Y3 Design Portfolio

HIROSHI SUGIMOTO’S STUDIO A TIME CAPSULE FOR FISH ISLAND NAME: HESSAM RANJBAR UNIT: 7 YEAR: 3 UNIVERSITY ID: 000882557-2 TUTORS: YORGOS LOIZOS & NED SCOTT COURSE COORDINATOR: SUSANNE ISA

PROJECT 1: PROTOTYPE CHAPTER ONE

In the brief we were asked to pick a painting with the theme of Inside Out and analyse it.

I picked Cognoscenti in a room hung with pictures to guide me into finding a language for my design.

INTRODUCTION PAGE Introducing the painting, description from the gallery and also my interpretation of the painting

3 Unknown Flemish Artist Cognoscenti in a Room hung with Pictures, about 1620 This imaginary ideal gallery is crammed with paintings, sculptures and astronomical instruments, showing the best of what was available in private collections in Antwerp.

This painting shows collectors and visitors in a largely imaginary setting that were produced in Flanders in the 17th century. The richly dressed cognoscenti or connoisseurs discuss the room’s contents.

It may well be the work of two painters, one responsible for the figures and the other for the interior.

The paintings on the wall are almost all by Antwerp artists of the 16th and 17th centuries.

My interpretation of the painting • The paintings are more valuable than people.

They put the paintings on top of the chairs and people are standing • Paintings within a painting • Astronomical instruments being used (for navigation) • Collect, value, sale/auction/trade, distribute • Everyone is looking at different things • Monkey looking inside the room • Flemish artists everywhere • Collection for the wealthy. The best of the best kind of things you could get back then are curated here • 45 paintings in total

Introduction Page

RULE OF 3RD STUDY Studying the points of focus in the painting using the rule of 3rd.

Understanding what the painter wants us to pay attention to in this painting.

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PROCESS OF DEVALUATION This painting is all about value.

The cognoscenti are putting a price on the paintings and other artefacts in the background and are discussing them amongst themselves.

By taking away the frames and the actual paintings I devalue them to find out what this painting has to offer apart from the paintings within it.

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ISOLATING OBJECTS OF INTEREST Categorising the objects of interest into 4 categories in the painting.

Separating the architecture and people from the artefacts and paintings allow me to have a better understanding of the painting.

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Category 1 Paintings

Category 2 Artefacts

Category 3 Astronomical Instruments

Category 4 Monkey looking inside

SEXTANT Research page on sextant and how it works.

Sextant: A navigation instrument that measures the angular distance between two celestial objects. It’s simply a glorified protractor for navigation.

Telescope Index Mirror Horizon Mirror Index Bar Clamp Micrometer Drum Chasis Shade Glasses

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How to use 1. Start by setting the calibre to zero 2. Look at the horizon using the eyepiece 3. Using the index mirror shoot for the bottom part of the sun 4. Using the index bar move the sun down so the bottom part of the sun touches the horizon 5. Record the reading on the index bar and the exact time of the recording to the second 6. Using a sextant calculation sheet you can calculate you altitude, latitude and longitude

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POINTS OF FOCUS STUDY There’s a lot of astronomical instruments (celestial navigation system) being used in the painting which made me think that maybe the cognoscenti are looking for a direction and/ or maybe this painting has something to do with stars and constellation.

Therefore, I tracked down all character’s fields of view in the hopes of the results giving me a shape that might be related to constellation

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MONKEY ANALYSIS Researching about the monkey in the painting and how he views the room within the painting.

This is a squirrel monkey who doesn’t have the ability to see red and green.

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POEM Analysing a poem by Peter Cooley.

It is written as if the squirrel monkey is talking about this painting and the cognoscenti.

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PHYSICAL MODEL RESPONSE This physical model is a response to the painting from the monkey’s perspective of the room.

1. Position of the monkey 2. Sextant inspired measuring ruler 3. Representation of a sextant 4. Sextant’s index bar 5. Rotatable mirrors 6. Representation of the sextant’s telescope for looking through 7. Clear acetate (human vision) 8. Red acetate (squirrel monkey’s vision) 9. Green acetate (squirrel monkey’s vision) 10. Shape of the roof in the painting 11. All the frames of the paintings on the west side of the monkey in the painting 12. All the frames of the paintings in front of the monkey in the painting 13. All the frames of the paintings on the floor in front of the monkey in the painting

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Precedents for the model • The painting • The poem • ‘Process of devaluation’ page 5 in the portfolio • Squirrel monkey’s vision • Squirrel monkey’s position in the room • Sextant

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RESPONSE MODEL EXPLODED Exploded isometric and perspective plans showing all the different ways you can use the model and how it’s constructed.

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DEFINING A SITE CHAPTER TWO

The given site in the brief is Fish Island which is a very industrial area of London with lots of artists inhabiting it. Taking the idea of observation from project 1 and applying it to the site analysis to give me a program.

INITIAL SITE VISIT Interesting and relevant scenes from the site in relation to my project’s main design drivers.

North East Isometric View Key Design Drivers • Viewing Devices • Adaptable Spaces • Vision/Perspective • Constructed Views • Building as an instrument • Astronomical Instruments

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PROBLEM, SOLUTION & OUTCOME Describing the current status of Fish Island and my take on tackling the problem.

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The Daily Post 18 June, 2012

Up

Fish Island Under Construction How the Olympic legacy is killing London’s creative culture in Fish Island

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New projects are emerging left and right all the time throughout Fish Island

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t’s fair to say that Fish Island has been somewhat overlooked in the past. Once right on the outskirts of Bow and Hackney, it has not been seen to offer much in the way of places to go and things to do. But since the construction of the Queen Elizabeth Olympic Park, this has all changed. Investors and developers see potential in this former industrial area, which now bridges a gap between Bow and Stratford. Old industrial buildings are being converted into high-spec apartments and with that comes many problems.

Ever since the 1992 games in Barcelona, the idea of “legacy” has played a crucial role in the process of bidding for, and hosting, the Olympics. It’s easy to agree that investment and development for the Olympics should deliver benefits for residents of the host city in the long run. And it makes sense that Olympic infrastructure is built in areas that need improvement.

But in practice, it’s not always locals who benefit from the Olympic legacy. All too often, strict deadlines for delivery of Olympic infrastructure give authorities and developers a license to push urban regeneration plans through to approval with minimal consultation.

In Beijing, for instance, 1.5m people were displaced to make space for Olympic venues.

Meanwhile, in Rio, thousands of favela dwellers experienced violent evictions ahead of this year’s games. Similarly – but somehow less famously – the Olympic Park developments for London 2012 involved the largest programme of legally enforced evictions in England. And it continues to this day.

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Evocative art in Hackney Wick, by Edwin.

Problem: Change

Solution: Photography

Outcome: Long Exposure photographs capturing change

“Change is inevitable in life. You can either resist it and potentially get run over by it, or you can choose to adapt to it” — Jack Canfield

“To collect photographs is to collect the world” — Susan Sontag

“You don’t take a photograph, you make it” — Ansel Adams

There are dangers to change. Above is a newspaper article talking about the dangers of the rapid changing status of Fish Island and how all the artists are leaving the area because of all the renovations taking place. However, we can only fight change to an extent. Most of the time, change is inevitable.

The reality is that new buildings will emerge in Fish Island and the area will be fully renovated sooner or later.

Our best bet is to capture what Fish Island looks like and curate it so we can save the heritage of this old area and exhibit it to people for centuries in an artistic way. A photograph can do that for us. It can capture a single moment and reproduce it to infinity.

Rather than a simple photograph, a better solution would be to take long exposure photographs of the site. The photograph above is by a German photographer, Michael Wesely. In 2001 he was invited by the MoMA to photograph the destruction and re-building of the museum until 2004 Wesely left the shutter of his camera open for up to 34 months and when he closed the shutter he had produced this beautiful image.

CLIENT Hiroshi Sugimoto Born: 23 February 1948 Place of birth: Tokyo, Japan Occupation: • Photographer • Architect • Curator Why this client?

Fish Island is going through rapid changes and the future generations will never get to witness how it looked like. My response to this issue is to have a well established photographer and curator to document the changes within the site and exhibit it to the public for centuries.

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SUN & SHADOW ANALYSIS OF FISH ISLAND Studying the shadows at the exact time of the exact date in different seasons of the year within Fish Island. Sugimoto never uses artificial light to take photographs, therefore, this study is crucial for finding a site with good lighting and views of the surrounding for him.

(NTS)

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SITE ANALYSIS POTENTIAL VIEWS

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Analysing building heights and interesting views of the site that would be of interest to Hiroshi Sugimoto’s photographs +20m Height +10m Height +5m Height Site High points of interest Water way

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Lanterna Building 4

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Energy Centre Olympic Park

London Stadium

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Actavo | Hire & Sales

ArcelorMittal Orbit

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Big Yellow Self Storage Bow 3

London Concrete 7

OPPORTUNITIES AND CONSTRAINTS Site Construction Work Buildings Public Access Vehicle & Workers Access

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Approximate dimensions A = 20m B = 17m C = 5m D = 19m E = 10m

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Keys 1. Bar counter London (food and drink supplier) 2. Algha works (glasses manufactorer) 3. Wick Lane rubber works (East) 4. Broadwood’s piano factory and timber yard gate house 5. Storage depots

DEFINING THE PROGRAM CHAPTER THREE

Investigating an issues with Fish Island. A severely developing area in London which would inevitably fail to successfully capture all the qualities this old area had to offer to people after all the developments have taken place.

COLLAGE Conceptually showcasing the three stages of collecting, creating and curating which will be the main activities happening in the building.

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CASE STUDY: DIVING THE BUILDING INTO 3 SEGMENTS Name: Photography Studio for Juergen Teller Architect: 6a architects

Section through the three buildings

A Photography studio, exhibition space and intimate space for a photographer to live, work and exhibit his artwork.

I studied this project because it’s built for a well known photographer and it has won many awards for its design.

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Axonometric Section

Plans

Site Plan

PROGRAM DIAGRAM Showing the main volumes necessary in the building that makeup the program of the project.

Cyclorama Camera Room

Collect Long Exposure Room

Create Curate

Camera Obscura Room

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Photo Studio

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Reception & Shop Overground Archive Room

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Basement Archive Room

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Program Diagram

COLLECTION ROOM EXPLAINED ‘A scientific approach to capturing change through the medium of photography’.

Illustrating how each different type of photographs are taken and the kind of spaces and materials they each require.

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Cyclorama A system where a camera comes out of the collection room at 9am every single day of the year and takes a 360° photo of Fish Island. These photographs can then be exhibited in the exhibition hall.

Long Exposure Four cameras each facing , North, East, West and South taking a one-month-long, long exposure photograph of Fish Island.

Camera Obscura A projection system that can show a live feed of Fish Island to the public who are in the exhibition area of the building using a pinhole system.

INITIAL MASSING DIAGRAM Revising the program diagram into a massing diagram while considering site context, constraints and opportunities.

Dividing the building into three vertical hierarchies of collect, create and curate while considering the effect of sun path during the design decisions as it plays a big role in the activities that take place in the building.

Collect Create Curate

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Shop 9. Office 17. Long Exposure Camera Room Curate Collect Room 18. 160° Cyclorama Reception 10. Book Create Making Facility Archive Room 11. Dark Room 19. Camera Obscura Input Room Exhibition One 12. Photography Studio 20. Public 17.

Access 1. Shop 9. Office Long Exposure Camera Room Exhibition Two 13.

Equipment Storage 21.

Vehicle Access 2. Reception 10. Book Making Facility 18. 160° Cyclorama Room Exhibition Three Room 22. Private Access 3. Archive Room 11. Dark Room 19.

Camera Obscura Input Room Public Terrace 14. Library & Think Room 23. Stour Rd, Island, London 4. Exhibition One 12. Photography Studio 20. Fish Public Access Camera Obscura Two15. Fossils13.

Storage RoomStorage 24. Bream21.

St, Vehicle Fish Island, London 5. Exhibition Equipment Access Room6. Exhibition Three 16. Private Terrace Room 22. Private Access 7. Public Terrace 14. Library & Think Room 23. Stour Rd, Fish Island, London 8. Camera Obscura 15. Fossils Storage Room 24. Bream St, Fish Island, London Collect

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DESIGN DEVELOPMENT CHAPTER FOUR-A

Starting to design the building considering the site, context and client. Using all the lessons learned and the research done into coming up with the best solution for a Studio design for Sugimoto in Fish Island

SUGIMOTO’S EXHIBITION SETUP ANALYSIS Analysing how Hiroshi Sugimoto exhibits his photographs in his exhibitions and how I could possibly elevate it and make it better for his gallery in Fish Island.

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The horizon is at human eye level The area is dark but the artwork is lit up

Very large prints that are usually about 500mm above ground Direct lighting on the photographs to control the attention of the viewer

Very detailed considerate in presentation Frames are usually 100mm bigger than the photographs from each side

There’s a lux level difference between the main walkway area and the actual photographs, he uses artificial light to control the exact quality and intensity of light he needs on the photographs and also he pays immense attention to the setup of each frame. The horizon is aligned to an average human heigh on every photograph in his Seascape series.

SUGIMOTO’S TECHNIQUE ANALYSIS 01 Analysing the techniques he uses for Portrait and Diorama series.

This research can give me a lot of information on what spaces he requires in the collection room.

Wapiti, 1980 - Dioramas

Henry VIII - Portrait

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Series: Dioramas

Series: Portraits

“If you look at my picture and believe it’s real, then maybe that’s the nature of your vision” — Hiroshi Sugimoto

“An illusion more convincing than reality. A believable lie” — Hiroshi Sugimoto

Dioramas Sugimoto has gone forward in time to ask: what would happen if humanity ended its civilisation? How would nature look without the manipulations of mankind? - He has a vision for what nature should look like without us and he has realised that vision in Dioramas. Dioramas is a collection of unmanipulated photographs of utterly manipulated scenes. Scenes of which an artist has constructed in his imagination and is has then attempted to materialise using photography and dioramas.

Portrait are a series of photographs of wax figures from Madame Tussaud Museum with an objective of making them look alive once again; to take a photographic portrait of someone whose time is over, someone who we will never be able to see in the real world. Henry VIII lived and died in 16th century and he never stood in front of a camera in his life time. In Portrait Sugimoto is selling us a believable lie with photography. He is showing us the unseen.

SUGIMOTO’S TECHNIQUE ANALYSIS 02 Analysing the techniques he uses for Theatre and Architecture series.

This research can give me a lot of information on what spaces he requires in the collection room.

Teatro dei Rozzi, Siena - Theatre

Eiffel Tower, Paris - Architecture

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Series: Theatre “What if I prolonged the camera’s exposure for the entire movie?”

— Hiroshi Sugimoto Theatres are a series of photographs that explore the concept of time using two to three-hour-long movies in theatres. Sugimoto uses the technique of long exposure photography to capture an entire movie in a single frame. Every single frame projected from the screen is captured by his camera lens and technically we can see an entire movie in one photograph.

Series: Architecture “[with architecture] the core visions must be remained in the building … I used an out-of-focus technique to regain a sense of the architect’s core idealist vision for the building” — Hiroshi Sugimoto In architecture Sugimoto took black-andd-white photographs of architectural monuments in a blurry form in an attempt reach back in time to find out the architect’s core concepts when designing the building. The technique he used is called ‘twice infinity’ which I have talked about thoroughly in my dissertation.

CAMERA APERTURE MODEL Testing out digital and physical models of a camera aperture.

This device will work as the pinhole for the collection room and would let light in to the room for the Camera Obscura system to work.

With these models I am investigating the mechanism behind the aperture system.

The reason behind using an adjustable aperture instead of a simple pinhole in the room is to have the ability to control the amount of light entering the room.

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1 The round grooves allow the circular handles to fit inside and still have room to move around

2 6 panels and 12 handles. Each panel has one handle on top and one and the bottom on the opposite side

3 Side-walls to block the panels from slipping out of the model

Digital Modelling

4 The cap/lid allows the top of the model to be closed off so nothing falls out

5 This panel has 6 holes that fit in the handles of the 6 panels at step 2 and allows them to rotate

Physical Modelling

CONCEPTUAL CAPTURING DEVICE MODEL A conceptual capturing device for Sugimoto to capture & create photographs around the site.

Incorporating ideas from sextant model, camera apertures, large format cameras, astronomical instruments, dark rooms and squirrel monkey’s perception.

Conceptually, one could open this device’s aperture (manually controlled) then light would enter the device, you could then use the 6 filters within the device to control the colour, clarity and quality of light you want by sliding them back and forth. And finally at the end, the filtered light would hit the white photo paper and an image could be capture on it.

The red tub with the curtains on the right side of the device is a conceptual idea of a photography dark room where photographs that are captured on the photo paper can be process in that area.

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CONCEPTUAL CAPTURING DEVICE MODEL - EXPLODED Showcasing every element that went into constructing Sugimoto’s conceptual capturing device.

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Keys 1. Opening for the aperture 2. Conceptual dark room 3. Manual camera aperture 4. Push levers sitting on a railing system 5. Standing filter holder (Acetate filters slide into there) 6. Base of the device 7. Hanging filter holder (Acetate filters slide into the frames) 8. Filters 9. Filters 10. Adjustable lid 11. Photo paper 12. Photo paper holder

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ITERATION 1: GENERAL MASSING STUDY Scale 1:100 For 1:100 on A2

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Underground Floor Plan

Key 1. Underground Archive Area 2. Gallery Space (double height) 3. Grounds Level Archive Area 4. Camera Obscura Projection Room 5. Reception & Shop

Ground Floor Plan

ITERATION 1: GENERAL MASSING STUDY Scale 1:100 For 1:100 on A2

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First Floor Plan

Key 6. Gallery Space (double height) 7. Photo Studio & Dark Room 8. Library & Book Making Facility 9. Office Space 10. Collection Room 11. Public Terrace

Second Floor Plan

ITERATION 1: GENERAL MASSING STUDY Scale 1:100 For 1:100 on A2

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Third Floor Plan

Key 12. Collection room

Roof Plan

INITIAL PROPOSAL Overview of the first proposal of the building.

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Narrative Every single day at 8am the cyclorama comes out and takes a 360° photograph of the site. This is what the surrounding looks like at that time.

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Time of taking the image 20 June 2025 at 8am

BEGINNING OF ITERATION 2 Sketches for the second iteration of the building. Thinking about sun path, key design drivers and the needs of the client.

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THINKING ABOUT THE MOVEMENT OF SUN AND HOW IT CAN AFFECT THE LIGHTING IN THE GALLERY SPACE

CONSIDERING THE RELATIONSHIP OF UNDERGROUND ARCHIVE AREA TO THE OVERGROUND ARCHIVE ROOM

THINKING ABOUT VEHICLE AND PEDESTRIAN ENTRANCE TO THE BUILDING

PRECEDENT: NOGUCHI MUSEUM

THINKING ABOUT THE GALLERY SPACE BEING A DOUBLE HEIGHT SPACE WITH A MEZZANINE FLOOR

THINKING ABOUT THE SUN PATH AND HOW IT CAN EFFECT THE GROWTH OF THE PLANTS IN THE GARDEN

CREATING A ‘DENT’ IN THE FACADE FOR THE PUBLIC ENTRANCE

NOGUCHI MUSEUM’S ENTRANCE

BASEMENT FLOOR PLAN Scale 1:100 (Iteration 2)

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SHELVES SIDE SHELVES UNDERGROUND ARCHIVE ROOM

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120° ALCOVES TO DISPLAY PHOTOGRAPHS 2. RECEPTION ROOM 3. BOOK MAKING FACILITY AND LIBRARY 4. OVERGROUND ARCHIVE ROOM 5. PRIVATE ENTRANCE 6. PUBLIC ENTRANCE 7. DOUBLE HEIGHT GALLERY SPACE 8. GARDEN AND GREEN AREA 9. VEHICLE ACCESS POINT 10. STAIRCASE TO OUTDOOR TERRACE ON FIRST FLOOR 11. 120° PARTITION ALCOVES TO DISPLAY PHOTOGRAPHS

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OUTDOOR TERRACE PUBLIC OUTDOOR BRIDGE DOUBLE HEIGHT GALLERY SPACE VOID CAMERA OBSCURA PROJECTION ROOM (SHOWS A LIVE FEED OF THE SITE) 6. OFFICE 7. PHOTOGRAPHY STUDIO 8. DARK ROOM 9. PERSONAL OUTDOOR BRIDGE (LEADS TO COLLECTION ROOM) 10. PROJECTION SURFACE (SHOWS A LIVE FEED OF FISH ISLAND USING THE CAMERA OBSCURA ON THE FLOOR ABOVE)

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SECOND FLOOR PLAN MEZZANINE Scale 1:100 (Iteration 2)

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ANGLED MIRROR (ALLOWS THE LIGHT TO TRAVEL THROUGH THE FLOOR BELOW USING THE LIGHT TUNNEL) 2/4 LONG EXPOSURE CAMERA 3/4 LONG EXPOSURE CAMERA 4/4 LONG EXPOSURE CAMERA 360° CAMERA (TAKING A CYCLORAMA PHOTO OF THE SITE EVERYDAY AT 10AM) STAIRCASE TO THE FLOOR BELOW VOID PINHOLE (APERTURE THAT LETS LIGHT IN THE ROOM)

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LONG SECTION Long Section of Hiroshi Sugimoto’s Studio in Fish Island.

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LONG SECTION OF HIROSHI SUGIMOTO’S PHOTOGRAPHY STUDIO

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OUTDOOR TERRACE PUBLIC OUTDOOR BRIDGE DOUBLE HEIGHT GALLERY SPACE VOID CAMERA OBSCURA PROJECTION ROOM OUTDOOR TERRACE (SHOWS A LIVE FEED OF THE SITE) PUBLIC OUTDOOR BRIDGE 6.

OFFICE DOUBLE HEIGHT GALLERY SPACE 7. PHOTOGRAPHY STUDIO VOID CAMERA OBSCURA PROJECTION ROOM 8. DARK ROOM (SHOWS A LIVE FEED OF THE SITE) 9. PERSONAL OUTDOOR BRIDGE (LEADS OFFICE TO COLLECTION ROOM) PHOTOGRAPHY STUDIO DARK ROOM 10. PROJECTION SURFACE (SHOWS A LIVE (LEADS PERSONAL OUTDOOR FEED OF FISHBRIDGE ISLAND USING THE CAMTO COLLECTION ROOM) ERA OBSCURA ON THE FLOOR ABOVE) PROJECTION SURFACE (SHOWS A LIVE FEED OF FISH ISLAND USING THE CAMERA OBSCURA ON THE FLOOR ABOVE)

LONG SECTION OF HIROSHI SUGIMOTO’S PHOTOGRAPHY STUDIO SCALE 1:100 SCALE 1:100

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Alcoves Angles Explaining a design decision in the gallery space which is based on studying Hiroshi Sugimoto’s Diorama setup and the human field of vision. Every exhibition panel has a 120° curvature to it which is the optimal human field of vision

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Research: Dioramas Setups in museums

Diorama setups in museum

Human field of vision

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Studying dioramas has made me realise that they use a round backdrop in the dioramas to make the viewer feel like they are immersed in the scene that has been created. This is due to human field of vision.

“Vision span or perceptual span refers to the angular span (vertically and horizontally), within which the human eye has sharp enough vision to perform an action accurately (reading or face recognition). The visual field of the human eye spans approximately 120 degrees of arc.”

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Application: Axonometric of the Alcove partitions on the ground floor

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Ground Floor Plan (NTS)

I decided to use 3 x 2.5m high partitions, each with a 120° angles in arc to exhibit the 360° cyclorama photographs (360° ÷ 3 = 120°). Doing this means the viewer is fully immersed in the photograph once he/she stands in the middle, he/she is able to pay enough attention to each photograph and once standing in the middle of the partitions, they can have a 360° view the cyclorama photographs by turning around.

CHAPTER FOUR-B

DESIGN DEVELOPMENT: COLLECTION ROOM The room at the top of the building with the most important job, capturing data/ information from the site for Sugimoto to make photographs from.

DEVELOPING THE COLLECTION ROOM This would be the room where all the cameras that are used to collect the photographs from the site are housed. It’s a very bespoke room designed only for Sugimoto to use. This room needs to get very dark for when the camera obscura is in use and also needs to be naturally lit when he is in there and wants to work.

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Precedent Eadweard Muybridge - Flying Horse He used 24 cameras, each one triggered to take a snapshot when the horse broke a thread stretched across the racetrack.

GENERAL SHAPE OF THE ROOM. WHERE THE PINHOLE AND CAMERAS SHOULD BE POSITIONED IN ORDER TO GET THE RIGHT REFLECTION OF THE SITE INTO THE CAMERA OBSCURA ROOM.

THINKING ABOUT HOW THE ROOM SHOULD BE BESPOKE TO HIROSHI SUGIMOTO. THE LENS SHOULD ALIGN WITH HIS LINE OF SIGHT SO HE WON’T NEED TO BEND OVER TO LOOK AT THE CAMERA’S LENS

EADWEARD MUYBRIDGE INSPIRED RAILING SYSTEM WITH A CAMERA ON TOP THAT WOULD TAKE A 1 MONTH-LONG, LONG EXPOSURE PHOTOGRAPH AND ONCE IT’S DONE IT’S BE PUSHED TO THE NEXT MONTH (HENCE EACH MONTH HAS A DIFFERENT LOCATION FOR IT)

THINKING ABOUT THE LOCATION OF THE CAMERAS, THE PINHOLE AND THE LOCATION AND ANGLE OF THE MIRROR + A 360° CAMERA AT TOP THAT WOULD TAKE AN IMAGE EVERY SINGLE DAY AT THE EXACT SAME TIME.

Precendet Camera Obscura And World Of Illusions Edinburgh, Scotland

CONCEPTUAL SECTION OF COLLECTION ROOM Collection room is where Hiroshi Sugimoto collects all the data/ photographs he needs from the site (Fish Island) in order to create bespoke photographs of them to exhibit. This is room houses 5 cameras all for different purposes.

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360° Cyclorama Camera Taking a cyclorama image of the site at 9 am every single day to document the change

47 Adjustable shutters To control the amount of light entering the room

Hydrolic system The hydrolic system allows for the mirror to be adjusted to depending on the need

Camera Obscura Mirror Adjustable mirror for the pinhole to bounce the light in the chamber below

Solar Panels Using the sun’s energy to power some of the photography equipment

Light entering the room through the camera aperture Pinhole (aperture) (Investigated previously) allows you to control the lux levels of the room 1 of 4 long exposure cameras These cameras each produce 12 images per year. One for each month.

Each image is a one-month long exposure of the site

Inspiration The overall shape of the room is inspired by an 8x10 old format camera

Precedent Conceptual Capturing device

Projection Chamber Light enters the room through the pinhole, hits the mirror and bounces in this chamber which leads the light to the projection room downstairs

COLLECTION ROOM NORTH-EAST ISOMETRIC Time: 7:35am Date: 01/07/2025 The cyclorama camera comes out of this room every day at this exact time and captures a 360° cyclorama camera of Fish Island. By the time Hiroshi is awake, the cyclorama is ready to be made in the dark room by him.

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Precedent Conceptual Capturing device

COLLECTION ROOM PERSPECTIVE SECTION Showcasing the colletion in more details, the roof mechanism, the hierachy of spaces, the intrernal space and atmosphere of the room.

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CHAPTER FOUR-C

DESIGN DEVELOPMENT: GALLERY’S ROOF DESIGN Developing a roof design for the gallery space in the building which requires some very specific and bespoke qualities and intensities of light in order to best exhibit the photographs and prevent them from damaging over time.

Developing Gallery Room’s Roof Design A conceptual section through the gallery area of the building exploring ideas on the requirements of the roof design for this room.

Setting out the bespoke requirements of the gallery room in terms of light conditions and lux levels.

Requirements for gallery room 1. Soft and evenly distributed natural light 2. 400 lux in the main gallery space 3. 200 lux in the alcoves where art work is being displayed 4. No UV (ultra violet) light as it can damage the work 5. Have adjustable louvres 6. Face north so it can get the northern day light instead of direct & harsh south light 7. Bespoke to this project

OVERVIEW OF TECHNICAL INVESTIGATION

A Glass B

C Structural Frame

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Location of the section

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Conceptual section through gallery room exploring the roof design ideas

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Gutter

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Rotatable Louvres

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Diffusion panel

Gallery Space 300-400 lux

3 x 120° partitions for exhibiting 360° cyclorama photographs 120° alcove to for exhibiting long exposure photographs Alcove 200 lux

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CASE STUDY

Diagram 1 - Keys 1. Structural steelwork 2. Pre-cast concrete louvre 3. Connections to the steelwork 4. Reinforcement 5. Angled in a way that light can bounce off the material

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1

Plan of the building

Diagram 2 - Keys 1. Light gets disseminated off the materials 2. Gutter 3. Glass (the first layer) 4. Able to install artificial light on the edges of the louvres if necessary 5. Evenly distributed soft light throughout the gallery space

Section of the gallery area

Name: The Menil Collection Architect: Renzo Piano Location: Houston, United States

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Gallery Interior 01

Diagram 1: Axonometric drawing of one of the roof modules 1

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Gallery Interior 02

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Diagram 2: Section of the gallery space demonstrating the design and use of louvres

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It’s a smart choice to divide the roof into small constructable components that repeat themselves. A universal system that could be easily constructable for its size and weight in the manufacturing phase

Using glass in the first layer of the component is the best choice because glass allows you to insulate and waterproof the roof easily. It also allows maximum light to enter the room

I should use louvres (preferably mechanical if possible) to allow light to bounce of its material in order to get diffused light entering the room for a more soft and even light condition

The roof system needs to allow me to have the ability to control the amount of light entering the room and also different areas of the room. The areas where artwork is being exhibited need less/more light

View from outside

Conclusions

CASE STUDY Name: Myoenji Columbarium Architect: Furumori Koichi Location: Iizuka, Fukuoka, Japan

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Plan

Keys 1. Glazing 2. Steel I-beam 3. Legs holding the I-beam 4. Support for the louvres 5. Timber connector 6. Louvres 7. Main timber structure 8. Decorative timber panellings 9. Timber column

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Master Plan

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Entrance

My interpretation sketch of the construction of the roof

Note: I could not find any technical drawings of the roof construction and I had to sketch my own interpretation of it after analysing the close up photographs of the roof and reading about it

Roof construction

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A flat glazed roof would mean a bit more challenge in terms of keeping the internal temperatures low as sunlight can directly penetrate through the room unless you use shades/louvres

It is possible to use lighter and more sustainable materials such as timber to construct this roof. Unlike the first example where they used heavy, expensive and non-environmentally friendly materials

With a lattice timber roof you are able to control lighting as well as temperature of the internal space which means a much more sustainable and environmentally friendly design.

I am able to have many layers in the construction of the roof and still make it work and make it quiet lightweight. I don’t necessarily have to compromise to make the roof lightweight.

Roof construction close up

Close up photos of the roof design

ROOF DESIGN TEST 01 1.

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Close up perspective section Section UV filter glass Non adjustable louvre Diffuser panel Isometric

Roof design test number 1 explore the idea of having round semi circle roof design. Each roof component could be one of those semi circles and they could be easily assembled and put into place on site.

The louvres in this model are non-adjustable resulting in not having the ability to control the amount of light entering the room. For the next test I would like to use adjustable louvres in order to give me that ability.

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Inspiration: Kimbell Art Museum - Louis Kahn, Renzo Piano Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West Advantages • Can get lots of diffused light by the light bouncing off the curved panels and then getting filtered through the diffusers • Aesthetically pleasing (minimal in design - good for a gallery space)

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Disadvantages • Louvres are not adjustable • Not able to capture the maximum amount of light in winter and autumn as the glass is at the top

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ROOF DESIGN TEST 02 1.

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Close up perspective section Section UV filter glass 90° adjustable louvre Diffuser panel Isometric

This roof design tries to take many thing into consideration and use the previously learned lessons to its benefit. This design is able to fully block southern light and direct summer light which can be damaging for the artwork being shown in the room.

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The louvres are mechanically adjustable too and they rotate 90° leaving them from a fully open state to a fully close design.

The diffusers could look like one continuous panel which can be aesthetically pleasing to look at and they could potentially cover the entire roof area allowing to have less distorted shadows.

Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West Advantages • Able to block southern and summer light • Aesthetically pleasing and minimal in design from an internal view • Light sensitive adjustable louvres • Everything could be prefabricated and easily assembled on site

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Disadvantages • The distance between glass and diffuser panels might be too far apart

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ROOF DESIGN TEST 03 1.

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Close up perspective section Section UV filter glass 360° adjustable louvre Diffuser panel Isometric

Roof design test number 3 is less compartmentalised and feels a lot more like a solid piece even though the aim is to make it into components that can lock into place in the roof’s grid system.

The louvres in this model are adjustable and fully rotatable 360° which can be of great benefit in terms of limiting or allowing light to come in the room.

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The fully gazed design on the first layer of the roof allows the maximum light and heat gain in any of the seasons while the louvres, UV filters and diffusers can then restrict the unnecessary light and allowing optimal light intensity entering the room Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West Advantages • Fully glazed on the first layer - allows maxim light and heat gain • Fully rotatable 360° louvres • Minimal in design • The viewer can only see the diffuser sheets when he looks above his head while in the gallery • Glazing as the first layer allows easy insulation and water proofing

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Disadvantages • It would be hard to block summer light when the sun is directly above the building and still allow some light to come in • Very distorted shadows could be distracting for the users of the room

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ROOF DESIGN TEST 04 1.

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Close up perspective section Section UV filter glass Vertically adjustable louvre Diffuser panel Isometric

This roof design test attempts to take everything into consideration from all the previous tests. It has vertically adjustable louvres that could potentially completely block any sun light coming into the building.

In this test I have investigated how I could fully block out the southern harsh and direct sun light and only get northern daylight by being able to have the glass (light entrance to the building) facing north potentially. (on this model they are facing south for rendering purposes but they could potentially face north at the final stage).

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Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West Advantages • Mechanically adjustable louvres • Easily constructable size • Able to fully block harsh direct southern and summer light • Only allows soft daylight

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Disadvantages • Since there’s only one louvres, I can only block or unblock the light coming in.

I cannot actually control the amount coming in • A little chunky in design for a minimalist looking gallery room • Distorted shadows since light has to travel through the truss system • Shadows could be distracting for the viewers of the gallery

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FINAL ROOF DESIGN The final roof design for the gallery room.

1. Section of the roof module 2. North West Isometric view of the roof module 3. Isometric view of a fragment of the gallery area in the building A Overhang (lets the water come down without damaging the roof) B Window frame with glass inside it C External Finish (powder coated zinc cladding in white colour) D Ply panel (for rigidity) E Insulation F Connection to the reflector panel G Steel structure H Reflective panel (reflecting the light to the gallery) I 360° Rotatable louvres J Gutter K External Finish (powder coated zinc cladding in white colour) L External insulation M Damp proof membrane N Internal insulation O Oakwood cladding internal finish P Diffusion panel (distributing the light evenly in the room below)

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Final Roof Modular Design

Final design applied to a fragment of the gallery

ISOMETRIC TECHNICAL DRAWING 1. Parapet 2. Gutter 3. External finish (powder coated zinc cladding in white colour) 4. Insulation 5. Damp proof membrane 6. Insulation 7. Internal finish (oakwood panel) 8. RHS steel beam 9. Pre-cast connection plate to steel 10. Welded bracket to steel connection plate 11. Truss 12. 120° alcoves for displaying artwork 13. External finish (concrete - in a black colour finish) 14. Damp proof membrane 15. Insulation 16. Damp proof membrane 17. Concrete (structural) 18. External upstand 19. Concrete footing 20. Internal finish (timber panelling) 21. Screed 22. Insulation 23. Damp proof membrane 24. Concrete 25. Insulation

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DETAIL TECHNICAL DRAWING 1. PVC Gutter 2. Aluminium parapet 3. Water proofing membrane 4. I Beam 5. RHS steel beam 6. Steel Truss 7. Water proofing membrane 8. Steel rebar 9. Mineral wool insulation 10. Reinforced concrete 11. Steel rebar 12. Cementitious Board for Insulation Housing 13. Cementitious Board for Insulation Housing 14. Steel rebar 15. Reinforce concrete 16. Steel rebar Note After taking a closer look at the roof construction and studying roof detailing in the books, I came to the conclusion that I needed to raise the parapet in order to allow the roof construction and the drainage system to work. Therefore the parapet has been raises by 200mm in this latest detail drawing of the roof.

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CHAPTER FIVE

RESOLUTION The final building with all the floor plans, sections, elevations and views.

BASEMENT PLAN Scale 1:50 @A1 1. Archive room 2. Staircase leading to ground floor 3. Overhang light system 4. Shelves 5. The floor above (ground floor)

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GROUND FLOOR PLAN Scale 1:50 @A1 1. Vehicle access 2. Garden area 3. Gallery room 4. 360° cyclorama partitions 5. Photo alcoves 6. Private entrance 7. Office 8. Ground level archive room 9. Fossil and artifacts archive room 10. Toilet 11. Cloak room 12. Reception 13. Public entrance

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FIRST FLOOR PLAN Scale 1:50 @A1 1. Void 2. Dark room 3. Toilet 4. Photo studio area 5. Print area 6. Staircase to collection room 7. Projection cylinder 8. Projection room 9. Walkway to the projection room (used to keep the room dark) 10. Mezzanine area

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SECOND FLOOR PLAN Scale 1:50 @A1 1. (South) long exposure camera (Taking a month long photograph) 2. Projection cylinder 3. Void (not a walkable area)

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SECOND FLOOR MEZZANINE PLAN Scale 1:50 @A1 1. Collection room 2. Aperture (pinhole system) 3. Projection cylinder 4. Mirror 5. (West) long exposure camera (sliding) 6. (East) long exposure camera (rotating) 7. (North) long exposure camera (rotating) 8. Roof handle (to adjust the roof shutters) 9. 360° cyclorama camera

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ROOF PLAN Scale 1:50 @A1 1. Collection room 2. Dark room 3. Photo studio 4. Private access 5. Gallery room 6. Outside garden area 7. Vehicle access 8. Bridge from studio to collection room

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EAST SECTION Showcasing mostly the private part of the building.

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Scale 1:50 @A1 1. Basement archive room (capacity: 10 decades) 2. Office 3. Dark room 4. Ground archive room (capacity: 1 decade) 5. Photo studio 6. Fossils and artefacts archive room 7. Cloak room 8. Projection room (showing a live feed of the site) 9. Collection room (capturing data from site) 10. Reception

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9m above ground

Second Floor Mezzanine

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NORTH SECTION Showcasing mostly the public part of the building.

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Scale 1:50 @A1 1. Reception 2. Projection room 3. Collection room 4. Gallery 5. Outside garden area 6. Vehicle access

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EAST ELEVATION Showcasing the private part of the building.

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NORTH ELEVATION Showcasing the public part of the building.

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GALLERY ROOM PERSPECTIVE VIEW Exhibiting the everyday looks of Fish Island to the public. The exhibition changes everyday according to the date.

Today Hiroshi is exhibiting some of the interesting shots he took in the past year from his long exposure cameras.

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COLLECTION ROOM PERSPECTIVE VIEW The room that collects info from the site for Sugimoto to make photographs from.

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COLLECTION ROOM NORTH-EAST EXPLODED ISOMETRIC 1. Adjustable roof opening 2. Reflective mirror (allows the pinhole system to work so public can get a live view of Fish Island in Projection Room 3. West long exposure camera (sliding) 4. 12 months of the year bar (allows the West Camera to lock into position for a month and each month get a slightly different view) 5. North long exposure camera (90째 rotatable) 6. Pinhole (camera aperture) (allows an adjustable amount of light in the room, which will then be bounced from the mirror, enter the projection tube and be projected in the floor below, Projection Room) 7. Cyclorama camera (360째 rotatable) 8. South long exposure camera (90째 rotatable) 9. East long exposure camera (90째 rotatable) 10. Projection tube (allows light to travel to the floor below to be projected on a flat surface)

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EXPLODED ISOMETRIC OF STUDIO AND DARK ROOM (FIRST FIRST) 1. Roof system for the photo studio 2. Glass frame 3. 90° rotatable shutters 4. Trusses holding the frame 5. Diffusion panel (to get soft light in the room) 6. Special red glass (filters sun light to get red light needed in dark rooms) 7. 360° rotatable shutters 8. Seperation partition (seperating printing area) 9. Dark room 10. Photo studio 11. Toilet 12. Access door to dark room (there’s 2 doors to keep the light out) 13. Ground floor (office, archive room, cloak room, etc.

14. Private access

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BREAM STREET PERSPECTIVE VIEW A normal day on site. Early hours in the morning when the public part of the building is still closed. Sugimoto is in the darkroom working on the photographs he’s receiving from the collection room to get the exhibition ready for the public.

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OVERALL BUILDING ISOMETRIC Overall scheme of the project: Hiroshi Sugimoto studio. A time capsule for Fish Island.

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The ending story Central to Hiroshi’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time.

It’s 7am, Sugimoto arrives in his studio in Fish Island. He first goes to the collection room to make sure everything is fine. He picks up the photographic films from last night and takes them to his studio. By 9am the gallery opens to the public and he needs to have the exhibition ready. It’ll be a busy day but it’ll be very different to yesterday. In his building everyday feels different. Everyday new black-and-white photographs are installed in the gallery, new ones produced, new people visit the exhibition and new things happen in Fish Island which will all be captured by the collection room.

In the gallery you have this sense of time of the outside world. Even though there’s no windows in the room you still have a sense of geological location, a sense of being. You always know how the outside world feels when you are in the gallery because the roof allows a soft, diffused light to lit up the room and all the artworks being exhibited.

People who live in Fish Island are very happy about the existence of this building and the artwork Hiroshi is producing. Many say his existence in Fish Island is vital for the site. There needs to be someone who can capture ‘the everyday’ and show it to everyone before they’re gone.

Many years later, this method of archiving the everyday has been used in other parts of the globe to combat change, artists from all around the world come together and start capturing the everyday life of an area of a city cityin their own ways.

“I really believe there are things nobody would see if I didn’t photograph them” — Hiroshi Sugimoto