Garry Winogrand, a photographer who spent the last ten years of his life photographing Los Angeles in the 1980’s, left behind 75,000 undeveloped, unseen negatives of his street photography when he died; many of Los Angeles. He had no working filing system and chose to develop film at least one year after shooting. 

This project proposes a public photography museum to Winogrand, sited in the Arts District of Los Angeles. These 75,000 unseen negatives would be stored, developed, and exhibited here with the purpose of revealing the hidden phantoms of Los Angeles, bound within his celluloid. The proposal investigates how photographic analysis of his work can persuade the design of relevant exhibition spaces. This includes the study of his 28mm lens, his (on average) 5-degree wonky horizon lines, stark contrast lighting, extreme highlights, high ISO noise, ‘in your face’ shooting style, and centrifugal formal composition. All these conditions bake into the project itself, becoming a simulacrum of his photography. 

Since these conditions are merely phantoms of film yet to be developed, the notion of the unmade is purposefully designed into the proposal itself. As such, the proposal model was never physically constructed; it exists digitally in render space as though it were a physical 1:50 model; never actually graduating into the physical. There is a residual un-madeness in the proposal, from the technical execution to the spaces themselves.