Page 1

Frank Frost

De s

ign

Po r

tf oli

o:

Ex

plo

ra t

ion


Frank Frost

Design Portfolio:

1-38

Studio Projects

39-55

Other Projects

1-3

Laboratory: Greenhouse

39-41

Visual Communication

4-8

Rural Context: Block Project Billboard: History of Music

42-44

Landscaping

9-16

Bookends: Woodshop Pilgrim Baptist Church: Theater of Light

45-50

Revit Tutorials: Developed for Acedemic Courses

17-22

Harmonie Club: Polish Cultural Center

51-55

Photography

23-26

Urban Pivot Point

27-38

Spirit of Hope Detroit Film Studio

Exploration


Laboratory: Greenhouse

Prof. Amy Deines

This project began by studying the structure of a bats wing. The wings are translucent with the bone structure being opaque. With this knowledge, I built a model which I derived these sketches from to study how different values of light effect ones perspective view.

1


2

Prof. Amy Deines

Drawings attempt to convey the flexibility and translucency of the bat’s wing through shading and line weights. The drawings also look at the spatial relationship of the buildings on the site.

Laboratory: Greenhouse


Laboratory: Greenhouse

The final model takes the study of a bat’s wing and the analysis of the drawings to create very light, translucent structures. The structures allow for large amounts of natural light into the buildings which serves well for the use as a greenhouse. The orientation of the buildings also varies the conditions in each building to study how the orientation of a building affects growth.

Prof. Amy Deines

3


4

Prof. Tom Roberts

I began this project by studying different paths and planes within the context of my site. I took the programmatic needs for the site and arranged the planes around them to create a series of forms which would suffice these needs as well as relate to the creek that runs through the site.

Rural Context: Block Project


Rural Context: Block Project After my early studies, I looked at how the interior spaces would fit into the forms. Here I looked at the spatial relationships of the interior spaces and the relationships of the structures to the site itself. I also began to look at materiality and how that would influence the occupants of the stuctures.

Prof. Tom Roberts

5


6

Prof. Tom Roberts

The final model refined the definition of space and orientation of the spaces on site. The buildings were pushed to the back of the property for privacy and organized to take advantage of natural daylighting and the stream which runs through the site.

Rural Context: Block Project


Billboard: History of Music

After studying how music has evolved over time I built a series of sketch models that looked at how a building could encompass and utilize an existing billboard. I looked at how I could create the notion of change over time with my choice of materiality as I moved forward with my design. The design also needed to fit into the site restrictions we were given. Our site was limited to a billboard structure located between two existing structures.

Prof. Tom Roberts

7


8

Prof. Tom Roberts

The final design further explored the use of materiality as the basis of how both building methods and music changed over time. I also looked at how people would transition from floor to floor. The final design therefore exhibits the use of different methods to display the transition through time within the limited space constraints.

Billboard: History of Music


Bookends: Woodshop

This project began by looking at spatial arrangements for a building which had tight spatial requirements. We then had to think about the requirements for the program that we were given to work with. From there we had to think about circulation throughout our space and the relationship of our design with others.

Prof. Tom Roberts

9


10

Prof. Tom Roberts

Bookends: Woodshop

Study models explored how my building would work functionally. The design had to accommodate for bringing large logs into the building and moving them around as they were turned into more refined pieces. These models looked at those problems and how they could be solved.


Bookends: Woodshop

Prof. Tom Roberts

11

The final model looked to work with the designs of the other projects to create a continuous facade along the street. My design was pushed up to the street to accommodate my program and preserve the identity of my early studies.


12

Prof. Tom Roberts

After visiting the site, I composed a series of collages that I felt represented the site and surrounding area. From these collages I found paths within them that I used to design early sketch models. The forms that I derived from the collages are represented in the designs of each sketch model.

Pilgrim Baptist Church: Theater of Light


Pilgrim Baptist Church: Theater of Light

Study models allowed me to look at materiality and the relationship between my design and my partner’s. When relating our design together we created a central axis spine which would act as the backbone of the site. Through materiality I looked at how different materials would affect the interior spaces.

Prof. Tom Roberts

13


14

Prof. Tom Roberts

Through drawings I was able to convey many of the details of my design. Here you see a site elevation and floor plans.

Pilgrim Baptist Church: Theater of Light


Pilgrim Baptist Church: Theater of Light

Prof. Tom Roberts

15

Elevations Through elevations and sections, I investigated how materiality and floor heights would affect the spatial relationships of the interior spaces.

Sections


16

Prof. Tom Roberts

Pilgrim Baptist Church: Theater of Light

The final design focused on integrating my addition into the existing Pilgrim Baptist Church. The existing church is on the National Registry of Historic Buildings and must be worked with in a careful manner. My design looks to celebrate the existing structure while drawing attention to the addition.


Harmonie Club: Polish Cultural Center Analysis of the site gave me a perspective of the sight lines that were available from the Harmonie Club building. From this knowledge I used a photo collage and a site mapping to portray everything that the site offered. This concept was carried all the way through the project.

Prof. Grzegorz Rytel

17


18

Prof. Grzegorz Rytel

Study models looked to explore the spatial relationships that could be created between the existing structure and the addition. I did this by building a model in which each floor could be removed so the model would be able to be read sectionally. This allowed me to see organization of the rooms and the public circulation paths throughout the building.

Harmonie Club: Polish Cultural Center


Harmonie Club: Polish Cultural Center

Prof. Grzegorz Rytel

19

Through the site model I looked to understand the relationship of the site to the surrounding context. Details that were taken into account included future development, renovating the adjacent green space, and preserving and expanding on the existing sight lines from the site.


20

Harmonie Club: Polish Cultural Center

Prof. Grzegorz Rytel

1st Floor Plan

3rd Floor Plan

Through floor plans I was able to understand the interior spatial relationships and circulation paths throughout the entire structure. These plans allowed me to move forward in designing the interior spaces.

2nd Floor Plan

4th Floor Plan


Harmonie Club: Polish Cutural Center

Prof. Grzegorz Rytel

The final model focuses on understanding the materiality and spatial relations of the design. An understanding of a transition of materiality from the existing structure to the addition is used to distinguish the designs and celebrate the site as a beacon for the Harmonie Park area.

21


22

Prof. Grzegorz Rytel

Harmonie Club: Polish Cultural Center The digital model shows interior and exterior spaces that give realistic views of certain points of focus within the building. These views give an understanding of the interior spaces through the use of materiality and lighting to create a realistic environment.


Urban Pivot Point

Prof. Wladek Fuchs

An Urban Pivot Point is a space in which multiple functions come together to create a unique condition. This site afforded this because of its proximity to Jefferson Avenue, Indian Village, and the Detroit River.

Housing Business Residence

Jefferson Avenue Secondary Streets Detroit River

Pedestrians Public Space Private Space

23


24

Prof. Wladek Fuchs

Urban Pivot Point Due to the size of the site I broke it into four zones. In each of these zones I looked at ways in which the design could engage people at both the pedestrian scale and at the vehicular scale. What came of that was a progression of levels that broke down from the vehicular scale to the pedestrian scale as you move deeper into the site.


Urban Pivot Point As the project moved forward the site context became an integral part of the design. It developed into a concept of creating a community gathering place for the residents of Indian Village. How each person would engage the site was thought of by having activities that would occur at different parts of the day.

Prof. Wladek Fuchs

25


26

Prof. Wladek Fuchs

Urban Pivot Point The focal point of the site became a multi-purpose structure positioned along Jefferson Ave. The building served as a frame for the site bordering a pavilion and Burns St. The interior was developed as a community center with a restaurant, library, and conference spaces within.


Spirit of Hope

Prof. Amy Deines

This project incorporated the concept of designing a restaurant within an existing church. Understanding and using the existing structure and context with the addition was vital in integrating the two building types. Working with on site materials also proved to be neccesary for my design.

27


28

Spirit of Hope

Prof. Amy Deines

The final design looked for the addition to act as a transition space between the garden and the church. This was done through the use of transparent materiality throughout. The use of planter boxes with an interactive floor plate is meant to engage people as they choose from the on site fresh produce to be cooked.


Detroit Film Studio From a material study project I took the idea of bending wood and creating forms which people could interact with both physically and figuratively. The knowledge gained through this study has allowed me to understand the limits of how far the material can be manipulated.

Prof. Amy Deines

29


30

Detroit Film Studio

Prof. Amy Deines

Site Greenspaces Paved Spaces Vacant Land

As part of my design I looked at the existing site context and how the land was being used. Through studying the requirements for a film studio and looking at the site conditions I decided that the Globe Trade Building would be an appropriate pivot point. The building could serve to connect the Dequindre Cut and the Detroit Riverfront thus creating a large pedestrian axis.

Site Riverwalk Path Paved Areas Water Features


Detroit Film Studio

Prof. Amy Deines

31

As part of the design I began to look toward the future of Detroit. Mass Transit must become a part of Detroit for it to flourish. To do this, my concept is to run transit lines along the existing primary roads that run through Detroit using the existing People Mover as the basis.

Primary Streets Express-ways Existing Light Rail Proposed Light Rail Site Business Educational Recreational Residential

Wayne State University

Site Light Rail Existing Stops Proposed Stops

Motor City Casino

Cass Tech High School

Ford Field Comerica Park

Greektown Casino MGM Casino

DTE

Compuware Building Ren-Cen

Cobo Hall Joe Louis Arena

Hart Plaza

Near the site, Jefferson Avenue would serve as a transit line which could run all the way to Grosse Point. After making that decision I looked at the spacing of transit stops and what would warrant a stop. The primary factors in determining stop location was based on the distance people would be willing to walk and the population density of the surrounding area.


32

Prof. Amy Deines

Detroit Film Studio

Study models look at the spatial relationships of the interior spaces. They look at both horizontal and vertical circulation.


Detroit Film Studio The final model was used to understand the interior spaces sectionally. The model was able to pull apart at each floorplate which allows you to view the building at different levels, allowing for a greater understanding of the interior spaces.

Prof. Amy Deines

33


34

Detroit Film Studio

Prof. Amy Deines

Egress Studio Office

Studio Changing Rooms

Studio Office

Studio

Changing Rooms Green Room Library-Media

Top: Axis Hallway

Bottom: Primary Entrance

Cafeteria

Green Room

Studio Office

Restaurant

Studio

Changing Rooms

Changing Rooms

Kitchen

Egress

Level 1: 0’-0”


Detroit Film Studio

Prof. Amy Deines

35

Level 2-Machine Shop: 21’-0”

Egress

Changing Rooms

Concessions Changing Rooms

Mediatheque

Top: Mediatheque

Theater Studio

Egress

Dark Room

Dark Room Conference

Conference

Dark Room

Production Production

Production Production

Level 2-Loft: 17’-6”

Bottom: 2nd Floor Public Space


36

Detroit Film Studio

Prof. Amy Deines Level 3-Machine Shop: 35’-0”

Gallery-Museum

Top: Gallery

Bottom: Secondary Entrance

Storage

Fitness

Storage Administration

Administration

Administration

Level 3-Loft: 31’-0”


Detroit Film Studio

Prof. Amy Deines

37

For the film studio I looked at ways to incorprate the public into a mostly private program. The integration of public and private spaces makes this film studio different than most. The location of the Globe Trade Building also allows for future development in which the public could play a large part.


38

Prof. Amy Deines

Detailed spaces in the building included the Restaurant, Library, Mediatheque, and the Entrances. In detailing these spaces it shows the attention paid to areas in which the public will spend their time. Using the existing floor plates also allow for separation of space between the public and private.

Detroit Film Studio


Visual Communication

Top: Acrylic Painting of the Golden Gate Bridge Bottom: Oil Pastel of the Mackinaw Bridge

39

Above: Colored Pencil of P-51 Mustangs


40

Above: Chalk Pastel of Poppy Field In A Hollow Near Giverny by Claude Monet

Visual Communication

Top: Object Perspective 1 Bottom: Object Perspective 2


Visual Communication

Top: Water Color of Country Home Bottom: Perspective of Hallway

41

Above: Oil Pastel interpretation of Bedroom in Arles by Vincent van Gogh


42

Landscaping

Due to my father owning a lawn care business I gained an extensive knowledge of landscaping through projects that we did. When we designed landscapes for our clients we looked ahead at what the property would look like in five years when most of the plants have fully matured.

Above: View of Don Bolt Residence Front Bed Right: View of Don Bolt Residence Front Yard


Landscaping

Top: United Foam Entry Bottom: United Foam Office Entrance

43

Above: United Foam Entrance


44

Above: Synergy Development Front

Landscaping

Top: Synergy Development Entrance Bottom: Synergy Development Yard


Revit Tutorials

45

In the summer of 2010 I worked with Prof. Wladek Fuchs to create a series of tutorials for the Revit program. This was done as part of a co-op. By developing the tutorials I expanded my knowledge of the program and put together a comprehensive list of topics that are essential to use the program. All of the tutorials are located on the University of Detroit Mercy School of Architecture website. They are located under the Resources tab as Autodesk Revit Tutorials. The link is: http://arch.udmercy.edu/index.php/ resources/autodesk-revit-tutorials


46

Revit Tutorials

Camera Tutorial

This tutorial helps people understand how to set up a camera for a 3D view of a specific space in their model. 1. To create a camera, go to the View tab and use the pull-down menu saying 3D Views. This will allow you to see the Camera option. Click on Camera to create a new camera view.

2. To begin, pick a point that will serve as the base point of the camera.


Revit Tutorials

3. Once you have placed the base point select a point which will serve as the target.

47

4. After you define the target point, a window will appear that will show you the view that the camera is creating. There are four control points in the window that you can use to expand or shrink the target area.


48

5. With each camera you create you should name it so that they can be easily differentiated. To do this right click on the view you want to rename and click on Rename.

Revit Tutorials

6. A dialogue box will appear, name your view. When you have renamed the view click OK.


Revit Tutorials

49

As part of writing the tutorials I chose to work on a single project. Working on a single project I was able to create a sense of continuity from tutorial to tutorial.


50

Revit Tutorials


Photography

51

Top Left: Millenium Park Night Bottom Left: IIT Student Center Above: Crown Fountain Night Top Right: Millenium Park Day Bottom Right: Milwaukee Art Museum


52

Photography

Corn Palace

Corn Palace Detail


Photography

53

2009 Final Four at Ford Field


54

Photography

Views of Torch Lake, MI


Photography

Pictured Rocks National Park

55


Frank Frost Design Portfolio  

This is a design portfoilio encompassing my undergraduate design work at the University of Detroit Mercy School of Architecture from 2007 to...

Advertisement
Read more
Read more
Similar to
Popular now
Just for you