craig w schabel310 487 6947 crascha@gmail.com

In this Scripting Studio I looked at how biology self organizations and complexity pervades biology and turned it into architecture through a program called Processing. I looked into how termites create their mas-sive mounds of soil and broke it into small elements: a termite, 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

> 03 > 04air behaviors: seek trail (20); wander(1); CoolDownScale = 4; heatscale = 12; TermiteRangeOfVis = 20; air behaviors: seek trail (20); wander(1); CoolDownScale = 4; heatscale = 12; INCREASED AGENTS

air behaviors: sepAir (2); wander(1); CoolDownScale = 4; heatscale = 15; TermiteRangeOfVis = 10; air behaviors: sepAir (2); wander(10); CoolDownScale = 2; heatscale = 10; TermiteRangeOfVis = 8h;

air behaviors: seek trail (30); sepMatter(100); CoolDownScale = 4; heatscale = 12; TermiteRangeOfVis = 20; air behaviors: seek trail (30); sepMatter(100); CoolDownScale = 4; heatscale = 16; INCREASED AGENTS

airAgent massAgent matterairAgent massAgent matterairAgent massAgent matter

CO2H2O

heatO2

forced convection zone

mixingzone

natural convection zone

termite mounds

deconstruction of termite mounds

airAgent massAgent staticAgent

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 started 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 matter ( hot

static agent’s) and moved those to colder areas. This created vertical tunnels which cre-ated space throughout the building. I transformed this logic into 3-D by us-ing Rhino and Isosurfac-ing the static agents. In the end the static agent is what created the building but in a logical way to venti-late heat and cre-ate space. These were then ren-dered in maya

cooling matter

hottest matter

out of Vis matter air agent mass agent

hottest matter

mass agent

hottest matterbeing eaten away

mass agent

hottest matter moved to colder location

air agent heating matter

mass agent attracting to hottest matter

Option 1:mass agent shrinking matter

Option 2:mass agent moving matter

layers of the tower

presentation photos

Heading towards simple concrete walls, a field of rebar behind shoot skyward. It is unclear how to enter. Surrounded by water, the viewer is forced to move around the space, all the while view-ing the captive rebar. Traveling along the wall, it becomes evident the objects footprint is trian-gular. The outside spaces are created from the obtrusion of the triangular form in the square area. Finally an opening. A slit in the concrete wall pulls in the visitor. Scared to go in, but very intrigued, the visitor steps over the water with one deep breath, leaving behind the peace and entering the unknown.

Suddenly, when inside, the feelings of chaos and confusion erupt. Surrounded by a jungle of re-bar with the thick, dark, concrete walls looming over, the visitor panics. Chaos is everywhere, the walls are covered with explosions of paint. The space is messy. The idea of getting through the space seems necessary as the visitor notices a new opening. As the heart pounds, the visitor fights through the rebar, the end seems near. Finally, outside. A long deep breath is taken for the last time. Once again, peace.

process diagrams

section

NO

RTH

noon

set

rise

from parking lot

north elevation

west elevation

east elevation

south elevation

paintball wall density_

transformation_

approach/access_

sun/reflection_

density_

rebar

water

cmu

aggregate

interior_ exterior_

rebar density_

paintballs

Heading towards simple concrete walls, a field of rebar behind shoot skyward. It is unclear how to enter. Sur-rounded by water, the viewer is forced to move around the space, all the while viewing the captive rebar. Traveling along the wall, it becomes evident the objects footprint is triangular. The outside spaces are created from the obtrusion of the triangular form in the square area. Finally an opening. A slit in the concrete wall pulls in the visitor. Scared to go in, but very intrigued, the visitor steps over the water with one deep breath, leav-ing behind the peace and entering the

unknown. Suddenly, when inside, the feelings of chaos and confusion erupt. Surrounded by a jungle of rebar with the thick, dark, concrete walls looming over, the visitor panics. Chaos is everywhere, the walls are cov-ered with explosions of paint. The space is messy. The idea of getting through the space seems necessary as the visitor notices a new opening. As the heart pounds, the visi-tor fights through the rebar, the end seems near. Finally, out-side. A long deep breath is taken for the last time. Once again, peace.

26section a section b

b b

a

a

This Design Build competition was 4 weeks long and sponsored by AISC. Each team of 3 was given an 8’ X 8’ space, 200 dollars and as many concrete bocks as we wanted. The idea was to make the best and innovative space out of con-cete block. We were allowed to add any other material as long as we stayed within budget. We were judged on overall design, concept, space, and best utilization of the small square space.

This competition, me and my two teammates, Dave Martinez and Jon Meyer took first place.

elevations

building process

sections

This studio project was to create a Body Museum and Art Park that was incorporated with the land at Griffith Park in Los Angeles. For this project, I looked at all major areas of Griffith Park and mapped them out based on 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 Griffith Park. I took all the areas within a certain radius and connected them based on type. This created three zig zag tubular structures. 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.

floor plans

B

SECTION BB WEST ELEVATION

SECTION AA EAST ELEVATION

NORTH ELEVATION SOUTH ELEVATION

A A

B

section B west elevation

section A west elevation

south elevationnorth elevation

Art gallery + offices + 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 will have 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 offices, 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 significance. The second floor 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 gallery. It also sits a foot above the gallery to reinforce the wrapping.

For this studio project, I were given an existing building, which was the Los Angeles Maritime Museum in San Pe-dro, CA and had to create a new, larger museum using some new and some old parts of the building. For my project, I did a study looking at the shoreline and noticed that it came in on both sides, pointing towards the Maritime Museum. With this, I decided that the museum should act as a knuckle on the site and connect the land to the water as well as the east and west. I noticed the build-ing was long and had three parts, two wings and a central lobby/gallery area. So I decided to keep the wings to con-nect the east and west, but i demolished the central area and created a large and long box running through the building which would connect the land to the wa-ter. This large box, acted as the entry and gallery/public space and the wings, which I added on to were the private ar-eas which consisting of classrooms and managment. This long central glass tube, is placed dead center of the build-ing and extends from the land out onto the water. This creates interaction with the water. At the very end, there is a tube that dives down into the water al-lowing people and students to be sur-rounded by the water on all sides and see out.

SHEAT METAL PARAPET

CONCRETE WALL

SHEAR METAL PROTECTION

ENGINEERED SOIL

THERMAL INSULATION

WATER PROOFING

STRUCTURAL DECK

3’-)” WIDE STRUCTURAL VERTICAL MULLION

5” HORIZONTALMULLION

12 X 4 WOOD RAFTERS

24“ WOOD BEAM

3’-0” EIDE WOOD COLUMN

4’-0” CONCRETE COLUMN BASE

12 “ TICK CONCRETE SLAB

detail

structure

Craig Wesley Schabel

SHEAT METAL PARAPET

CONCRETE WALL

SHEAR METAL PROTECTION

ENGINEERED SOIL

THERMAL INSULATION

WATER PROOFING

STRUCTURAL DECK

3’-)” WIDE STRUCTURAL VERTICAL MULLION

5” HORIZONTALMULLION

12 X 4 WOOD RAFTERS

24“ WOOD BEAM

3’-0” EIDE WOOD COLUMN

4’-0” CONCRETE COLUMN BASE

12 “ TICK CONCRETE SLAB

detail

structure

Craig Wesley Schabel

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circulation public / private structure

section b 1/8” = 1’-0”

second floor plan 1/16” = 1’-0”

aa

b bb

site plan

sequence of spaces

SHEAT METAL PARAPET

CONCRETE WALL

SHEAR METAL PROTECTION

ENGINEERED SOIL

THERMAL INSULATION

WATER PROOFING

STRUCTURAL DECK

3’-)” WIDE STRUCTURAL VERTICAL MULLION

5” HORIZONTALMULLION

12 X 4 WOOD RAFTERS

24“ WOOD BEAM

3’-0” EIDE WOOD COLUMN

4’-0” CONCRETE COLUMN BASE

12 “ TICK CONCRETE SLAB

detail

structure

Craig Wesley Schabel

los an

geles m

ariti

me

mus

eum

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Maritime Museum

1 - Entrance / Reception2 - Additional Gallery Space3 - Maritime Theatre4 - Auditorium5 - Classrooms6 - Library7 - Outside Exhibit Area8 - Public Toilets9 - Gift Shop10 - Administration Office11 - Directors Office12 - Storage / Mechanical13 - Board Room14 - Staff Toilets15 - Staff Locker16 - Main Gallery

1

2

2

3

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Maritime Institute

18 - Entrance / Reception19 - Meeting / Board Room20 - Kitchen / Dining21 - Offices22 - Maintenance23 - Facilities24 - Storage25 - Outdoor Work Area26 - Launching Area27 - Caretaker / Guest Apartment28 - Cafe29 - Cafe Seating

section a 1/8” = 1’-0”

first floor plan 1/16” = 1’-0”

preliminary diagrams

inspiration

b

b

United Colors of Benetton, has a unique way of ad-vertising his merchandise. It’s called Shock adver-tising. The company wanted to not just sell their product but bring up issues that were important to the company’s beliefs. By using provocative images, United Colors of Benetton was able to create an ‘aw’ factor that would raise awareness and bring people to theirStore. The provocative images are very simple, usu-ally on a white or grey scale background. These ads have no clutter and are straight to the point. This building is using the same techniques as in United Colors of Benetton advertising. I have created a very simple form. A white block. To create a shock value I lifted it up off the ground six feet and eight inches. From far away it seems to be far off the ground, but as one gets closer, it almost seems that they will have to duck to get under which creates a shock value. This creates a plinth underneath, which is set into the ground five feet. It serves as the entry as well as the gallery and retail space. The entry into the building is located on the side of the building off the alley, also creating a shock value, walking into a long narrow concrete hallway.

floor plans

This white block has many functions; FIRST, it can have the companies own ads projected onto the exterior white scrim.SECOND, it can serve as a billboard for other companies, which will make money and can also benefit the community by show-ing movies for entertainment in Santa Monica or it can have public announcements. THIRD it will serve as an “icon” being the big glowing white box in Santa Monica. FOURTH, The scrim on the outside helps ventilate the space, by bringing air through it. The white material keeps the building

cool, by reflecting off the sunlight. The interior of the build-ing is very complex, just like the meaning of the United Col-ors of Benetton’s ads. All the floors are cut open to view on each other. There are light boxes that cut through the floors bringing natural light from above to parts of the spaces that do not get as much natural light, as well as creating other spaces for viewing. There is a main shaft on the northern side of the building that serves as the circulation space, as well as housing the bathrooms, kitchen, restaurant, and conferences.

layers