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Danielle Rothman | Undergraduate Architecture Portfolio | University of Pennsylvania
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University of Pennsylvania ‘13Second Year Architecture [email protected]
1 [EXPLORATION] Utilizing various drawing media pg 1 - Body Measure - Images & Computer sequence pg 2 - Body Measure - Hand drawing overlay pg 3 - Layering - Technical line drawing pg 4 - Layering - Bas Relief with laser template pg 5 - Layering - Projection through space - Photographs pg 6 - Layering - Projection through space - Line drawing pg 7 - Scripting pg 8 - Scripting
2 [FABRICATION] Moving from 2-D to 3-D pg 9 - Poplar Recut - Orthographic pg 10 - Poplar Recut - 3-D fabricated model pg 11 - Panel Project - Orthographic & Sketch-up model pg 12 - Panel Project - Rendering & Fabricated 3-D model
3 [BIOMIMICRY] Taking inspiration from nature pg 13 - Biomimicry - From biolology to analog pg 14 - Biomimicry - 3-D analog pg 15 - Biomimicry - Paper prototype open & Orthographic Sequence pg 16 - Biomimicry - Paper prototype closed pg 17 - Biomimicry - Urban Intervention - Orthographic pg 18 - Biomimicry - Urban Intervention - Orthographic study & Rendering pg 19 - Biomimicry - Urban Intervention - Rendered sun studies pg 20 - Biomimicry - Urban Intervention - Site plan & Photomontage pg 21 - Biomimicry - Urban Intervention - Fabricated 3-D model pg 22 - Biomimicry - Urban Intervention - Fabricated 3-D model
1 [EXPLORATION] Utilizing various drawing media pg 1 - Body Measure - Images & Computer sequence pg 2 - Body Measure - Hand drawing overlay pg 3 - Layering - Technical line drawing pg 4 - Layering - Bas Relief with laser template pg 5 - Layering - Projection through space - Photographs pg 6 - Layering - Projection through space - Line drawing pg 7 - Scripting pg 8 - Scripting
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Body MeasureExploring the way the body moves
With hand drafting tools, I got my first introduction to the close relationship of the human body and ar-chitecture. Using photography, a compass, triangles, and more, I carefully measured my own hands. In studying this behind-the-back yoga posture, I found the importance of accuracy in proportion along with the importance of line weights.
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LayeringFrom one level of detail to the next
Working from a foundation in hand drawing, I moved on to an explora-tion with the tools of Photoshop, Illustrator, and the laser cutter. While exploring these new computer-driven tools, I studied the different layers of detail of a physical interior space.
First shooting images in The University of Pennsylvania’s Fisher Fine Arts Library by Frank Furness, I zoomed into different levels of detail, not only with my camera lens, but also in Illustrator by overlaying the top view below the front view, as seen in the figures to the left. Then, on the next spread, using line weight and fill, I was able to highlight various areas of significance.
In the bas relief to the right, each level of detail is physically separated.
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Zoomed in: Moving through space in a spiral motion
Medium zoom:Finding similar geom-etries in the foreground and background
Zoomed out:Placing emphasis on all curvalinear forms
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ScriptingA workshop in manipulating given codes
Weave
‘Weave 02
Sub DrawSurface()
m=25n=25
Dim weave
ReDim arrVertices(m,n)
For j=0 To mFor i=0 To n
t = (-1)^is = (-1)^jweave_ji = (.1)*t*s
arrVertices(i,j) = Array(i, j, weave_ji)
NextNext
For j=0 To mFor i=0 To n-1Rhino.addline arrVertices(i,j),arrVertices(i+1,j)
NextNext
For k=0 To mFor l=0 To n
u = (-1)^kv = (-1)^lweave_kl = (-.1)*u*v
arrVertices(k,l) = Array(k, l, weave_kl)
NextNext
For k=0 To mFor l=0 To n-1Rhino.addline arrVertices(k,l),arrVertices(k,l+1)
NextNext
End Sub
DrawSurface
u = (-5)v = (5)
u = (-5)v = (5)^l
t = (-3)'^is = (-3)'^j
t = (-1)^is = (-6)'^j
u = (-1)^kv = (-6)'^l
t = (2)^is = (-6)'^j
u = (2)^kv = (-6)'^l
Weave 02
Weave 01
Weave 00
Helix
Option Explicit
''HelixDim xPt, yPt, zPtDim turns: turns = 3Dim numPoints: numPoints = 30ReDim points(numPoints)Dim radsDim radiusDim grad
radius = 5grad = 2
Dim iFor i=0 To numPointsrads = (i*turns/numPoints)*(2*PI)
xPt = radius * Cos(rads)yPt = radius * Sin(rads)zPt = i/grad
points(i) = Array(xPt, yPt, zPt)
Next
Rhino.addInterpCurve (points)
Dim turns: turns = 1
Dim turns: turns = 0
Dim turns: turns = 2
Dim turns: turns = 3
Dim turns: turns = 4
Dim turns: turns = 5
Dim turns: turns = 6
Dim turns: turns = 7
Dim turns: turns = 8
Dim turns: turns = 9
Dim turns: turns = 10
Dim turns: turns = 11
Dim turns: turns = 12
Dim turns: turns = 13
Dim turns: turns = 14
Dim turns: turns = 15
Dim turns: turns = 16
Dim turns: turns = 17
Dim turns: turns = 18
Dim turns: turns = 19
Dim turns: turns = 20
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Weave
‘Weave 02
Sub DrawSurface()
m=25n=25
Dim weave
ReDim arrVertices(m,n)
For j=0 To mFor i=0 To n
t = (-1)^is = (-1)^jweave_ji = (.1)*t*s
arrVertices(i,j) = Array(i, j, weave_ji)
NextNext
For j=0 To mFor i=0 To n-1Rhino.addline arrVertices(i,j),arrVertices(i+1,j)
NextNext
For k=0 To mFor l=0 To n
u = (-1)^kv = (-1)^lweave_kl = (-.1)*u*v
arrVertices(k,l) = Array(k, l, weave_kl)
NextNext
For k=0 To mFor l=0 To n-1Rhino.addline arrVertices(k,l),arrVertices(k,l+1)
NextNext
End Sub
DrawSurface
u = (-5)v = (5)
u = (-5)v = (5)^l
t = (-3)'^is = (-3)'^j
t = (-1)^is = (-6)'^j
u = (-1)^kv = (-6)'^l
t = (2)^is = (-6)'^j
u = (2)^kv = (-6)'^l
Weave 02
Weave 01
Weave 00
Helix
Option Explicit
''HelixDim xPt, yPt, zPtDim turns: turns = 3Dim numPoints: numPoints = 30ReDim points(numPoints)Dim radsDim radiusDim grad
radius = 5grad = 2
Dim iFor i=0 To numPointsrads = (i*turns/numPoints)*(2*PI)
xPt = radius * Cos(rads)yPt = radius * Sin(rads)zPt = i/grad
points(i) = Array(xPt, yPt, zPt)
Next
Rhino.addInterpCurve (points)
Dim turns: turns = 1
Dim turns: turns = 0
Dim turns: turns = 2
Dim turns: turns = 3
Dim turns: turns = 4
Dim turns: turns = 5
Dim turns: turns = 6
Dim turns: turns = 7
Dim turns: turns = 8
Dim turns: turns = 9
Dim turns: turns = 10
Dim turns: turns = 11
Dim turns: turns = 12
Dim turns: turns = 13
Dim turns: turns = 14
Dim turns: turns = 15
Dim turns: turns = 16
Dim turns: turns = 17
Dim turns: turns = 18
Dim turns: turns = 19
Dim turns: turns = 20
2 [FABRICATION] Moving from 2-D to 3-D pg 9 - Poplar Recut - Orthographic pg 10 - Poplar Recut - 3-D fabricated model pg 11 - Panel Project - Orthographic & Sketch-up model pg 12 - Panel Project - Rendering & Fabricated 3-D model
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Poplar RecutFinding the limits of a material
In moving from 2D to 3D, I gained understanding of the limits of a given material.
Cut from a 10x1x24” piece of poplar, I tested the curving abilities of the thinnest pos-sible wood strips.
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Panel ProjectA moveable divider between loungers
dgqiugdiq. - x
Each of the four wooden rectangle panels slide independently to create various levels of privacy between two loungers or sun bathers. For to-tal privacy and total sun blockage, the ribbons can all line up, as shown in the Sketch-up model to the left.
The ribbons of material placed across the mid-dle of each panel had to stretch enough to allow for different angles, but could not be so stretchy that they pulled the posts together. The stable double base was also created to main-tain the integrity of the structure.
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3 [BIOMIMICRY] Taking inspiration from nature pg 13 - Biomimicry - From biolology to analog pg 14 - Biomimicry - 3-D analog pg 15 - Biomimicry - Paper prototype open & Orthographic Sequence pg 16 - Biomimicry - Paper prototype closed pg 17 - Biomimicry - Urban Intervention - Orthographic pg 18 - Biomimicry - Urban Intervention - Orthographic study & Rendering pg 19 - Biomimicry - Urban Intervention - Rendered sun studies pg 20 - Biomimicry - Urban Intervention - Site plan & Photomontage pg 21 - Biomimicry - Urban Intervention - Fabricated 3-D model pg 22 - Biomimicry - Urban Intervention - Fabricated 3-D model
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BiomimicryFrom the Venus flytrap to a weight-controlled rainshade
As Darwin described it, the Ve-nus flytap is “one of the most wonderful [plants] in the world.” The leaves start in an open con-vex position, giving its prey a large surface area to crawl on. Upon activation, the two leaves snap shut and change concavity, first leaving room for tiny ener-gy-inefficient prey to crawl out, then slowly closing in to crush and digest nutrient-rich prey. Mimicing the concavity change, I abstracted this movement, cre-ating the analog drawings to the left.
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To the left is a paper-prototype mimicing the open convex position of the Venus flytrap. One strip of mylar is woven through the inside lips of the model and another is woven through the outside edges. Both come down through the bot-tom. When the outer strips are pulled, the prototype opens up. When the inner strips are pulled, this tension causes the trap to snap shut.
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Driven by the fundamental concepts of the Venus flytrap, this rainshade chang-es concavity, when triggered by the weight of rain, and promotes plant growth in dim-lit environments.
As the well on the top fills with rain water, the weight causes the structure to curl down and cover the alleyway, forming a rainshade for pedestrians to walk under and stay dry.
When the well is full, water flows down the backside of the shade, watering the plants, but still keeping the pedestrians dry.
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The planter is an integral factor in the design of this shade. As the well fills, the front side of the shade gets heavier. At the same time, the runoff water flows into the planter, creating a strong anchor and counterbalance.
Getting sunlight to a planter in a city alleyway placed behind an alumimum shade is not a sim-ple task. Like the Venus flytrap imbibes nutri-ents from flies in its dim-lit environment, the plants thrive in this alleyway because the shade perforations follow the angles of the sun (as il-lustrated above).
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The last step in this Biomimicry proj-ect was to create a physical model of our design. I fabricated this front portion out of an aluminum sheet and hand-drilled the perforations.
Tested with a counterweight in the planter, the model worked perfectly to create a rainshade as I dripped water into the well.
Like the fly triggers the snap of the Venus flytrap, the weight of the wa-ter triggers the movement of this rainshade.
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