STUDENTPORTFOLIOShawn Gaebel

SELF PORTRA IT

SCAR TISSUE

Scars bear witness to how strong we have had to be and how far we have come.

This dracaena has been a part of my home since my period of depression and self-mutilation by razor.

The framed strings represent the chaos of this period and mark the trees four times, matching the scars on my arm that are still visible.

However, because this is a frozen moment in the past, the tree still lives and thrives

It shows that many times new growth, which makes us who we are now, obscures our scars that are bound in who we once were.

DENIM Studies

Stapler lighter razor

For this project we were to select three utensils and a material which we would then manipulate and transform using the chosen utensils. Some yield-ed better results such as the razor being used to separate each ber or the lighter stripping the dye from these bers when burned. These strategies would then carry over to the creation of a vessel that would hold one of the chosen objects. In this case, the razor

Vessel Assembly

A web was made from blue bers extracted using therazor. These bers were tested for their ability to hold theweight of the razor, then twisted together to make strongerloops. The central strip was made from a single stripthat was tied down with twisted strands of exposedwhite bers. This is where the blade would be strappedin. White bers were looped through these holes andthen attachted to the webs already made from the bluebers

SUBTERRANEAN

SUBlime

It started with a knot. The timber hitch knot, to be precise. The movements of the knot became a wireframe model. The three looping movements in the knot became three distinct movements in the wire. Later, in SketchUp, this wireframe became planes that were pushed and pulled to create volumes.Then, jumping materials, we created true spaces from stacked cardboard and speculated their usefulnessat different scales.

After creating a larger model we created an entire subterranean environment. Cutting open our models, we visualized further human use ofthe various spaces our models created. We completed thestudy with renderings done in Photoshop and Illustrator to visualize the quality of these undergroundenvironments we created. How did light enter the space? What scale was appropriate? What was the character of this space?

For me, lght was a way of not only pulling people down through the space, from one area of light to another, but of keeping people in a space. Light was to be used to give people cause to stopand listen.

To look up at the clouds above, to listen to the wind running above the cave and through it.

To sit for a moment and soak in the warmth of the sun before continuing on in the dark.

The ROME PROJECT

Largo di torre argentinaIl Campidoglio

While studying in Rome we were tasked with observing and experiencing a certain part of the city and then drawing sections of these districts with callouts to the various socioeconomic forces on display. I was given the area between Largo di Torre Argentina and Piazza Venezia, bounded by the Tiber and Corso Vittorio Emmanuele II. My partner, Zhuo Cheng, and I collaborated on these drawings. Our intent was to draw these monuments as markers of shifts in power over the history of Rome, from Senate to Papacy, from Ancient to Modern. Combining architectural elements with aspects of daily culture, we showed the various levels of historical power

USKUDAR FERRY STATIONThe Uskudar Ferry Station in Istanbul sits next to the Galata bridge and experiences a high amount of foot trafc. The design has a minimal footprint, instead focusing on developing a more comfortable area for visitors. The lawn and trees replace the former cobblestone and program the space for prolonged, relaxed use. The design cut into the granite walls seeks to refer to the long tradition of Turkish pattern, creating shadow carpets that further encourage dwelling in the space. These walls also seek to turn attention towards the Asian side of Istanbul, where the neighborhoods of Uskudar and Kadikoy are, by veiling the typical view of Istanbul behind the pattern.

The Kadikoy station serves larger ships and larger crowds and needs extra space to compensate. However, an open plan never severs the connection between the station and the shoreline and passengers are not forced anywhere until they are ready to board directly onto the dock. Its as if it is a point at the end of a line segment stretching from the Galata bridge as well as the destination in Kadikoy.

KAdiKOY FERRY STATION

thank youFOR YOUR CONSIDERATION

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