The works consist of photographs on wooden panels as part of an architecture model of Virada's childhood home, which does not exist anymore. The photographs show the appearance of the neighbouring houses that are identical to her childhood home, though in a state of abandonment and decay. She sees the reconstruction of the house in the form of models as a reenactment of an intimate body of space, as the model could only materialise through the process of retracing an old floor plan.
Virada's childhood home belongs to a group of suburban identical cookie-cutter houses that appeared rapidly throughout the late 1980s and 1990s as Bangkok started to expand. The work highlights how this phenomenon allowed personal and collective memory to blur, questioning the private nature of memories and how the encapsulating space influences them.
