IN COLLABORATION WITH MARCUS PUSTE
F A L L
PORTFOLIO 2 0 2 1
S T U D I O
SETH ILLINGWORTH-RODRIGUEZ
CINE IMAGE FROM THE MATRIX (2003)
CONANIMATION
1
ARCHiCHARACTERS
8
ARCHILENSES
11
HOMECOMING
14
MAGNETESPACES
16
THE DRIFT
19
-TENTS
INTERPRETIVE PIECE 1
INSPIRATIVE ANIMATION The first project of Cinematic Studio required the class to create an “interpretive piece” related to a quote from a reading, as well as taking inspiration from the film The Matrix (1999). My collaborator and I decided to create an animation for this assignment. We started off by creating a digital animation with a Rhino model. Then we printed the frames of the video and hand-traced each frame. I incorporated hand-drawn watercoloring into the animation. We then scanned the frames and stitched them back together in Adobe Premiere Pro. The animation was a total of 55 frames long.
“I memorize poems & favorite passages of prose because I believe these are worthwhile things to build into the architecture of my mind, which I now carry with me every day.” -Daniel Libeskind
1
PROCESS
Rhino: The Bridge
Protoype: Photoshop concept
Rhino: The Stream
Protoype: Analog transfer
Rhino: The Context
Protoype: Watercolor concept
2
PROCESS
3
4
FINAL ANIMATION
5
6
NARRATIVE
7
Nature: a common inspiration for many artists, poets, architects, etc. Nature is filled with unexpected moments for designers to be inspired through memory
Progress: as people explore the earth, they construct dwellings, cities, & artificial environments where nature once was mostly untouched.
Progress: the metropolis grows & natural objects shift as nature is altered by radical human activity, the colors of nature also disappear into the industrialized urban palette.
Metropolis: the individual wades through a crowd of anonymous silhouettes.
Door: the individual opens an old door, suggesting an outdated structure, common in cities that become too big to handle. Also suggests a desire to seek privacy, comfort & security in a crowded metropolis.
Loop: the scene repeats itself, representing the reality of the seemingly endless routine of metropolitan life. Also represents the eventual return of the urban environment to nature: the original inspiration for many artists & designers.
INTERPRETIVE PIECE 2
ARCHiCHARACTERS The second interpretive piece was based around the film Blade Runner (1982). My collaborator and I were particularly interested in the chase scene through the Bradbury Building at the end of the film. The decaying details and apparent abandonment of the structure in the film sparked inspiration for us. What would a building look like if it could be taken apart and put back together again? And what if anyone could pick it up and play around with it? We then endeavored to create various rooms in a rhino model and 3D print all the pieces. Thus, these elements come together in a narrative structure typically known as a building.
“As the architect Robert Mallet-Stevens observed in 1925: ‘...modern architecture brings an artistic side to cinema. Modern architecture does not only serve the cinematographic set… it breaks out of its frame; architecture ‘plays’” -From Metropolis to Blade Runner|Vidler
8
RHINO MODEL
9
3D PRINT
PLAYFULNESS
10
INTERPRETIVE PIECE 3
ARCHILENSES The third interpretive piece required us to trade with another group and make our own version of their project. The group we borrowed from created a video involving distortions recorded through a glass. Our piece was based around the film Inception (2011). It is a film that is famous for using special effects to create aberrations in reality manifested in twisted buildings and bending city-scapes. It was obvious between us to recreate these distortions in our own way and with no budget. We also utilized glass and reflective objects, as well as After Effects, to create our own version of this video, using raw clips of buildings and cities.
“I mean something more bodily than scales & dimensions. It refers to the various aspects—size, dimension, scale, the building’s mass by contrast with my own. The fact that it is bigger than me, far bigger than me. Or that things in the building are smaller than me. Latches, hinges, all the connecting bits, doors. Maybe you know a tall, slim door that makes everyone who comes through it look great?” -Levels of Intimacy | Zumthor, P 51
11
VIDEO
12
VIDEO
13
INTERPRETIVE PIECE 4
HOMECOMING The fourth interpretive piece was centered around the film Interstellar (2014). The bookcase in the film is a central feature in the story. It is something that is shown in the beginning of the film and later revisited toward the end. We decided to take this idea of revisiting memories from home and create a video out of it. We recorded at-home footage related to childhood (the most nostalgic period) and integrated a quote by Peter Zumthor related to memory.
“There are buildings that have wonderful sounds, telling me I can feel at home, I'm not alone.”
14
-Atmospheres | Zumthor, P 33
“…The building becomes a part of people’s lives, a place where children grow up. And perhaps one of the buildings will come back to them 25 years later…” -Atmospheres | Zumthor, P 65
VIDEO
15
INTERPRETIVE PIECE 5
MAGNETESPACES Architecture and music require mastery of the unseen. The architect arranges gravity into harmonious structures while the musician wields various sounds to compose music. Unseen forces not only occur between artist and media, but among individuals. In the film Amadeus, the famous Mozart is unknowingly opposed by the composer Salieri who is attracted to his genius, but repelled by his foolishness. MagneteSpaces invites participants to direct ferrofluid compositions with magnetic gloves while listening to music from the film. Composers on both sides of the installation may choose to collaborate or diminish each other’s work, thus performing the relationship between the film’s protagonists.
WOLFGANG A M A D E U S M O Z A R T
A N T O N I O S A L I E R I
“...architecture, like music, is a temporal art. That means thinking about the way people move in a building...” -Zumthor
16
“Displace one note, and there would be diminishment. Misplace one phrase, and the structure would fall.” -From Amadeus
FERROFLUID
17
M AG N E T E S PAC E S CELEBRATION OF THE INVISIBLE
Puste | Illingworth-Rodriguez
WOOD POSTS
GLASS CONTAINER
FABRIC SAW DUST
A XO N D E TA I L
18
FINAL
THE DRIFT The final project required a quick turn-around time of three weeks to complete. We were instructed to create a building that would house a museum related to cinema as well as an artists’ residence and research center. We were also required to study precedent buildings. We chose to study the Vanke Pavilion by Daniel Libeskind and the Cube Houses by Piet Blom. Our site was located at the corner of E. Kirby and Woodward Avenues at the front lawn the Detroit Institute of Arts. Our inspirative film was Speed Racer (2008) directed by the Wichowskis. It is a film known for its bold visual effects as well as unusual storytelling. We also integrated a ferrofluid installation into the museum. Our building was modeled with Rhino, Grasshopper, Revit, and Blender.
11
“After the spatial and temporal distances, speed distance obliterates the notion of physical dimension. Speed suddenly becomes a primal dimension that defies all temporal and physical measurements. This radical erasure is equivalent to a momentary inertia in the environment.” - Paul Virilio
19
PRECEDENTS
20
SITE - MASTER PLAN
PRESERVE AND IMRPOVE OUTDOOR CIRCULATION
DETROIT HISTORICAL MUSEUM
PARK SHELTON APARTMENTS
BUS SHELTER ADJACENT TO WOODWARD
SITE AREA: 64,000 SF APPROX.
PRESERVE VIEW OF DIA FACADE
DETROIT INSTITUTE OF ARTS
DETROIT PUBLIC LIBRARY
WAYNE STATE
QLINE
DETROIT CATHDRAL ST. PAUL
21
PROCESS
22
PROCESS
23
THE
DRIFT
24
25
26
27
ASSEMBLY
28
EXTERIOR ENTRANCE RENDER
INTERIOR ENTRANCE RENDER
29
SECOND FLOOR RENDER
CELLPHONE RENDER
30
LOWER COURTYARD RENDER
31
YOU
32
THANK THANK