This project was meant as a more deliberate imagining of an archive that I had previously proposed within the class, a space in which you can be taken care of alongside the clothes that you have chosen to launder. The difference between the exercises was the decision to have it situated in an existing site rather than a blank void, thus choosing the proper site would be vital. I chose Kano, Nigeria (specifically the Kofar Mata Indigo Dye Pits) for its historical significance and global position as one of the last remaining and longest-standing natural dye pits in the world. The process is undertaken nearly exclusively by men and the existing facilities were unforgiving on the body, as the sun bore down on workers for hours at a time. By understanding what was there I proposed interventions that may make the process more preferable and also able to accommodate more members of the community in parallel process. Big-top architecture like that of Circus Tents was the inspiration, as you enter and look up it would appear like a spiderweb, held in radial spikes to house activity. A Three-Ring Circus emerged, with the idea that at each stage there was self-care taken alongside the dying process, Paraffin Wax Batik pattern making alongside salon waxing, tie-dye and resist string tying alongside hair braiding, dye pits and bathtubs side by side, finished fabric being tailored into garments and sold. Each step found its analog and made the complex more communally minded. With the representation, I chose to print and sketch on vellum to show the layers of systems at work to produce the center and the crossover of interests that can manifest. The durational map is a double-sided tie-dyed fabric sewn together to show the concrete and figurative concepts at play in the center, each strand of the web is held by a hand, from young to old with dyed, gloved, and wrinkled hands securing the web of production, and on the back is the concept as a pattern with each hand represented as a burst around a spiral.