Shawn BackstromF a l l 2 0 1 2 A r c h i t e c t u r e P o r t f o l i o

Light (re)CycleFabricating a Textiled Lantern

Reciprocal AssemblyExploring Narrative through Cinematic Architecture

Augmented PhotographyDefining Architectonic Terms through a Photographic Lens

Unpacking Sullivan Reconstructing a Louis Sullivan Detail

Contents

Exploration // Manipulation

Repetition // Variation

Final Assembly

Light (re)CycleF 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

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.

[ 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

[ a ] connection of three separate module chains

[ 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.

fold fold + unfold pleat + cut bend attach sew

fold fold + unfold pleat bend

cut + fold

cut

insert

attach

[ core construction ]

[ arm construction ]

Film Analysis // Diagramming

Developing an Emotive Palette

Sectional Studies

Sectional Assembly

Final Assembly

Reciprocal AssemblageE x p l o r i n g N a r r a t i v e t h r o u g h C i n e m a t i c A r c h i t e c t u r e

Film Analysis // Diagramming

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

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.

A

A

A1.1

A3.1 1:46:54-1:47:04

1:47:07-1:47:09

C5.1

C7.1

1:47:22-1:47:26

1:47:31-1:47:32

D4.

11:

47:0

9-1:

47:2

2

B6.

1

B2.

1

1:47

:04-

1:47

:07

1:47

:26-

1:47

:31

Section A

C

D

A

B

B2.10:04:18-0:04:28

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.

Editing: Cut from Shot 1Cinematography: Long shot POV, camera slightly tilted up aimed at LB’s neighborsSound: neighbors speaking, LB and Goddison talkingMise-en-scene: apartment building, towels, sunlight

B2.10:39:55-0:39:59

The shot is a POV from LB’s perspective. LB watches a man cleaning the inside of a briefcase inside of his apartment.

Editing: Cut from Shot 1Cinematography: Extremely long shotSound: ambient city noise, pianoMise-en-scene: apartment complex, interior of apartment, fire escape

D4.11:47:09-1:47:22

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.

Editing: Cut from Shot 3Cinematography: Close-up of ThorwauldSound: door opening, ambient noiseMise-en-scene: glasses, light from hallway

C5.11:47:22-1:47:26

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.

Editing: Cut from Shot 4Cinematography: Long shot of LBSound: ambient noiseMise-en-scene: cast, wheelchair, shadows from moonlight coming through the window

C5.10:04:37-0:04:45

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.

Editing: Cut from Shot 4Cinematography: Medium Shot of LB sitting in his apartmentSound: LB and Goddison’s voices, radio music, murmur of helicopterMise-en-scene: Photographs, books, apartment furniture

C9.10:42:35-0:42:39

LB brings the camera down slightly and peers over the top of it through the window. He quickly raises it back to his eye.

Editing: Cut from Shot 8Cinematography: Close-up of LBSound: ambient city noiseMise-en-scene: camera lens, camera, apartment furniture

A

A

Section A

A1.

1

39:4

8-39

:55

C2.1

39:55-39:59

B3.

139

:59-

40:3

7

C4.1

40:37-40:49B

5.1

40:4

9-41

:01

C6.1

41:01-41:03

C6.2

41:06-41:09

C8.1

42:15-42:35

C10.1

42:39-42:50

B7.

141

:09-

41:1

6

B7.

2

41:2

0-41

:51

B7.

341

:57-

42:1

5

B9.

142

:35-

42:3

9

B11

.1

42:5

0-42

:59

0:01

0:02

0:03

0:04

0:01

0:03

0:05

0:02

0:03

0:01

0:010:02

0:030:04

B7.2

B7.1B7.2

B7.30:05 0:060:04

0:02 0:030:01

B1.

1

04:0

2-04

:18

A3.

1

04:2

8-04

:31

A5.

1

04:3

7-04

:45

A7.

1

04:5

3-04

:55

C6.1

04:45-04:53

D2.1

04:18-04:28

D4.1

04:31-04:37

C

D

A B

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-tectonic-

palette 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.

[ 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

[ a ] close up of quarter scale model showing roof detail

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.

[ 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

[ a ] cables extending along the west 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

[ 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 ] roof panels opening on model

Balance

Continuity

Space

Rhythm

Similarity

Augmented PhotographyDef in ing Archi tectonic Terms through a Photographic Lens

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

Geometric Reconstruction

Original Detial

Generated Detail

Unpacking SullivanR e c o n s t r u c t i n g a L o u i s S u l l i v a n D e t a i l

Geometric Reconstruction

The short project began with a study of Louis

Sullivan details, specifically their geometric

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.

1. Create Grid Axes 2. Create 45° Polar Array of Axes 3. Create Square Bounding Box 4. Inscribe Octagon witihin Box 5. Inscribe Circle within Octagon 6. Inscribe Octagon within Circle 7. Inscribe Circle within Octagon 8. Inscribe Square within Larger Circle 9. Inscribe Circle within Square

10. Inscribe Octagon within Circle 11. Inscribe Circle within Octagon 12. Inscribe Square within Larger Cricle 14. Inscribe Rotated Square within Circle13. Inscribe Circle within Square 15. Inscribe Circle within Square 16. Inscribe Square within Circle 17. Inscribe Rotated Square within Square 18. Inscribe Circle between Center Square and Second Circle

19. Polar Array Circle 90° around center 20. Trim to Reveal Center Geometry 21. Circumscribe Hexagon around Circle 22. Inscribe Square within Hexagon 23. Round Corners to MatchCurve of Circle

24. Inscribe Rotated Square within Inner Geometry

27. Polar Array Circle 90°to Complete Center Detail

26. Inscribe Circle within Square25. Inscribe Sqaure withinRotated Square

31. Inscribe Circle between Two Curves 32. Inscribe Circle between OuterCircle and Inner Circle

33. Inscribe Circle between OuterOctagon and Inner Octagon

34. Inscribe Circle Inside Space betweenCurve, Circle, and Square

35. Inscribe Square between BoundingBox and Corner of Inner Square

41. Trim Outer Circles and Octagons 42. Curve Octagon Edges AlongX and Y Axes

43. Remove Octagons and Gridsto Reveal Final Geometry

36. Inscribe Circle within Square

37. Inscribe Square within Circle40. Polar Array Circles 90°

38. Inscribe Circle between Square,Circle, and Curve

39. Mirror Circles across 45° Line

28. Extend Center Square Boundary Lines 30. Trim Lines and Curve Ends to meetat Corners of Bounding Box

29.Circumscribe Parallel Linesaround Inner Circles

1. Create Grid Axes 2. Create 45° Polar Array of Axes 3. Create Square Bounding Box 4. Inscribe Octagon witihin Box 5. Inscribe Circle within Octagon 6. Inscribe Octagon within Circle 7. Inscribe Circle within Octagon 8. Inscribe Square within Larger Circle 9. Inscribe Circle within Square

10. Inscribe Octagon within Circle 11. Inscribe Circle within Octagon 12. Inscribe Square within Larger Cricle 14. Inscribe Rotated Square within Circle13. Inscribe Circle within Square 15. Inscribe Circle within Square 16. Inscribe Square within Circle 17. Inscribe Rotated Square within Square 18. Inscribe Circle between Center Square and Second Circle

19. Polar Array Circle 90° around center 20. Trim to Reveal Center Geometry 21. Circumscribe Hexagon around Circle 22. Inscribe Square within Hexagon 23. Round Corners to MatchCurve of Circle

24. Inscribe Rotated Square within Inner Geometry

27. Polar Array Circle 90°to Complete Center Detail

26. Inscribe Circle within Square25. Inscribe Sqaure withinRotated Square

31. Inscribe Circle between Two Curves 32. Inscribe Circle between OuterCircle and Inner Circle

33. Inscribe Circle between OuterOctagon and Inner Octagon

34. Inscribe Circle Inside Space betweenCurve, Circle, and Square

35. Inscribe Square between BoundingBox and Corner of Inner Square

41. Trim Outer Circles and Octagons 42. Curve Octagon Edges AlongX and Y Axes

43. Remove Octagons and Gridsto Reveal Final Geometry

36. Inscribe Circle within Square

37. Inscribe Square within Circle40. Polar Array Circles 90°

38. Inscribe Circle between Square,Circle, and Curve

39. Mirror Circles across 45° Line

28. Extend Center Square Boundary Lines 30. Trim Lines and Curve Ends to meetat Corners of Bounding Box

29.Circumscribe Parallel Linesaround Inner Circles

Original Detail

Generated Detail