Danielle Grabke | Design Portfolio 2024

Danielle Grabke DESIGN PORTFOLIO 2024

Contents CV

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Crafted Experiences

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Embankment Museum

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Bellevue Cove Secondary

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Village Coffee

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Knit 2 Fold

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Danielle Grabke | 2024 Portfolio

Hello!

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Professional works and references available upon request.

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CV

daniellegrabke@gmail.com 647-515-7706

Danielle Grabke

Work Experience May 2023 – Aug. 2023 Toronto + Cambridge, ON

Studio Pararaum - Memories of the Moutain Exhibition Research Assistant Combined ceramics with Artificial Intelligence to generate 3D objects through an iterative process working between AI text-to-image and image-to-image and clay ceramics for the “Memories of the Mountain” exhibition at the Visual Arts Centre of Clarington.

Jan. 2022 – Apr. 2022 Vancouver, BC

MGBA - Mallen Gowing Berzins Architecture Architectural Intern Developed Rezoning and Development Permit drawing packages for a new condo, including calculating FSR, iterating massing models, and drawing unit plans.

Managed and created Revit models from scratch.

Jan. 2021 – Aug. 2021 Montréal, QC

Architecture49 Étudiante en Architecture Worked fluently in French.

Solely responsible for modeling a major industrial building in Revit.

Led coordination with 6 teams of engineering consultants and presenting material to clients.

BIM (Building Information Modeling) and data manager for cost estimating.

Sept. 2019 – Dec. 2019 New York City, NY

HLW Interior Design Intern Worked on SD, DD, and CA phases on office renovation projects.

Created Revit models from CAD drawings, drew construction details, and made Enscape renders Compiled furniture bid packages and finish sample boards for clients.

Jan. 2019 – Apr. 2019 Toronto, ON

Teaching Experience

Architecture49 Architectural Assistant Developed an Accessibility for Ontarians with Disabilities Act (AODA) Compliance Checklist.

Held meetings with product and material representatives. Worked on projects in SketchUp and made visualization renders in Vray.

Sept. 2023 – Dec. 2023 Waterloo, ON

University of Waterloo Teaching Assistant for AE100: Architectural Engineering First-Year Concepts Studio

May 2023 – Aug. 2023 Waterloo, ON

University of Waterloo Teaching Assistant for AE400: Architectural Engineering Capstone Fourth-Year Studio

Jan. 2023 – Apr. 2023 Waterloo, ON

University of Waterloo Teaching Assistant for CIVE507: Fourth-Year Building Science and Technology

Education Sept. 2022 – Apr. 2024 Cambridge, ON

University of Waterloo Master of Architecture

Sept. 2017 – Aug. 2022 Cambridge, ON

University of Waterloo Bachelor of Architectural Studies Honors Co-Op, with distinction

Leadership Involvement

Skills

Sept. 2022 – Aug. 2023 BRIDGE Centre for Architecture + Design Director Coordinated and led a student initiative to bridge the gap between the School of Architecture and the Cambridge, ON community. (www.waterlooarchitecture.com/bridge)

Sept. 2022 – Apr. 2024 Mentorship for Architecture Peers Mentor Sept. 2022 – Apr. 2024 We Climb (fake) Rocks - Climbing Club Organizer July 2023 Rome Exhibition Curator

Software Revit BIM Rhinoceros AutoCAD SketchUp Adobe Ps, Ai, Id, Lr, Pr Enscape Vray Bluebeam MS Office

Fabrication Physical Modeling Hand Drafting Laser Cutting 3D Printing Coordinated and managed the association while representing the

Sept. 2021 – Dec. 2021 Waterloo Architecture Students Association Jan. 2020 – Apr. 2020 President student body to Cambridge community, faculty, and staff.

May 2019 – Aug. 2019 Iconography Class Production: Leviathan Producer Managed a 75-student group project in the ARCH248 iconography course. Led 15 production teams, ensuring effective communication, time and risk management, project completion, budgeting, delegation, conflict resolution, and team morale.

AI Dreambooth Text-prompting Languages English (fluent) French (working)

Jan. 2018 – Aug. 2023 BRIDGE Centre for Architecture + Design Social Media Coordinator, Website Manager, Blog Author Nov. 2018 – Sept. 2019 Waterloo Orientation Team Architecture Orientation Coordinator Sept. 2018 – Aug. 2019 Waterloo Architecture Students Association Class Representative

Distinctions Oct. 2023 Sept. 2023 June 2023 May 2023 - Apr. 2024 May 2023 - Apr. 2024 Aug. 2022 June 2022 Sept. 2021 Aug. 2020 Feb. 2020 May 2019 July 2018 Sept. 2017 - Aug. 2022 June 2017

Teaching Assistant Excellence Award in the Department of Civil and Environmental Engineering at the University of Waterloo Marj Schaefer Prize at the University of Waterloo Community Engagement at the University of Waterloo President's Graduate Scholarship at the University of Waterloo OGS/QEII-GSST scholarship recipient for three terms Honors with Distinction at University of Waterloo International Experience Award at the University of Waterloo Jim Kalbfleisch Award recipient First Place in BREWED Design Competition hosted by uni.xyz Finalist in Expand Your Empire real estate development case competition Best Original Design in Canstruction Toronto with Architecture49 Employee of the Month at Journeys, Ontario Excellent Academic Standing at University of Waterloo French Immersion Certificate

Crafted Experiences: Weaving the Craft of Dressmaking into Retail Space Master of Architecture Thesis (excerpt) September 2022 - April 2024 Supervised by David Correa

Softwares used: Sewing Photography Photoshop Illustrator

Click to view full thesis online.

The intersection of fashion and architecture centers around the user; it is their interaction, experience, and memory that give a space meaning. With the introduction of fast fashion, clothing retail stores morphed into anonymous spaces with generic designs and became volatile to trends, resulting in a lack of authentic engagement with clothing. Previous academic research has tried to understand the relationship between fashion designers and their clothing, but there is limited literature addressing the reciprocal role of the making of their garments and the spaces in which they are presented to potential consumers. In this line of thinking, this thesis examines how the act of crafting dresses can inform the design of retail space while creating a deeper connection to clothing. Three dresses are designed, crafted, and curated to investigate clothing’s ability to influence the autonomy, emotion, and movement of the body. The finished dresses are conceptualized into architectural retail space, allowing consumers to experience the designer’s intention and creative process. This research aims to deepen the understanding of reciprocal relationships between craft, architectural design, fashion, and the human experience.

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MANIPULATING MOVEMENT The dress draws inspiration from the works of Oskar Schlemmer and Issey Miyake. In Schlemmer’s Triade Ballet, Schlemmer designed ballerina costumes made from stiff materials to project basic geometric shapes like spheres and cones over the human body. This results in rigid and comedic movements. Issey Miyake’s pleated clothing allows for similarly extreme amplified silhouettes but offers a free sense of movement. Through the densely pleated fabric, the garments can stretch and expand to cover the body. The design of this dress aims to achieve a similar exaggeration in both fixed and flexible movement.

In the fixed sense, the dress will have a distinct shape when the body is in a neutral position. In the flexible sense, the garment focuses on following the expansion and retraction of the human body.

Pleats have the ability to return to original shape upon being stretched.

As this dress focuses on evolving with the body of the wearer, the pleats allow it to adapt to the shape the body creates, rather than the fabric restricting or compelling it.

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Crafted Experiences

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Fabric Pleating Experiments

Paul Jackson’s Folding Techniques for Designers served a basis to understand and create pleats. He includes diagrammatic drawings to simply explain the pattern of folds required to create each pleat. A series of explorations are conducted to determine the ideal combination of mould material weight, fabric thickness, and pleat pattern.

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Crafted Experiences

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Crafted Experiences

Sensory Properties in Space

exposed

concealed

comfort

discomfort

autonomous

non-autonomous

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The designed retail space for Manipulating Movement, presents the embodied autonomy and concealment to create an open space while focusing on varying degrees of transparency. This approach should be used when the brand wants to allow customers to find freedom in the products to make them feel like their own.

Using the sensory property strategies, the store recognizes autonomy with a non-linear circulation and moveable furniture; concealement with an extended threshold and secondary space between private fitting rooms and store.

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Crafted Experiences

EMPOWERING EMOTION The understanding of femininity in couture by Alexander McQueen and Guo Pei is based on grand gesture (exaggerated silhouettes, vibrant colour, bold detail). In their work, the garments impact emotions of the wearer and viewer. Alexander McQueen’s feminine garments differ from Guo Pei’s by being harsh and almost violent compared to Pei’s ornamental details and luxurious look.

For this dress, it will combine concepts of sleek silhouettes, decorative elements, and grandiose pieces to speak to both designers. The silhouette celebrates the feminine figure while the decorative elements will exist as ornamental tectonics. Tectonics are understood as a structural expression of joinery designed to be either expressed or hidden, the connection points between two pieces of fabric. 16

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RECLAIMING AUTONOMY The intention of this dress was to mimic Kimberley Gordon’s Selkie Puff Dress that first debuted in 2020. Styled after fairytale whimsical wear, the Puff Dress went viral; inspiring women to “heal their inner child” by allowing themselves to indulge in playful and colourful dresses.

The Nordic folktale is of selkie women who live in the sea clothed by the skin of seals.

Periodically disrobing from their seal skin, the women enjoy the sun on the shore. However, should a man steal her robe, she is forced to be his wife until she can recover it from him.

The story concludes with the woman returning into her seal skin, reclaiming control over her life, and going back to her home in the sea. This rekindling relationship between a woman and her identity through a skin of a seal serves as a metaphor for understanding clothing’s ability to allow the body to reclaim control.

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Embankment Museum Fourth Year Design Studio July 2022 In collaboration with Chris Qiu Supervised by Beatrice Bruscoli

Softwares used: Rhino Enscape Hand-drawing Photoshop Illustrator

Rome, Italy, a place infamous for its rich history and preserved ruins, is always looking for new ways to connect its history to its contemporary people. The Tiber River, that runs straight through the city centre, impacted its inhabitants through its rich source of water and numerous floodings.Rigid embankments and drastic changes in lifestyles have progressively marginalized riverside activities. The Embankment Museum proposes to revitalize a forgotten interstitial space situated on the riverside - a historic arsenale - and transform it into a civic program that aims to reconnect Rome back to the river. The museum reuses the existing preserved buildings on site and builds a new museum into the embankment. A direct pathway is cut through the buildings to access an outdoor ampitheatre, where a winding ramp leads down to the riverside, bringing the Romans once again, back to the river.

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Embankment Museum

Adaptive Reuse of the Existing Buildings + Reconstructing the Embankment

Arsenale

1. Existing condition

Corderie

2. Open a direct view of river from entrance

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3. Embed museum into embankment

Danielle Grabke | 2024 Portfolio

Magazzini del Sale

4. Blend into embankment

Embankment Museum

5. Spill out amphitheater

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6. Carve windows

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Embankment Level

Ground Level

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5

10m

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Riverside Elevation

Roof Level

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10

20m

Embankment Museum

Spotlight: Contemporary Exhibit & Digital Fabrication Lab

Vertical Panoramic: Archive Staircase 0

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5

10m

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Bermed Wall Openings

Comfort

Spotlight

Vertical Panoramic

Skylight

Direct

Temporary Exhibits - Contemporary Gallery 25

Arsenale: Sculpture Gallery

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Embankment: Public Outdoor Venue

Piazza: Museum Courtyard

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Bellevue Cove Secondary School Comprehensive Studio December 2021 Individual Supervised by Mohamad Araji, Christie Pearson, & Jaliya Fonseka

Softwares used: Revit Enscape Photoshop Illustrator

It all starts and ends with nature.

The beauty of Bellevue Cove is its impermanence - mud flats appear and disappear, tides rise and fall, coasts erode, ice forms and melts. Bellevue Secondary recreates some of these moments through fluid circulation and temperate spaces. The school consists of five impermanent “islands” connected to a central permanent building. Flowing around the buildings is a shallow reflecting pool, which harvests rain and snow and mitigates ground water run-off. The natural meander of the pool offers an idea of impermanence, promising teenagers peace and recovery in light of change.

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Bellevue Cove Secondary School

site map

sun & wind diagram

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jan. 21, 9am

jan. 21, 4pm

june 21, 9am

june 21, 4pm

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water permanence

Like all things, over time, nature will take back what’s hers. A reflective pool gives constant connection to nature.

permanent structure

The permanent building, where circulation radiates out, erodes to reveal a community garden on the second floor. Made of a simple steel frame, the shell of the building will last generations optimizing interior renovations.

completed build

The impermanent buildings are designed for disassembly, with CLT and light-frame structures that will reincarnate once its’ current position is no longer necessary.

after disassembly

The islands sit lightly on the ground using timber piles leaving a small trace after its disassembly.

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Bellevue Cove Secondary School

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a b

second floor

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b

a b

ground floor a

0m

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20m

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passive & active heating strategies

passive & active cooling strategies

section a-a

section b-b 0m

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6m

Bellevue Cove Secondary School

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Bellevue Cove Secondary School

greenhouse second floor

greenhouse first floor

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roof: exterior to interior 19mm timber roof cladding metal flashing roof membrane water barrier 12.7mm plywood sheathing 406mm mineral wool rigid insulation (R60) air barrier vapour barrier 12.7mm plywood sheathing 153mm wood truss @2000mm o.c. bolted to CLT through 10mm steel plate connection wall: exterior to interior sealant between cladding and greenhouse 19mm charred wood cladding 25mm wood furring water membrane 153mm mineral wool insulation (R24) air barrier vapour barrier 175mm 5-ply CLT 153mm wood beam @2500mm o.c. greenhouse wall: exterior to interior triple-pane curtain wall 153mm wood frame bolted to structure 153mm wood beams @1250mm o.c. classroom floor: top to bottom 50mm concrete topping with radiant floor heating 50mm EPS rigid insulation 191mm 7-ply CLT balcony floor: top to bottom 10mm wood decking 12.7mm plywood sheathing 152.4mm wood joists @400mm o.c.

152.4mm wood beam @1250mm o.c. classroom floor: interior to exterior 100mm concrete topping with radiant floor heating 50mm EPS rigid insulation 155mm 5-ply CLT water membrane 153mm mineral wool insulation (R24) air barrier vapour barrier 25mm wood furring 19mm protective cladding

Impermanent - Balcony 3 Connection 1:5

balcony floor: top to bottom 10mm wood decking 12.7mm plywood sheathing sloped 2% away from structure 153mm wood joists @400 o.c.

153mm wood beam @1250mm o.c.

19mm protective cladding foundation 400mm diameter x 7200mm Douglas fir pile foundations bolted to CLT floor structure piles are capped at the end with a steel plate

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Village Cafe August 2020 BREWED Competition In collaboration with Chris Qiu First Place Winner

Softwares used: Rhino Enscape Photoshop Illustrator

Located in Vienna, Austria, Village Cafe brings everyone together to enjoy a cup of coffee whether they prefer an espresso, a latte, or an iced coffee. The design splits the café into six different “houses”, each offering various programmatic uses, offering a sense of agency in their surroundings. Each house is designed for specific gathering types, allowing the customer to have a sense of familiarity and control within each condition. Before stepping into these spaces, the individual passes under a glass canopy flanking the edges of each house. The continuous skylight offers a direct connection between human and nature while providing shelter from the elements. The houses, in turn, give a sense of home as it invites diverse customers to enjoy a cup of coffee.

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Village Cafe

First Floor Espresso bar window directly connected to the sidewalk of the cafe for fast and convenient service.

The front counter wraps around the inside of the store for main food and drinks service.

Espresso bar

Kitchen A

A Contemporary

Pottery Shop

The front seating area offers itself as a space for the quiet individual -for someone who frequents the café but keeps to themselves.

The shop supports artists by selling their pottery, allowing visitors to discover local artists.

1. Kitchen Location

2. Circulation Cut

3. Staggered Elevation 40

4. Visual Connection

Danielle Grabke | 2024 Portfolio

Stage opens opportunity for local talent to perform. The double-deck and lounge have direct views to the stage.

The lounge offers a space to engage with strangers in a casual and open environment.

Stage

Lounge

B

B Double-Deck

Outdoor Patio

The double-deck seating has polar lighting conditions catered for the seclusive or the social.

Outdoor group seating for people to engage directly with nature.

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Village Cafe

Second Floor The dim lighting allows strangers to open up to conversation. The high-bar seating invites solo or social gatherings.

Bar Seating A

A

5. Pitched Roofs

6. Window Openings 42

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B

B Double-Deck Group Second floor seating with vertical separation invites space for gathering of friends or seclusion.

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Village Cafe

Seating Area Material/ Furniture Palette

Front Elevation

Side Elevation 44

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Outdoor Patio Material/ Furniture Palette

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Village Cafe

Lounge Material + Furniture Palette

Section BB

Long Section 46

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Pottery Shop Material + Furniture Palette

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Knitting is a double-layered textile, if: - front and back are stitched, there is no fold.

- only back is stitched, it creates in a valley-fold.

- only front is stitched, it creates a mountain-fold.

Applying this logic to a more complex folding pattern creates a negotiation of mountains and valleys. The elastic thread allows the fabric to hold its new shape.

Knit 2 Fold June 2023 Workshop at TMU LDesign + Technology Lab Hosted by Jennifer Meakins and Shai Yeshayahu

Softwares used: Orgami paper folding Knitting machine Photoshop

Experimenting with the fabric of space, this workshop hosted at Toronto Metropolitan University researched how orgami folding techniques can be translated in fabric manipulations. Using a knitting machine with elastic and polycotton thread, our folded paper experiements became exciting textiles. The work is inspired by orgami artists Akira Yoshizawa, Tomoko Fuse, and Paul Jackson.

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Let’s Connect! daniellegrabke@gmail.com 647-515-7706