c r a i g w e s l e y s c h a b e l

c r a i g w e s l e y s c h a b e l A R C H I T E C T U R AL P O R T FOL I O

3 1 0 . 4 8 7 . 6 9 4 7

c r a s c h a @ g m a i l . c o m

In this Scripting Studio I looked at how biology self organizes and com-plexity pervades biology. I converted this process into a script through a program called Processing. I viewed termites habits and how they create their mas sive mounds of soil . I broke the process into small elements: a ter-mite, soil and air. The termite moves the soil to colder places to let the hot air from the bottom rise up. This logic then was turned into “agents” in processing.

> 01 > 02

> 05 > 06

air b eha viors

: sepA ir (2); w ander(1); C o olD o wnSc ale = 4; hea tsc ale = 15; T er mit eR angeO fV is = 10; air b eha viors : sepA ir (2); w ander(10); C o olD o wnSc ale = 2; hea tscale = 10; T er mit eR angeO fV is = 8h;

C O2 H2O

hea t

f or c ed c on v ec tion z one

mixing z one

na tur al c on v ec tion z one

t e r m i t e m o u n d s

airAgent massAgent staticAgent

deconstruction of termite mounds

cooling matter

hottest matterout of Vis matter air agent mass agent

hottest matter

mass agent

hottest matter being eaten away

mass agent

hottest matter moved to colder location

Option 1:mass agent shrinking matter

Option 2:mass agent moving matter

air agent heating matter mass agent attracting to hottest matter

I created a static agent, which was placed in a grid and did not move, but could be moved by other agents, this represented soil. Then I created an air Agent, which start-ed at the base and moved through the static agents, heating the static agents up as it passed. Finally I created a mass agent, which wandered around looking for hot mat-ter ( hot static agent’s) and moved those to colder areas. This created vertical tunnels which created space throughout the building. I transformed this logic into 3-D by using Rhino and Isosurfacing the static agents.

The static agents are what created the building but in a logical way to ventilate heat and create space. The structure was then rendered in Maya

l a y e r s o f t h e t o w e r

p r e s e n t a t i o n p h o t o s

interior structureand airflow

floor slabs exo-structure interior shell exterior structire

exterior glass shell

exterior solidshell

color caps

s e c t i o n

p a t h m a p o f g r i f f i t h p a r k p a t h = m a s s m a s s i n g b a s e d o n m a p a n d h e i g h t

s e c t i o n s

In this studio project I created a Body Museum and Art Park that incorporated the land at Grifith Park in Los Angeles. For this project, I looked at all major areas of Grifith Park and mapped them out based on the “importance” to Los Angeles and to the Park. I then found the height of each site and compared it to the height of the site I was given in the South Central area of Grifith Park. I took all the areas within a cer-tain radius and connected them based on type. This created three zig zag formations, which i turned into tubular struc-tures. I then stacked each tube on top of each other starting with the tube that had the lowest site and ending with the tube that had the highest site. I placed these on the site, based on how each areas height compared which allowed me to put one mostly underground since its site was lower than the museums site, one on the same level and one above. All these related and played with the land by extruding out of the hillside and cre ating more spaces of land above and below. After determining the design and placement, I created pro-gram. I looked into what would go into a body museum and placed them in areas based on their necessity for light or no light. This determined if they were to be placed under ground, where there is barely any natural light, on ground level, where there is moderate light or above, where there is an exuberant amount of light.

f l o o r p l a n s

B

A A

B

section B east elevation

section A west elevation

south elevationnorth elevation

initial study diamgram modeled diagram space formation

Art gallery + ofices + conservatory. An open gallery look-ing over the lake and the scenery at Cranbrook. Loja, (the wife of Eliel Saarnien who was an architect and designed Cranbrook) was a weaving artist who needed a place to show off her work. Grids are the most prominent aspect of the Cranbrook Campus. Saarnien used a traditional north south grid to layout the buildings and the campus. He used this grid which is like a maze, to show that where ever a path leads you there is a visual destination. You are either stopped by a door, sculpture or monument.I used the grids to directly relate to the gallery. The first floor houses the ofices, meeting room, bathrooms, and conservatory. The first floor represents the traditional grid. It is set six feet underground to create a plinth as well as giving it less signiicance. The second loor is the gallery. The gallery represents the visual grid. The form of the gallery is made by combining both grids together. When you walk up the monumental steps from the out side going in you are stopped by a wall with Loja’s weav ings. You turn right; you are stopped by her weavings. You turn left you are stopped by a glass wall, showing you the lake. Wherever you turn you are visually pleased.

The gallery is cantilevered over the first floor. The floors are glass, which allow you to see what is underneath. I incorporated the gallery with the lake by pulling it thirty feet over the lake. For support, there are two glass pillars that sit in the lake and thrust upward through the gallery. To preserve Loja’s weavings and to create visual interest I created the roof as a wrapping element. It shields the sun in certain moments on the east and west side of the gal-lery. It also sits a foot above the gallery to reinforce the wrapping.

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GLOBE AVENUE PROJECTELEVATIONS

GLOBE AVENUE PROJECTELEVATIONS

GLOBE AVENUE PROJECTELEVATIONS

GLOBE AVENUE PROJECTELEVATIONS

GLOBE AVENUE PROJECTELEVATIONS

SITE PLAN

PROPOSED ELEVATIONS

FIRST FLOOR PLAN

EAST ELEVATION

GUEST HOUSE FLOOR PLAN

FLOOR PLAN