Dungeness, through the pinhole

‘DUNGENESS THROUGH THE PINHOLE’ When in Dungeness, experience the past and the present through living albums of history.

DESIGN STATEMENT ‘Dungeness Through the Pinhole’ experiences 5 durations of home through the photographic memory of the houses in Dungeness.

‘Hours’ is encapsulated in the temporal food snack shack - used by visitors.

‘Days - Weeks’ is encapsulated in the Airbnb Pobble House - used by visitors too.

‘Weeks - Months’ is encapsulated in the El Ray cottage a summer holiday home for a family.

‘Years’ is embodied in the Way of the wind cottage - a generational permanent home to a fishing family.

‘Decades’ is embodied in the Lighthouse camera - the longest standing structure in Dungeness that is home to the environment.

DAYS

H O U RS

WEEKS

MON THS

INSPIRATIONAL TRIGGER The notion of duration as a design tool for homes is inspired by my reading of the British Pavilion in Venice Biennale 16.

Here the spaces unfold with time to accommodate different time needs rather than spatial/functional needs.

YEARS

YEA RS G EN ERATION S OF THE FA M I LY. A COMMUN ITY IS FORM E D

WEEKS COU PLE’S VACATION

MON THS S MA LL FA MILY

DAYS ART IST R ET R EAT

EXPANDABLE CONCEPT OF HOME IN DUNGENESS The home in Dungeness is perceived to be adaptable to duration and occupancy needs. Each home typology relates to duration of stay and size of occupancy.

Visitors to the famous Dungeness fish shack have their presence and expressions captured secretly by the snack shack.

The pictures illustrate stories about the food truck - who it attracts, when the busiest period is, the bestseller, and visitors reactions to the food.

S na c k s ha c k

Pobble Hous e

H OU RS

DAYS The airbnb visitors have their candid expressions captured onto hidden instant cameras in the letterbox.

These memoirs are revealed to them at the end of their stay.

Way o f th e wi n d co ttage

El R ay C o ttage

W E E KS When occupied for holidays, the house records the occupants, activities and historic moments.

When occupied, the house is a record of anomalies in the landscape.

MONTHS

Lighthouse

YEA RS

The house is a record of transformation of the home, family and house through daily to annual photographs.

D ECA D ES

Projects real-time environmental images in 4 chambers : - Rainbow sundial (light) - Black box (sound) - Weather chamber - Camera obscura

TIMELINE OF HOUSE CAMERAS IN DUNGENESS The concept of duration is applied to 5 homes Dungeness which are transformed into cameras to monumentalise time in images. The 5 camera-homes are - snack shack, Pobble house, El ray cottage, Way o the wind cottage and the lighthouse.

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POBBLE HOUSE

LIGHTHOUSE CAMERA

WAY O ’ THE WIND COT TAGE

EL RAY COT TAGE

SNACK SHACK

NEW LIGHTHOUSE

OVERVIEW OF CAMERAS IN DUNGENESS The 5 cameras are located in this aerial drawing of Dungeness to show their geographical relation among each other and their angle/frame of views.

This is presented as a 3D board that contains all the camera drawings.

‘DECADES’ CAMERA - THE LIGHTHOUSE The lighthouse camera is home to the landscape - the longest inhabitant in Dungeness. It captures environmental elements and projects them internally.

‘DECADES’ CAMERA - THE LIGHTHOUSE The lighthouse camera is built on the existing lighthouse keeper’s quarters which is the base of the 3rd lighthouse.

The 3rd ligthouse was demolished due to weak foundation. My design intervention is a 3 storey lightweight timber-framed lighthouse that sits on the roof of the quarters and is supported by existing concrete columns.

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1:100 AXONOMETRIC SECTION SHOWING CHAMBERS IN EXPANDED MODE

‘DECADES’ CAMERA - THE LIGHTHOUSE The lighthouse camera comprises of 3 storeys and 4 chambers, taken from the original functions of its predecessor. Each chamber in the lighthouse projects real-time environmental qualities in Dungeness. The four chambers starting from the lowest are : Camera Obscura, Weather room, Black box and Rainbow Sundial

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Pivot

Battery-operated LED light swings around pivot

Optical glass

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FO G / C LOUD A fog machine embedded in the seats generates fog, creating an illusion that we are standing on clouds. Lights accentuate the formation of clouds.

A controller receives signal of the rainy weather outside and powers the LED lights to swing.

The lights swings up and down around a pivot and shines on the optical glass. This creates a moving concentric shadows on the floor, an illusion of raindrops.

RA IN A rainy weather is recreated by light projection of the shadow of raindrops. An oscillating light system creates a mesmerizing rhythm of moving concentric shadows on the floor, like raindrops falling on water

Illustration of the swinging glass lights that create projections of raindrops

B The controller receives realtime signal of the outdoor sun intensity.

It then sends the signal to the actuator which lits up the battery-operated strip LED lighting according to the sun readings.

Actuator

LED strip light

The translucent polycarbonate wall gives out an ambient glow, pleasant to the eyes.

Controller B

Translucent polycarbonate wall

Schematic diagram of lighting in wall that glows like the sun

WIND The fan machine installed in the seats generates breeze when the weather is windy outside

SUN The sunny weather is simulated through a projection of the sun on the wall. The ceiling is slightly reflective to complete the picture of the sun

The controller (a) receives realtime signal from a outdoor climate recorder. It then sends the signal to the actuator (b) to release the fog liquid (d) from the reservoir (e).

The valve (c) controls the flow of the liquid into the heating chamber (f). In the heating chamber, the liquid vaporises into fog and is released through the nozzle (g).

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(e) (b)

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W EATH E R C H AM BE R The weather chamber is a camera to the 4 main realtime outdoor weathers in Dungeness - sunny, rainy, cloudy and windy. It receives signals of the climates and recreates them through light projection and a fog/fan machine.

(f) (c)

(g)

A battery operated and controller-connected fan (h) generates wind it receives signal of the windy weather outside.

Schematic diagram of fog and fan machine

WEATHER ROOM The weather room in the lighthouse receives realtime data of the climate and reenacts it using digital light projection for sunny and rainy conditions, and fog / fan machine for cloudy and windy conditions. This environmental data could be stored in a cloud-based system as a memory as historic climates.

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Prism closed Prism closed When prismWhen are turned prism to aredarken turnedthe to chamber, darken thethe chamber, rotatingthe perirotating periscope reflects scope the reflects aerial landscape the aerialand landscape projectsand it through projectsaitpinthrough a pinhole embedded hole in embedded the floor. in This themoving floor. This image moving of theimage landscape of theislandscape is captured bycaptured a parabolic by surface a parabolic on the surface ground on the of the ground building. of the building.

Train Train (North-east)(North-east)

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TransparentTransparent glass glass prism prism

Black outer Black outer surface on one surface on one side of the prism side of the prism

Diagram showing Diagram light showing propagation light propagation through through a prism a prism White light White from the light sunfrom refracts the sun when refracts pass- when passing throughing thethrough denser glass the denser prism glass and difprism and diffracts into 7fracts colors.into Violet 7 colors. color Violet has the color shorthas the shortest wavelength, est wavelength, so it bends the so itmost bends When the most When the black surface the black of the surface prismofisthe turned prism to isface turned to face outward, light outward, is blocked lightfrom is blocked entering from theentering the room. room.

(b) (a) (c) (b)

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(a) Shutter (a) Shutter (b) Ocular lens (b) Ocular lens (d) Focusing(d) lens Focusing lens (e) Objective(e)lens Objective lens (f) Mini speakers (f) Mini connected speakersto connected realtime to realtime sounds sounds The apertures Theinapertures the wall have in thea wall roughly have a roughly similar focalsimilar lengthfocal of a binoculars length of aand binoculars and are fitted with aremagnification fitted with magnification lens to cap-lens to capture the source tureof the sound. sourceByofopening sound. By theopening the shutter, oneshutter, experiences one experiences an audio-visual an audio-visual Out amplification amplification of the soundof the sound

Schematic diagram Schematic of diagram telescopic ofwall telescopic wall People peering People intopeering apertures intotoapertures audio-visually to audio-visually experience the experience sounds of theDungeness sounds of Dungeness

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Rainbow sundial Rainbow performing sundial performing to the winter to solstice the winter sunsolstice sun Due to shorter Duehours to shorter of daylight hours and of daylight lower angle and lower of theangle sun, of the sun, the rainbows the formed rainbows are formed shorter are in length shorter and in duration. length and The duration. The prims can beprims rotated canto bediffract rotatedwhite to diffract (sun) white light at(sun) a lower light at a lower angle angle

WEST 270°

Nuclear power Nuclear station power station (West) (West)

Prism tilts about Prism atilts pivot about a pivot When prisms When are tilted prisms atare a certain tilted at angle, a certain sunlight angle, hitssunlight the glass hits surface the glass surface and diffractsand intodiffracts rainbowinto colors rainbow in thecolors room.inFollowing the room.the Following sunpath,the thesunpath, the rainbow bands rainbow markbands the time mark of the day time and seasons of day and of aseasons year. of a year.

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Sound mirror Sound mirror (Far north) (Far north)

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crashing Waves oncrashing shingle beach on shingle beach (South) (South)

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Rainbow sundial Rainbow performing sundial performing to the summer to the solstice summer sunsolstice sun Summer sunSummer penetrates sun deeper penetrates into deeper the chamber into the atchamber a wider angle, at a wider therefore angle,the therefore the rainbows formed rainbows are formed more spread are more out and spread lasts out longer and lasts due to longer longer due hours to longer of dayhours of daylight. Whenlight. sun isWhen at a lower sun isangle at a lower (eg:8am), anglethe (eg:8am), rainbows the get rainbows dispersed getmore dispersed into more into the room than the when room the thansun when hitsthe thesun prism hitsatthe a higher prism angle(12pm). at a higher angle(12pm).

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R AI NBOW R AISUNDIAL NBOW SUNDIAL The roomThe tellsroom the time tells the in day time and inseasons day andin seasons a year in with a year nat-with natural rainbow ural projections. rainbow projections.

Demarcations Demarcations of time are of illustrattime are illustrated on theed wall onand the floor wall and like floor a traditional like a traditional sundial. sundial.

BLACK BOX BLACK BOX The blackThe boxblack is an box audio-visual is an audio-visual camera that camera houses thatthe houses the sounds ofsounds Dungeness. of Dungeness.

The apertures The apertures are positioned are positioned directly directly facing thefacing source theofsource sound of - power soundstation, - powerbeach, station,train, beach, etc.train, etc.

Each aperture Each aperture is fitted with is fitted magnification with magnification lens like in lens a binlike in a binoculars and oculars a remotely and a remotely controlled controlled mini speakers mini speakers that re- that receives and ceives projects and sound projects signals. sound signals.

RAINBOW SUNDIAL

BLACK BOX

White light from the sun is diffracted 7 colors when transmitted through the Fresnel lantern-like prisms. The chamber is constructed out of Fresnel prisms, which are traditionally used in a lighthouse to project light over great distance. The rainbows tell the time of the day and seasons in a year, following the sunpath

The sounds of Dungeness are experienced audio-visually through peepholes in the chamber. These apertures in the wall are fitted with binoculars lens and prisms to focus on the source of sound. An audio device also fitted in the apertures emit the sounds.

Rainbow sundial wall components (a) Vertical cedar shingles nailed to battens (b) Horizontal timber battens (c) Vertical timber battens (d) Breather & waterproof membrane (e) Plywood panel (f) 150mm thick insulation (g) Ventilation space (h) 250mm depth timber frame stud and diagonal bracing flushed in studs (i) Vapour tight white finish timber panel

Weather room wall components (a) Metal flashing (b) Sloped wall cap for water runoff (c) Vertical cedar shingles nailed to battens (d) Horizontal timber battens (e) Vertical timber battens (f) Breather & waterproof membrane (g) Plywood panel (h) 300mm thick insulation (i) Space for lighting (j) 600mm depth timber frame stud and diagonal bracing flushed in studs (k) Translucent polycarbonate panels with aluminium joiner caps screwed into studs (l) Metal pinion attached to wall with a bar (m) Gears to hold chain in place (n) Metal chains to rotate pinion (o) Turning wheel to move chains which in turn rotate the pinion

Black box wall components (a) Vertical cedar shingles nailed to battens (b) Horizontal timber battens (c) Vertical timber battens (d) Breather & waterproof membrane (e) Plywood panel (f) 200mm thick insulation (g) Ventilation space (h) 450mm depth timber frame stud and diagonal bracing flushed in studs (i) Dark fabric wall panels (j) Gears to hold chain in place (k) Metal chains to rotate pinion (l) Turning wheel to move chains which in turn rotate the pinion

Black box floor component (i) Dark timber floor decking (ii) Insulation (iii) Airtight membrane (iv) Timber joist (v) OSB

Weather room floor components (i) Dark timber floor decking (ii) Ventilated cavity (iii) Bitumen roofing felt (iv) Timber joist (v) OSB (vi) Thermal insulation (vii) Vapour barrier (viii)Concrete slab with plaster finish

Existing building structure below weather room (a) Gypsum wallboard (b) Thermal insulation (c) Concrete block (d) Plaster finish

MECHANICS OF THE LIGHTHOUSE The lighthouse expands like a telescope using the mechanical rack and pinion system. The chambers are lightweight timber structures that are moved when the metal racks are rotated by a person.

MECH ANI CAL LI F T I NG ME T HO D O F CHAM B E R 1

LOA D D IST R IB UT ION OF LI GHT HOU SE CA MERA

ST RU C T U RE OF LI GHT HOU SE CA MERA CHA MB ER

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Roof below 2

Rack

Side of 2nd chamber wall fitted with rack to slide along pinion

Pinion

Steel alloy pinion rotating at a fixed point, on the inner wall of the 1st chamber Side of 3rd chamber wall fitted with rack to slide along pinion Steel alloy pinion rotating at a fixed point, on the inner wall of the 2nd chamber

Rack and pinion moving mechanism installed in the walls Pinion is attached to the wall of the lower chamber and rotates about a fixed point, while the rack is attached to the walls of the upper chamber and slides vertically in contact with the pinion. A turning wheel is operated manually to turn the pinion from a distance via chains.

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1a Sliding wheels Wheels (rounded surface area) reduce friction.

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1b Sliding Rack Need a large turning wheel to move the rack over greater distance.

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1c Combination of 2 sliding racks Weight rests dominantly on moving bar which has to be stiff enough to withstand great load

2a First class lever Need a large curvature of swinging lever arm to move things over great distance.

ALTERNATI V E LI FTI NG M ETH O D S Option 1 - Hydraulics or Pneumatics Pro Hidden in the structure aesthetically pleasing.

Pneumatics is lighter than hydaulics and easy to use.

Con Requires additional storage space for storage of air or water and piping services.

Water has heavy mass and will make the whole structure more difficult to lift.

Option 3 - Screw rotation Pro Rotating the chamber on a ball bearing will reduce friction.

Option 2 - Pulley system Pro Pulleys can pull up chambers like raising a flag from a pole quickly.

Con Requires an external frame to hold pulleys and ropes - does not match with intended aesthetics.

Failure to properly secure the rising chamber can crash down.

Requires a lot of energy to pull the ropes

Option 4 - Mechanical (Chosen option) Con Requires massive energy to rotate the whole chamber.

Grooves on wall have to be deep to support load of chamber.

Pro Pinion and rack system can be built in to the structure Can be controlled manually through a turning wheel Components are more easily maintained because they are exposed on the inside of the chamber

Con Walls have to be thick enough to withstand loads and hold the rack/pinion.

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1:100 Aerial section through 3 chambers showing position of pinions and racks on the walls and stiffening grids in the floor

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Stiffening brace in floor construction for uniform lifting of the chamber

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Problem Horizontal bracing provides lateral stability to wall

Lateral wind load causes timber studs to shear

Diagonal metal tension cable or timber bracing adds stiffness to the wall

Countering lateral forces on chamber wall

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Metal truss bracing on floor joists

Problem

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1. Timber floor deflects due to load 2. Chamber does not lift/descend uniformly

Solution Stiffening braces or truss can prevent deflection and ensure uniform lifting of chamber

Countering deflection on chamber floor

STRUC TURES EXPLORATION The drawing elaborates on the moving mechanism, load paths and structural solutions to the lighthouse design

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1:50 WAY O’ THE WIND COT TAGE

Photographic panel slotted into frame Inverted long exposures of the landscape and home

Source of light is natural daylight from the windows and glass roof

‘ YEARS’ CAMERA - WAY OF THE WIND COT TAG E This house is home to generations of Doreen Thomas’ fishing family - one of oldest resident in Dungeness. The camera is designed to immortalise history of the family and transformation of the house.

Source of light is indoor lighting

Roller blind pulled to maximum to seal off room from light

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1:50 WAY O’ THE WIND COT TAGE

1:50 WAY O’ THE WIND COT TAGE

Photographic wall Sliding walls with aperture

Source of light is natural daylight from the windows and glass roof Photographic panel

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Photographic wall

Photographic panel slotted into frame

Sliding walls with aperture

Source of light is natural daylight from the windows and glass roof

slotted into frame

Inverted long exposures of the landscape and home

Source of light is indoor lighting

Inverted long exposures of the landscape and home

Living area Roller blind pulled to maximum to seal off room from light

Conservatory

Living area

DAY CAMERA During the day, the family leaves for work and school, while the elder folks hang out in the warmer southwest-facing conservatory. The living area acts as the camera and photographs their activities and the exterior landscape in long exposure.

Source of light is indoor lighting

Roller blind pulled to maximum to seal off room from light

Roller blind pulled to Source of light is maximum to seal off indoor lighting DAY CAMERA During the day, the family leaves for work and school, while the elder folks hang out inroom the from light warmer southwest-facing conservatory. The living area acts as the camera and photographs their activities and the exterior landscape in long exposure.

Sliding walls with aperture

Roller blind to seal off light Photographic wall

Family moments happening in the living area are captured onto the sliding photographic panels in the conservatory

with aperture

DAY CAMERA NIGHT CAMERA Photographic Poweredpanels by indoor of various artificial materials lighting,are theslotted camera into captures the frames happenings onSlidinginwalls with aperture the wall theinliving the living roomarea suchtoascapture a celebration. long exposures Exposureoftime the home varies in with thelength foreground of activity. and the exterior landscape as the background. The day-long exposure is developed by wiping the panels with water.

Family moments happening in the living area are captured onto the sliding photographic panels in the conservatory

DAY CAMERA NIGHT CAMERA Photographic panels of various materials are slotted into the frames on The family gathers in the living area tothe relax, or celebrate.

Lit by indoor lighting, the con-home in the wallsocialise in theSliding living area long exposures of the wallsto capture servatory now becomes the camera and capturesand these moments.

Theasfamily also reflectsThe day-long foreground thefamily exterior landscape the background. with aperture on the images captured during the day. exposure is developed by wiping the panels with water.

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Sliding walls with aperture

Roller blind to seal off light Photographic wall

Sliding walls with aperture Sliding walls

Conservatory

NIGHT CAMERA Powered by indoor artificial lighting, the camera captures happenings in the living room such as a celebration. Exposure time varies with length Sliding walls of activity. with aperture

Family moments happening in the living area are captured onto the sliding photographic panels in the conservatory

NIGHT CAMERA NIGHT CAMERA Powered by indoor artificial lighting, the camera captures happenings in The family gathers in the living area to relax,the socialise or celebrate. by indoor lighting, thetime con-varies with length living room such as aLitcelebration.

Exposure servatory now becomes the camera and captures these family moments. The family also reflects of activity. on the images captured during the day.

WAY OF T H E WIN D P H OTOG RA P H S

THE COMMON ROOM

YEA RS - D EC A D ES A timelapse transformation of the house and home are captured once a year onto the slow ISO photographic interior (timber) walls.

The house has a permanent record of the changes to its interior and the growth of the family it accommodates. The album is for the family to reflect on their history in the house - new additions and growth in the family, as well as degradation or extension of the house to accommodate their needs.

The natural degradation of the photographs becomes a layer of history itself and a manipulation.

The west-facing common room is a heart for the family to spend time alone and together during the evenings throughout the week. These happenings in the common room are photograph by sliding walls with apertures, imprinted onto photographic timber walls.

The transformation of the family and house is also captured annually to mark growth or degradation.

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1. Timber floorboard 2. Floor joist 3. Insulation 4. Waterproof membrane 5. Timber raft foundation 6. Stud foot 7. Insect mesh 8. Shingles ground

Sliding timber wall with aperture

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Wood panel coated with photographic emulsion is slotted into timber frame and exposed to light by sliding door with aperture

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1. Copper ridge flashing 2. Waterproof membrane 3. Wood blocking 4. Insect screen 5. Corrugated aluminium roof sheathing 6. Breather/waterproof membrane 7. Roof decking 8. Rafter with 150mm cellulose insulation 9. Airtight membrane 10. Battens 11. Ceiling plasterboard 12. Ridge 13. Soffit 14. Stud 15. Timber fascia 16. Aluminium rain gutter 17. Internal wallboard 18. Vertical battens 19. Vapour tight wood panel 20. Timber frame stud with 150mm insulation 21. Plywood panel 22. Waterproof/breather membrane 23. Vertical batten 24. Cedar shingles nailed to batten 25. Timber frame to hold photographic panels 26. Photographic wood panel slotted into frame 1:5 Detail showing connection of photographic component and existing wall/roof of house

1:10 Construction detail of the photographic wall and sliding wall with aperture in the existing Way o The Wind cottage

1:10 and 1:5 section details showing the connection between the photographic components and the existing timber structure.

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1:50 EL RAY COT TAGE

‘ WEEKS - MONTHS’ CAMERA - EL RAY COT TAG E This house is holiday home to a family. Inhabited for weeks to months during the summer annually, this camera is a record of their fun summer activities, additions to the family and long exposure of the landscape when unoccupied

Images are imprinted onto the photographic glass doors

Sliding glass door

Sliding glass door

Sliding timber blinds with aperture

Sliding timber blinds

Sliding timber blinds to seal off light in room

Panels with aperture

Photographic panels

focal length OLD RAILWAY CARRIAGE AS CAM ERA

The symbiotic relation between the modern house and its predecessor - the old railway carriage, is portrayed in the role of the latter as a camera that documents the holiday (seasonal) home portraits of a holiday homewithin a short focal length

Behind glass doors are sliding timber blinds with aperture. Each aperture is exposed one at a time to record slits of the landscape.

Panels with aperture Each aperture is exposed one at a time to create multiple exposure images

Photographic panels

Panels removed

O L D RA I LWAY C A RRI AG E A S L ENS

Slits of the landscape and home are imprinted onto the photographic glass doors when the room is sealed off by the sliding timber blinds. The glass doors can be recoated to store layers of family photos every time they come for holiday. The photographs are developed naturally with moisture in the air or by wiping the glass with water.

focal length OLD RAILWAY CARRIAGE AS LENS

The old railway carriage is used as a lens whose shadow becomes part of the home portrait. Images is seen through both the eyes of the new house and old railway carriage.

O L D R A I LWAY CA R R I AG E A S CA M E R A

Aperture panels are fitted on one side of the railway carriage openings, and photographic panels on the other side. The railway carriage becomes a living archive of the family holiday moments. The railway carriage is left on the internal exposed patio for rainwater to develop it gradually until the next time the family returns.

E L RAY H OU S E P H OTOG RA P H S

WE E KS - M ON T H S

Panels with aperture Each aperture is exposed one at a time to create multiple exposure images

Photographic panels

El Ray cottage is a holiday home to a family who usually stays in summer for a few weeks - months. The medium ISO photographic sliding glass walls record their yearly holiday activity, eg: strolling on the beach, barbeque on the patio, and a birthday celebration. It also depicts the transformation of the family - from a couple to babies and to grown children. Occasionally, the family will retreat to this house for Christmas holidays for a few days. Layers and layers of images build up on these walls when they are coated repeatedly after cycles of exposure.

When the family leaves Dungeness, the house camera continues to capture a long exposure of the landscape. The almost year-long independent exposure etches the sun movement, seasons and anomalies of the landscape onto the extremely low ISO timber walls. The family discovers what happened when they were gone. This image is developed and the camera is reset to capture another long period of landscape photograph when the family returns.

LIVING ALBUM OF FUN-FILLED SUMMER The photographic sliding glass doors capture the various summer activities of the family. It also marks the growth of the family every year. The camera operates independently over the course of inoccupancy to photograph transformation in the landscape.

Before Beds are folded into the wall and cover the aperture

5 4 3 2 1 0m

1:50 POBBLE HOUSE

‘DAYS - WEEKS’ CAMERA - POBBLE HOUSE This Airbnb house accommodates multiple occupants for days to weeks. This camera records its flux of occupancy type and duration.

Rail for bookshelf to slide along rack on ceiling

Camera box in door

Timber bookshelf

Letterbox embedded in steel door

Photograph of the reading space is imprinted onto the photographic layer in the cabinet

Sliding latch Camera embedded in letterbox

Photographic layer Letter box

Step 0

A

A Sliding bookshelf cover B

Panel with aperture

B

Photographic bookshelf layer

C

Step 1 Latch is slided to open the letterbox and camera embedded in it is exposed

C

Before

After

Bookshelf cover slided down to expose inner panel with aperture

M ULTI H O LE D O O R C AME R A Snapshots of the visitors are taken when they unlatch the letterbox installed in the door to receive gifts from the host. Their close-up portraits are taken unknowingly by the camera embedded in the letterbox. Each letterbox camera belongs to different durations of stay in the house - from days to weeks. Like a polaroid, the images develop instantly and can be taken away as memoir.

Step 2 Latch springs back to original position to cover aperture. Image is imprinted

P OBB L E H OU S E P H OTOG RA P H S

P O RTRA ITS O F VISITORS W HO STAY FO R HOURS

Imprinted onto materials of the house - metal, canvas, timber & ceramic

Reading room

P O RTRA ITS O F VISITORS W HO STAY FO R DAYS

Imprinted onto materials of the house - metal, canvas, timber & ceramic

P O RTRA ITS O F VISITORS W HO STAY FO R W EEKS

Imprinted onto materials of the house - metal, canvas, timber & ceramic

Window brings natural daylight as source of illumination.

H OU RS - DAYS - WE E KS Close-up shots of the visitors are captured and imprinted instantaneously onto high ISO letterbox when they open it to receive a gift or letter from the host of Pobble House. The self-portraits capture their fun candid expressions upon arrival at the airbnb and receiving a gift. It is also a record of the demographics of visitors and the frequency of visits/stay. For shorter visitor stays, their portraits are more defined/shorter-exposed and imprinted onto higher ISO material. For longer stays, the portraits are more blurry/longer-exposed and imprinted onto lower ISO material.

At the end of their stay, they could take their pictures home as a token of remembrance.

THE CANDID SNAP

The door welcomes the arrival of visitors with secret shots of their faces ans expressions when they open the letterbox to receive gifts from the host.

A A

MULTI H O LE D O O R C A M E RA MULTI H Oof LEthe D Ovisitors O R C Aare M Etaken RA when they Snapshots Snapshots the visitors are taken when unlatch theofletterbox installed in the doorthey to reunlatch the letterbox installed in the door to receive gifts from the host. Their close-up portraits ceive giftsunknowingly from the host. close-up portraits are taken byTheir the camera embedded are taken unknowingly by the camera in the letterbox.

Each letterbox cameraembedded belongs in the letterbox.

Each letterbox belongs to different durations of stay in camera the house - from to different durations of stay in the house from days to weeks. Like a polaroid, the images -develop days to weeks.

Like a polaroid, the images develop instantly and can be taken away as memoir. instantly and can be taken away as memoir.

Rail for bookshelf to slide along rack on ceiling Timber bookshelf

Photograph of the reading space is imprinted onto the photographic layer in the cabinet

Reading room Reading room A

A Sliding bookshelf cover B

Panel with aperture

Window brings natural Window brings natural daylight as source of daylight as source of illumination. illumination.

B

Photographic bookshelf layer

C Letterbox Letterbox embedded embedded in steel in steel door door

Camera Camera embedded embedded in letterbox in letterbox

C

Before

After

Bookshelf cover slided down to expose inner panel with aperture

Camera Camera boxbox in door in door

Sliding Sliding latch latch

Photographic Photographic layer layer

Letter Letter boxbox

Step Step 00 Bookshelf slides across to Bookshelf across expand or slides contract the to readexpand or contract the reading room. ing room.

THE READING ROOM TH E B O O KSH E LF C AM E RA TH B O O KSHcamera E LF C AM E RA TheEbookshelf slides back and forth to acThe bookshelf camera slides back and to accomodate flexible use of the space.

Asforth the bookcomodate flexible use of the space.

As the bookshelf slides to increase space, the photograph shelf slides to increase space, photograph frames a wider view and morethe subjects.

Natural frames a wider view and more subjects.

Natural daylight illuminates the room, allowing the bookdaylight illuminates the room, allowing the bookshelf to record human presence and reflections of shelf to recordthrough human presence and reflections of the landscape the window. the landscape through the window.

Book exchange facilitates the bookshelf camera. It records the user of books and social interaction in the reading room. The room can expand to accommodate more readers.

Folding beds act as aperture cover, when unfolded from wall, the aperture is exposed Images of the occupants are imprinted onto very low speed photographic wall

Before Beds are folded into the wall and cover the aperture

After An occupant arrrives in the scene and unfold the bed, exposing the camera to capture their activities

BE D ROOM C A M E RA The bedroom captures a build up of images of the bedroom scene only when it is occupied. By unfolding the bed from the wall to accommodate an activity, the low sensitivity photographic wall records the occupants presence. The occupant develops the image by wiping the wall with water at the end of a shot.

THE FOLDING BED CAMERA When beds are unfolded from the wall, the apertures on the wall are exposed to capture the presence of visitors in the room. The longer the person stays, the longer the exposure of the photograph. Beds are folded back to the wall to end a stay and photograph

TIME MARKER

The act of opening the fish shack for business is marked daily onto the photographic pull-down blinds. Like an office time marker, the camera is living machine that records its own start and end operating time.

CABINET OF CURIOSITIES

Each camera cabinet houses portioned quantities of food needed for certain periods of time throughout the day.

When exposed, the cabinet takes a long exposure of customer-operator interaction. The images are fixed at the end of the day by wiping the photo-layer with water.

1:50 SNACK SHACK

CUTLERY CASE WATER DISPENSER Polyisocyanurate insulation sandwiched in between galvanised steel facing

‘HOURS’ CAMERA - THE SNACK SHACK

Aluminium roller blind box with plastic tubing bolted to wall Canvas coated with photographic emulsion with pull down cords

Aluminium shutter

Before

After Outer lid is rotated till aperture is exposed

NAPKIN HOLDER

Galvanised metal wall Timber cabinet screwed to wall Photographic layer

This mobile food shack captures the temporal stay of visitors enjoying the seasonal seafood in Dungeness.

Responding to the shortest duration of inhabitation in Dungeness, the exposures of the cameras are short and images are depicted as defined stills in time.

Before

Before Pull down shelf

After Lid is lifted to expose camera

After Lid is lifted and camera is exposed

start and end operating time.

T I M E M A RKE R

The act of opening the fish shack for business is marked daily onto the photographic pull-down blinds. Like an office time marker, the camera is living machine that records its own start and end operating time.

C AB I NE T O F C UR I O SICTIAB ESI NE T OF C U RI OS I T I ES

TIME MARKER

PA N A ROM I C C A M E RAPA S N A ROM I C C A M E RA S

Each camera cabinet houses portioned quantities of food Each camera cabinet houses portioned quantities of food needed for certain periods of time throughout the day. needed for certain periods of time throughout the day.

When exposed, the cabinet takesWhen a longexposed, exposurethe of cabinet custom-takes a long exposure of customer-operator The images are fixed at the end of er-operator interaction. The images are fixedinteraction. at the end of the daywater. by wiping the photo-layer with water. the day by wiping the photo-layer with

The act of opening the fish shack for business is marked daily onto the photographic pull-down blinds. Like an office time marker, the camera is living machine that records its own start and end operating time.

Long durations of the social landscape around the snack Long durations of the social landscape around the snack shack isand reflected onto the roof mirrors and projected shack is reflected onto the roof mirrors projected through afloor pinhole onto through a pinhole onto the photographic plates.

Atthe thephotographic floor plates. At the end of the day, the owner washes the plates to fix the image. end of the day, the owner washes the plates to fix the image.

C A B I N E T OF C U RI OS I T I ES CUTLERY CASE

Each camera cabinet houses portioned quantities of food needed for certain periods of time throughout the day.

When exposed, the cabinet takes a long exposure of customer-operator interaction. The images are fixed at the end of the day by wiping the photo-layer with water.

PANAROMIC CAMER AS

CUTLERY CASE

Long durations of the social landscape around the snack shack is reflected onto the roof mirrors and projected through a pinhole onto the photographic floor plates. At the end of the day, the owner washes the plates to fix the image.

SHACK

WATER DISPENSER

WATER DISPENSER

CUTLERY CASE WATER DISPENSER Polyisocyanurate insulation sandwiched in between galvanised steel facing

Before After AfterAluminium roller blind Outer lid is rotated till aperture is box with plastic tubing Outer lid is rotated till aperture is bolted to wall exposed exposed

fore

NAPKIN HOLDER

NAPKIN HOLDER

Canvas coated with photographic emulsion with pull down cords

Aluminium shutter

Before

NAPKIN HOLDER

CABINET OF CURIOSITIES

Each camera cabinet houses portioned quantities of food needed for certain periods of time throughout the day.

When exposed, the cabinet takes a long exposure of customer-operator interaction. The images are fixed at the end of the day by wiping the photo-layer with water.

fore

Before After Lid is lifted to expose camera

After Outer lid is rotated till aperture is exposed

H I D D E N C A M E RA S

Long durations of the social landscape around the snack shack is reflected onto the roof mirrors and projected through a pinhole onto the photographic floor plates. At the end of the day, the owner washes the plates to fix the image.

Before

Galvanised metal wall

After Timber cabinet screwed Lid is lifted to expose tocamera wall

PA N A ROM I C C A M E RA S

Before

After Lid is lifted and camera is exposed

H I D D E N C A M E RA S

Image of customer is secretly captured when apertures on Image of customer is secretly captured when apertures on case, napkin holder and water dispenser are exutensils case, napkin holder and utensils water dispenser are exposed for short bursts of time. The images develop instantly posed for short bursts of time. The images develop instantly like polaroid like polaroid

After Lid is lifted and camera is exposed

Photographic layer

HIDDEN CAMERAS

WATER DISPENSER

Image of customer is secretly captured when apertures on utensils case, napkin holder and water dispenser are exposed for short bursts of time. The images develop instantly like polaroid

Before Before

After Lid is lifted to expose camera

After Lid is lifted and camera is exposed

Pull down shelf

Pull down shelf

SNAC K SH AC K PH OTO G R APH S

CAMERA INTERVENTIONS OF THE SNACK SHACK The shack is remodelled with 4 interventions that captures images of the social landscape and food business.

Sliding floor doors

Galvanised steel roof Mirror

H O URS

Image of customer is secretly captured when apertures on utensils case, napkin holder and water dispenser are exposed for short bursts of time. The images develop instantly The hidden cameras of the snack shack capture the candid expreslike polaroid

Slidable inner roof panel with aperture

Before

H I D D E N C A M E RA S

sions of visitors enjoying fresh seafood and interacting with each other.

After Lid is lifted and camera is exposed Photographic materials inserted into floor compartment

The cameras can be turned to the snack shack to record the owners making and selling food. The heat and moisture from the food preparation adds to a layer of image manipulation.

These photographs are also imprinted onto the shingles/rocks and left in the beach for the landscape to have a memory of them.

The cameras hidden in utensils holder and water dispenser are used by the visitors to take a self-portrait discreetly.

Front cabinet facing with aperture

Drawer slides vertically along rail when cord is pulled. When drawer is pulled down, light is exposed onto the photographic material behind

Photographic material attached to back of cabinet

Side cabinet facing with rail for drawer to slide on

Structural insulated galvanised steel floor decking

Sliding compartment doors

Plastic tube holding photographic emulsion coated canvas roll, attached to tube holder in frame. When pulled down, the image is imprinted onto the canvas

Roller blind frame bolted to wall

Structural insulated galvanised steel sandwich wall panel

Aluminium facing

1 :1 0 Se ct ion al d etail s h owin g t h e s n ack shack cam era m echanism s

Photographic material laid in the compartment to capture the landscape reflected by the roof mirror

Mirror on roof cover to reflect landscape

Sliding panel with aperture to project reflected landscape indoors

Structural insulated galvanised steel roof panel

CRATER’S EYE

ALPHA TUNNEL

SUN | MOON CHAMBER

CRATER’S EYE

ALPHA TUNNEL

SUN | MOON CHAMBER CAMERA OBSCURA

CRATER’S EYE APERTURE CAPTURES SUN/MOONPAT H

ALPHA TUNNEL CHANNELS LIGHT THROUGH FOCAL LENGTH OF CAMERA

ALPHA TUNNEL OVERLOOKING SUN|MOON CHAMBER

ALPHA TUNNEL OVERLOOKING CRATER’S EYE

ALPHA TUNNEL OVERLOOKING SUN|MOON CHAMBER

ALPHA TUNNEL OVERLOOKING CRATER’S EYE

CAMERA OBSCURA SUN|MOON CHAMBER PROJEC TS REFLEC TION OF SUN AND MOON

THE HORIZONTAL CAMERA OBSCURA

INSPIRATION STUDIES

Turell’s Roden Crater captures the reflected image of the Sun and Moon when they are at a certain point on their path. The image is focused onto a mirror through a long dark tunnel that acts as the aperture and lens. Each chamber has a different spatial quality - light passes from bright airy chamber, to a dark narrow tunnel, and gets contained in a dim reflective chamber.

Pict u r e r oom

L i brar y

Din ing r oom

C ou r t ya r d

Unfo l d e d ca m er a r o o m s o f t h e m use um

I llu st r a te d s e ct ion of t h e m u s e u m

SOANE MUSEUM CAMERA ROOMS Every room in the Soane Museum captures its own distorted portrait through reflections on the mirrors and glossy surfaces. Light is controlled by colour, reflectivity and opacity.

F lat-pa ck m od el

La yers o f p a intin g s emb ed d ed in th e w a ll o f th e p ictu re r oom

Pu lley system slid es w in d ow sh u tter to b rin g lig ht into t h e r oom

Sh e l f i s m a d e o f r ef l ec t i ve, opaque and window ope nings.

B ooks h e lf s h u tte r op e n s to r ev e a l wind ow to th e o u ts i d e

MURPHY HOUSE CAMERA-LIKE OPERATION

Flo o r slid es to revea l su n ken b a thtu b

Murphy House, Edinburgh operates mechanically like a camera. Window and bookshelf shutters that open and close like a camera shutter. Sliding doors and floors mimic the rolling film in a camera. Light let in to the space is controlled manually by the user through shutters and surface quality.

Refer to ‘Physics and Chemistry of Pinhole Photography’ to learn about the process of making the image and see results