.
Taking this as an opportunity, we hope to release parts of the functions of the preparation process into the park and the open ground floor space as a workshop, with the intention of opening and displaying the process of drama preparation and sharing skills in cooperation with surrounding residents.
OTAKU FACTORY
Ikebukuro is now a sacred place for anime otaku with various anime stores and also home to many authentic cosplayers, such as the “Ikebukuro Halloween Cosplay”. Many of these cosplayers also make their own costumes and equipment.
Although there are many places to express cosplay, the creation of these costumes is done at home while re- searching on the Internet. So, I want to make A place to create cosplay and other secondary works.
Firstly, I suggest 10 types of places for secondary cre- ation, For example, Cutting area, sawing area, 3D print- er area and so on. These places are painted in yellow. We can do the whole cosplay creation in this floor, as well figure, illustration and manga creation.
The working space is 300mm higher than the other area. Since most of the work is done sitted, the aim is to keep the line of sight between the person working and the person standing in the other space.
Let’ s image that you want to be Tanjiro. You have to do this in three steps. Clothes, objects like sord, and make- up. When you create on this floor, the process proceeds in the order of these three arrows here on the right.
I went to Ikebukuro to observe the activities of various otaku. Beside the creation area, there are five different types activities which I looked. (1) Cosplay shooting area. A curtain can be used as a background. The aisle is wide enough to take pictures. (2) Large poster area. we can take a picture with your favorite character. The poster can be printed at the printer area next door. (3) Manga area. There are manga on the shelves for you to read with your coffee. (4) Flea market area. The bench is wider and can be used to place items. (5) GachaGa- cha area. it is near the elevator and escalator. so we can access easily.
Hence, the edges of the creation area host additional programs. (a) Manga shelf. Three shelves are provided for storing manga while displaying them. (b) Cosplay shooting edge. There is a curtain for the background of the cosplay shooting. (c) Flea market area’s. The width of the bench is 1000mm so that products can be spread out.
Studio is cross-sectionally connected to the upper floor, which has the re-clothe center. In that manner, we share the studio and held event about cloth and cosplay.
Of course, this floor is mainly used by Otaku, but there are some great facilities here. So, architecture students can use 3D printers, wife can sew, and so on. There are also cafes in easily accessible locations, so some people will feel free to stop by. I strongly hope that the cre- ations and techniques of otaku are not only for otaku, but that they can be passed on to other people as well.
COSPLAY AND REFLEXIVITY
Anthony Giddens proposed the idea of “reflexivity” from the perspective of sociology. It means “a spiral- ing cycle of transferring oneself to others, which then returns to oneself and transforms oneself. The act of cosplaying is to become “someone else” and to en- ter the “otaku society” including the cosplay society. And within that otaku society, they are recursively ex- pressing themselves.
Some people who engage in cosplay do so for the pur- pose of escaping the “real world” that is not otaku so- ciety. This is similar to what is called “identification” in psychology. Identification is the act of trying to escape anxiety and pain by superimposing oneself with things that are important to one. It is also based on a lack of self-confidence and a desire to become a person whose complexes have been resolved.
However, self-expression in otaku society can also have a reflexive effect on the real world. For example, in or- der to become more like a character in cosplay, one may start to pay more attention to skin care and style, or learn to be more social in a cosplay society with many rules. Through the reflexive nature of cosplay society, we can gain a reflexive nature with the real world.
And cosplay is a place where the “place of presen- tation” is socialized, and its creation stage is black boxed. On the other hand, the techniques used to create cosplay are actually very advanced. For ex- ample, the swords used in cosplay are made to be lightweight and the materials used are ingenious so that they do not become tiring to hold during long events. However, there is no place to learn these tech- niques, so cosplayers learn how to make them from the Internet or by giving each other advice on how to make cosplays at events where they are presented.
The purpose of this proposal is to bundle and make public the cosplay creation techniques that have been closed and not made public until now.
What’s important about this proposal is that the work- ing area is open to more than just cosplayers. This will be a place where the behavior of “creation” will be shared, centering on the cosplay creators.
RE-CLOTHING CENTER
The fashion industry affects the environment at every stage, for example, the procurement of raw materials to the production, transportation, and disposal of fab- rics and garments. Garments are made from a mixture of materials, and are produced in a number of factories and companies overseas. As a result, it is difficult to grasp the actual status and full extent of environmental impact. While the number of garments supplied in Ja- pan is increasing, the price per garment is getting low- er every year, and the market size is decreasing. Mass production and mass consumption are expanding, and the life cycle of clothing is becoming shorter. The trend toward mass disposal is accelerating. This is one of the reasons why the fashion industry has such a large im- pact on the environment. In fact, the average annu- al clothing consumption per person today is about 18 pieces of clothing purchased, 12 pieces of clothing giv- en away, and 25 pieces of clothing not worn. This means that there are a lot of clothes that are produced and pur- chased, but not worn and thrown away.
Ikebukuro is a place where department stores such as Seibu and other shopping facilities such as Sunshine City are concentrated. A wide range of clothes are sold there, from luxury brands to fast fashion, and many people come to Ikebukuro to buy clothes. Many people visit Ikebukuro to buy clothes. In such places, fashions go out of style quickly, and you can see big red letters saying “Sale” at the entrance of stores everywhere. These signs entice consumers to buy. But even then, the unsold items are not recycled, but discarded.
Planned obsolescence is one of the ways to stimulate consumers to buy and consume. It is a method to make consumers buy new products by designing them in ad- vance so that their quality will intentionally deteriorate during use. In addition, short warranty periods and high repair costs also encourage consumers to buy. The system of mass production and the strategies of these companies continue to incentivize consumers to buy. It has become normal for consumers to live in a cycle of buying new things and then throwing them away. They have formed an easy way of thinking that if they find a slight defect, it is time to replace it.
Modern people today prefer to buy new products that are free of defects. But Naples refuses to do that. For ex- ample, when a car breaks down, it is repaired using a wooden stick found in the street. That repair is tempo- rary, so they will repeat repairs and breakdowns. In oth- er words, they believe that objects are made up of a cy- cle of breakdown and repair. It is through the repair of broken objects that we can understand the mechanisms of objects. Modern people have forgotten this fact.
All objects fall apart and break down as we use them. As we repeatedly repair and rebuild them, we gradual- ly become attached to them. Attachment is the act of using something as long as it does not lose its function due to damage or breakage. In this way, the damaged part of a piece of metalwork is reevaluated as a value, and it is transformed into an attachment. We believe that clothes can be treated in the same way. Observe the flaws in the clothes and give them the appropriate treatment. This may be a time-consuming process, but it may allow us to continue using the clothes for a long time with affection.
PHILOSOPHY OF DECOMPOSITION (2019)
Fujiwara Tatsushi
The world we live in is filled with abundance between new products and waste, production and products, life and death for example grbage that transforms into toys, robots that return to the earth, whales that are buried, invisible microorganisms and so on. This book exam- ines the possibilities of “disassembly,” which is now talked about even more negatively, in various fields such as pedagogy, robotics, scrap pickup, ecology, and the world of repair.
Waste Disposal
While in the early Meji Period the disposal of waste was part of a spatially limited and circular network, linking agricultural fields with markets and houses, and from there, when not recycled, again to the fields, the economic and demographic growth of the post-war period, especially in Tokyo, saw the introduction of public waste collection, primarily disposed of in landfills. This unilinear processing from production to consumption began to be increasingly called into question, starting in the mid-1980’s with the introduction of a new recycling system involving an evermore refined rubbish separation for recyclable goods, the exploitation of mix-waste for energy in large power stations, and hazardous waste being exported and reprocessed overseas. The waste-management system has thus evolved into a large, complex, and sometimes invisible chain involving multiple actors. Waste is no longer perceived as either a purely homogenous and useful resource or solely as landfill material, but rather as consisting of different constituents with varying values and repurposing potentials.
