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Wunderkammer Der Fotografie

Justin Frank

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ContentsThe Collection Concepts Storage Influences Ideas Development Exterior Drawings

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The CollectionI have been approached by a client to build an outhouse for his collection of cam-eras. The proposed area for the site is a small plot of land on the grounds of the house, overlooking a valley.

The collection comprises of various Single Lens Reflex cameras from various eras and their accessories, from the very beginnings to digital. My client has asked for a place to store this collection, but more importantly display it. The structure shall become a place to relax with his hobby, engaging with the cam-eras. Unfortunately, due to the space constraints, it will prove impossible to build darkroom for processing the photographs.

The collection currently consists of 8 cameras that are all fully functional. It is important to the client that the building is a place that encourages “play” with the cameras, rather than isolating them as objects to be looked at. It must also be possible to increase the number of cameras as the collection grows over coming years.

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Concepts

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The Collection

Aperture Light Focus Reflections View

Arab World InstituteJean Nouvel + Architecture-Studio1987

Notre Dame du Haut (Ronchamp)Le Corbusier1954

Salk InstituteLouis Kahn1965

Cloud GateAnish Kapoor2006

Top of Tyrolastearchitecture2008

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SLR cameras have very little specific needs for storage. Their biggest enemy is moisture, most commonly through condensation. This means I must only keep my cameras in a weather proof place, that is preferably well ventilated to avoid high humidity levels.

I want to create a storage method that displays every camera in its own right, while retaining a sense that the cameras can be picked up and used, played with.

Compartments that open for accesso-ries such as film, lenses etc.

Each plinth could be made especially for the desired camera, varying size and cabinet space on the requirements for that type of camera.

I decided to create “plinths” that would display the cameras. Made out of a pure white acrylic, they would not distract from the camera, but be beautiful in their own right.

The size and shape can be varied, and the lack of enclosure for the cameras gives a sense that they are objects to be touched, rather than locked away.

Storage

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Researching camera storage systems, it became clear that generally only simple shelves are used.

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Influences

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Chashitsu Tetsu (Tetsu Teahouse) Terunobu Fujimori

Tetsu, Japan

Calm

Simplicity

PrivacyView

Light

Nature

Juvet Landscape HotelJensen and Skodvin Architects

Gudbrandsjuvet, Norway

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Ideas

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A “Pentaprism” is a piece of glass found in SLR cameras that flips the image as well reflecting it at 90 degrees to bounce it into the viewfinder. Upon seeing the shape of the pentaprism, it immediately struck me as a modernist take on the simple house. As well as this, it offered very large faces that could be used as glass walls. The simple shape also would not distract from the object within the building; the camera.

By using the theory for a one point perspective, it is possible to create a shape very similar to the original pentaprism, but with all walls leading to an imaginary point. This has two effects. Firstly, it adds “focus” to the building, making it seem more definitive. Secondly, upon entrance to the building, the building opens out. This causes the room to seem bigger, and the eyes drawn towards the view out of the big window.

through having two ends as walls of glass, the buidling seems much more open. Having the north facing wall as the largest would give the building a nice, even light throughout the day, without risk of overheating.

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IdeasIdeas

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Pre-sawn, construction ready Cross Laminated Timber is the ideal material for this building. creating the frame with this material, and cladding in another provides an efficient way of creating the structure.

The thickness of the material also adds to the effectiveness of the building’s asthaetics, creating a bolder shape, whilst adding to the simplicity.

Making this structure watertight is very important to both the cameras and the buidling itslef, as both can be severely damage with exposure to water.Using a DPM around the whole structure, rainwater can be effectively removed as there is no slat surfaces on the simple geometry. Whilst the cladding will be exposed to moisture, underneath the membrane will potect the strucural crosslam.

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Development

Agora TheatreUNStudio

Lelystad, Netherlands

City LoungeCarlos Martinez

St. Gallen, Switzerland

Nestlé Chocolate MuseumRojkind Arquitectos

Mexico City, Mexico

Wanting the interior to be a crisp white with no distractions created problems, namely acoustics, and especially glare. By creating a textured interior made up of geometric triangles, these problems were eradicated by breaking up the sound and light. It also added opportunities.

The building now becomes more of a complete whole, ceiling, walls and floor taking on the same design as the plinths used to store the camera.

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Development

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A floor made from the same geometric shapes will be made from pre-cast concrete, that just needs to be placed in the room. Giving the concrete a white colour and polished texture will make sure that it is as much in keeping with the walls as possible.

As the building is meant to be explored. All floor space should be accessible, this being the case if it is all made from concrete. The shapes on the floor however, would be shaped in a way that guides a visitor around the room, without them even being aware of it.

The ceiling and wall panels will be made from a translucent white acrylic. When naturally lit, these will give a crisp white finish, not distracting from the cameras.

However, at night, they can be backlit, giving a lighting system completely free from fixtures.

As well as this, panels in the wall can be backlit as use as light box for slides or film, which were traditionally separate objects.

I can also incorporate a seating area that seemingly comes from the floor. This would create a lounging area by the large window, offering spectacular views with the area being made up out of white leather triangles.

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I explored different renders for the exterior of my building. From the onset I decided the exterior should be black for various reasons. Firstly, the

contrast between black exterior, and crisp, white interior creates a powerful affect, accentuating both, The black exterior would also draw less attention

to itself on the site. Thirdly, nearly all SLR cameras have been polished metal and black. In a more metaphorical sense cameras also draw all the

light inside, the exterior being unimportant.

Elektra House Adjaye Associates

London , UK

Yakisugi House (Charcoal House) Terunobu Fujimori

Nagano, Japan

Charred Cedar House naf architect & design

Hiroshima, Japan

The first timber building in black cladding I researched was “Elektra House” by Adjaye, which used a resin coating. Whilst the simple and clean aesthetic was in keeping with my building, I wanted a cladding which was visibly made of timber whilst retaining the simplicity. The next

building I discovered, “Charcoal House” was a building in Japan, clad in cedar that had been charred, creating black, wood textured elements. I much preferred the visible pattern on the wood, which was still clean enough to improve my design. Whilst I was researching timber

cladding, I came across “Charred Cedar House”, clad in the same material, however a much more modern building. The shape of the building is also more similar to mine, with the roof made of the same material, as I had planned.

Exterior

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Exterior

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Exterior

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Apple Store, Fifth Avenue, New York. Bohlin, Cywinski + Jackson

Apple stores have always been pushing the boundaries in terms of architectural usage of glass, having huge glass facades, and even glass stairs. Their fifth avenue store was recently renovated, and consists of 9 panes of glass that are almost 10 x 3m. This size panel being available means my North facing window must only be split in two, this being necessary due to the geometry of the building.

Very simple mechanisms could be used to hold the glass in place, as it only has to carry its own weight, unlike the above example where the panes also have to carry the weight of the panes above.

Structurally, the thick cross-lam would easily support the glass.

The site design is very simplistic in keeping with the building. The path leading up to the buidling is triangular in shape, starting at the same point as is the “point of focus” for the rest of the buidling. Before this a reflection of the bath carries on towards the house. This meeting point of two triangles also conjures up images of the internal working of a lens, where the light rays cross flipping the image vertically.The steps and path are made from marble, a white pristine material that is also weather resistant.

The only other object is a glass prism at the foot of the steps. This adds interest whilst also again refer-ring to the origin of the buildings shape. Ideally it could also be lit at night, casting a variety of colours over the steps, but this is probably not realistically achievable.

Site Plan

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Path

Seating Area

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North Elevation

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North Elevation

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East Elevation

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West Elevation

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South Elevation

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West Elevation

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South Elevation

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