Shawn Backstrom
Fall 2012 Architecture Portfolio
Contents Light (re)Cycle
Fabricating a Textiled Lantern
Reciprocal Assembly
Exploring Narrative through Cinematic Architecture
Augmented Photography
Defining Architectonic Terms through a Photographic Lens
Unpacking Sullivan
Reconstructing a Louis Sullivan Detail
Light (re)Cycle F a b r i c a t i n g a Te x t i l e d L a n t e r n
Exploration // Manipulation Repetition // Variation Final Assembly
Exploration // Manipulation
The project called for the creation of a lantern made from kraft paper and formed by a series of folding techniques. To begin, dozens of paper models were made exploring different methods of folding, cutting, and further manipulating the paper. Models were categorized in families based on the techniques used, and one family was chosen to further explore. A new set of study models were made following the chosen technique, a series of pleats that evenly alter the trajectory of the surface to form diagonal mountains and valleys in the paper.
a selection of study models
Repetition // Variation
A single module was chosen from the assortment of paper models to use as the basic unit of the textile. Multiple modules were attached at the ends to form a repeated chain of pleated paper. The module was then manipulated in scale to create variation. The modified module was inserted between larger modules in the chain, creating a repetitive figure that alternates in size. Further studies were done experimenting with the attachment of multiple chains as well as changes to the formation of the chain.
[a]
connection of three separate module chains
[b]
single module
[c]
three modules attached and rotated to form a corkscrew
[d]
multiple modules attached to form a chained textile
[e]
interlocking rings formed by a repetition of modules that vary in size
Final Assembly
To arrive at the final design of the lantern, six chains were constructed consisting of a smaller module nestled between two larger modules. These chains were then attached to both ends of a core unit that continued the pleated pattern along its spinal form to create six complete cycles. A small light was inserted at the base of the core, and holes were carved at several points in the core to allow light to permeate through the lantern.
[ core construction ]
fold
fold + unfold
pleat + cut
bend
attach
sew
[ arm construction ]
fold
fold + unfold
pleat
cut + fold
insert
cut
attach bend
Reciprocal Assemblage
Exploring Narrative through Cinematic Architecture Film Analysis // Diagramming Developing an Emotive Palette Sectional Studies Sectional Assembly Final Assembly
C5.1 1:47:22-1:47:26
B2.1 0:39:55-0:39:59
C5.1 0:04:37-0:04:45
Editing: Cut from Shot 1 Cinematography: Extremely long shot Sound: ambient city noise, piano Mise-en-scene: apartment complex, interior of apartment, fire escape
Editing: Cut from Shot 4 Cinematography: Long shot of LB Sound: ambient noise Mise-en-scene: cast, wheelchair, shadows from moonlight coming through the window
Editing: Cut from Shot 4 Cinematography: Medium Shot of LB sitting in his apartment Sound: LB and Goddison’s voices, radio music, murmur of helicopter Mise-en-scene: Photographs, books, apartment furniture
The shot is a POV from LB’s perspective. LB watches a man cleaning the inside of a briefcase inside of his apartment.
LB sits in the darkness and doesn’t move. No one speaks. There is high tension in the shot as LB and Thorwauld finally meet face to face.
LB continues to look up as he is talking on the phone. He moves his gaze down as the sound of the helicopter fades away. LB says that he will not be out of his cast until next Wednesday. Music fades in and LB looks up out of his window.
Film Analysis // Diagramming B2.1 0:04:18-0:04:28
The project began with an analysis of three scenes from the film Rear Window, completed in two parts. In the first part, lists were compiled
C9.1 0:42:35-0:42:39
D4.1 1:47:09-1:47:22
Editing: Cut from Shot 1 Cinematography: Long shot POV, camera slightly tilted up aimed at LB’s neighbors Sound: neighbors speaking, LB and Goddison talking Mise-en-scene: apartment building, towels, sunlight
Editing: Cut from Shot 3 Cinematography: Close-up of Thorwauld Sound: door opening, ambient noise Mise-en-scene: glasses, light from hallway
Editing: Cut from Shot 8 Cinematography: Close-up of LB Sound: ambient city noise Mise-en-scene: camera lens, camera, apartment furniture
The shot is a POV from LB’s perspective. LB continues to listen to the man on the phone as he watches two of his neighbors through his window. The two women are speaking and hanging up laundry. The voice on the phone is revealed to be LB’s editor, Goddison.
The door opens and Thorwauld slowly enters the apartment. His eyes are illuminated by a strip of light coming from the window. He closes the door behind him and stares at LB.
LB brings the camera down slightly and peers over the top of it through the window. He quickly raises it back to his eye.
outlining cinematic techniques in shot analysis, cinematography, mise-en-scene and sound per each shot in the scene. The second part extending the in depth analysis through the creation of diagrams displaying plans of the set, camera placement, field of view and screenshot images placed in relation to onscreen duration.
.1
A1
Section
A .1
1:4
A3
6:5 :47
4-1 :04
7:0
1:4 7-1 C7.1
1:47:09-1:47
C5.1
:22
:09
:47
D4.1
1-1:4
1:47:3
C
7:32
B2.1
B6.1
1:47:0
:07 4-1:47
1:47:2
:31 6-1:47
A
A
D
7:26
2-1:4
1:47:2
A
B
.1
A7 04:5 3-0 4:5 5
7-0 4:4 5
1
B9.1
B7.3
B7.1
:39
:15
:16
0:05
0:01
:01
:37
39:59-40
40:49-41
41:09-41
41:57-42
42:35-42
B5.1
B3.1
B11
.1
0:0
0:03
A1.1
0:03
0:02
0:03
0:03
0:04 0:05
0:02
0:06
0:01
2
0:0
0:0
1
:0
41
03
C4 .1
1:
14
B
0:0 3
2-04 :18
04:3
4:3
0:02
C6 .1
04:0
-41
1
0
2: 5
B1.1
.1
8-0
0:04
.2
41
:06
A5
04:2
0:01
:09
0.
C1
-4
39
42 :
C6.1
A
B7.2
C6
.1
.1
C8
2:3 5
-4
:15
42
A3
0-4
2:5
9
41:2
39:4 8-3 9:5 5
42:5
0:04
B7.2
1
Section A B7.2
B7.3
B7.1
A
A
D
C
:3
40
49 1
C2 .
0:
74
04:45-0 4:5
3
:5
39
:5 5-
39
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.1 D4
.1 D2
:31 -04 :37 04
8 4:2 8-0 04 :1
0-4
1:5
1
Developing an Emotive Palette
While the technicalities of film practice were explored through the analysis and diagramming process, they were unable to display the emotive qualities found in the scenes. To represent these emotions, I developed an emotive-material-tectonicpalette of black and white photographs that portrayed my interpretation of each shot. The photographs had a unifying theme of contrast, incorporating image layering and lighting techniques that revealed textures in the photographs not usually visible. The revealing of inivisble textures blur the distinction of reality and enhance the theme of uncertainty extracted from the film’s ambiguous nature.
Sectional Studies
Once the emotive palette was developed, specific emotions were chosen to develop into sectional frames that personify the emotions. A series of sections were constructed in a similar style and developed through multiple iterations to create a set of frames belonging to a single family while displaying unique personalities through their form.
[ a ] eclipse
[ b ] diminish
[ c ] recede
[ d ] constrict
[ e ] suspend
[ f ] converge
Sectional Assembly
The series of sections were then stitched together to create a single structure in which occupants transition between emotive spaces. The combination of sections required them to be redesigned to allow for a fluid transition between spaces, achieved by constructing individual frames to act as thresholds which were then attached by horizontal trusses. 3 models were constructed: one quarter scale model showing the entire space, and two half scale models detailing the transition between two spaces.
[a]
close up of quarter scale model showing roof detail
[b]
platform suspended and held in place by tension rods
[c]
close up of quarter scale model showing roof detail [reverse]
[d]
two half scale model segments detailing the transition between narrative frames
[e]
full quarter scale model
Final Assembly
The design of the space went through several interations before arriving at a final design. Project requirements also called for the inclusion of three specific funcitonal identities: an enclosed space, a semi-enclosed space, and an open space. Modifications were made to individual frames as well as the truss system, strengthening the structure while adapting to the project requirements. The primary modifaction was the addition of a panel system that repeated itself throughout the structure. The panelling system was developed across the exterior facades while a continuous slate extends along the interior, incorporating the contrast explored in the emotive palette as a critical component of the final design.
[a]
cables extending along the west facade
[b]
view from initial threshold
[c]
east facade panelling detail
[d]
rotating roof frame detail
[e]
full quarter scale model
[f]
west facade
[ g]
east facade
The final model was also required to have an animate portion that responded to some sort of condition. Drawing inspiration from earlier models, I converted part of the structure into a mechanism consisting of a series of platforms that lower when stepped on. The platforms are supported by elastic bands (hidden within the posts of the structure) and tension rods that reconnect to the platform structure at a point on the exterior. The cables redirect the downward force exerted on the platform to the exterior point of equilibrium, allowing the platform to lower level with the ground. The cable extend up along the exterior and attach to three roof panels that raise as the platform lowers, allowing light to enter the room in horizontal bands.
A
[a]
roof panels opening on model
[b]
half scale animate segment model
[c]
platform attachment + cable connection
[d]
roof panel attachment [video screenshots]
[e]
mechanism diagram showing redistribution of weight + roof panel opening [video screenshots]
[f]
plan
[ g]
section a
A
Augmented Photography
D efining Architectonic Ter m s through a P h otogr a ph ic L e n s Balance Continuity Space Rhythm Similarity
This set of photographs was developed through a three part process, the first of which required me to write my own definitions for architectonic terms. Once I had formed definitions that adequetely described the terms, photographs were taken to create a graphic representation of the terms. Two of these photographs were then augmented through the addition of vector graphics that referred to and enhanced the definitions of the terms.
Balance
A harmonious relationship between interacting elements formed by an equal distribution of weight
Continuity
An uniterrupted connection of elements
Space
An area which objects pass through in any dimension
Rhythm
A repeated sequence of events that form movement between related elements
Rhythm Augmented
Similarity
An aspect of one object that corresponds to the same aspect of another object in a similar fashion
Similarity Augmented
Unpacking Sullivan Reconstructing a Louis Sullivan Detail Geometric Reconstruction Original Detial Generated Detail
1. Create Grid Axes
2. Create 45° Polar Array of Axes
3. Create Square Bounding Box
Geometric Reconstruction
The short project began with a study of Louis Sullivan details, specifically their geometric
10. Inscribe Octagon within Circle
11. Inscribe Circle within Octagon
12. Inscribe Square within Larger Cricle
19. Polar Array Circle 90° around center
20. Trim to Reveal Center Geometry
21. Circumscribe Hexagon around Circle
28. Extend Center Square Boundary Lines
29.Circumscribe Parallel Lines around Inner Circles
30. Trim Lines and Curve Ends to meet at Corners of Bounding Box
38. Inscribe Circle between Square, Circle, and Curve
39. Mirror Circles across 45° Line
composition. I chose a detail that wraps around an entry to Sullivan’s Wainwright Building in St. Louis, Missouri. After identifying the basic geometry of the detail, methods of geometric assembly were used to derive the desired graphics in as few steps as possible. The outcome was a regenerated detail that revealed its’ primary geometric composition.
37. Inscribe Square within Circle
4. Inscribe Octagon witihin Box
13. Inscribe Circle within Square
5. Inscribe Circle within Octagon
14. Inscribe Rotated Square within Circle
6. Inscribe Octagon within Circle
15. Inscribe Circle within Square
7. Inscribe Circle within Octagon
16. Inscribe Square within Circle
8. Inscribe Square within Larger Circle
17. Inscribe Rotated Square within Square
9. Inscribe Circle within Square
18. Inscribe Circle between Center Square and Second Circle
23. Round Corners to Match Curve of Circle
24. Inscribe Rotated Square within Inner Geometry
25. Inscribe Sqaure within Rotated Square
26. Inscribe Circle within Square
27. Polar Array Circle 90째 to Complete Center Detail
31. Inscribe Circle between Two Curves
32. Inscribe Circle between Outer Circle and Inner Circle
33. Inscribe Circle between Outer Octagon and Inner Octagon
34. Inscribe Circle Inside Space between Curve, Circle, and Square
35. Inscribe Square between Bounding Box and Corner of Inner Square
36. Inscribe Circle within Square
40. Polar Array Circles 90째
41. Trim Outer Circles and Octagons
42. Curve Octagon Edges Along X and Y Axes
43. Remove Octagons and Grids to Reveal Final Geometry
22. Inscribe Square within Hexagon
Original Detail
Generated Detail