Kaitlin Frankforter 2017 Graduate Portfolio

K A I T L I N F R A N K F O R T E R Design Portfolio graduate + undergraduate

I recently finished my masters of architecture and I am looking to work for an architecture office that understands the value of people, the importance of exploration and risk taking, the necessity of research, and above all great architectural spaces.

I am interested in the potential of architecture past a drawing of a built object.

I believe that architecture does not have a determinant form and lives within the role of the experience. I am interested in the ways art and design work into our everyday lives and how architecture is used as a mediator for ideas.

Throughout the last six years in design school I have been exploring these ideas through different tools and mediums.

This portfolio is a brief example of these ideas.

KAITLIN FRANKFORTER kaitlin.frank for ter@icloud.com 308.390.7625

E D U CAT I O N

:

University of Nebraska- Lincoln : Lincoln, Nebraska

2015-2017

Masters of Architecture Thesis : Reconstructing Space: the presence of space Advisor : Dr. Rumiko Handa

2016

Study Abroad : Rome, Italy + London, England

2010-2015

Bachelors of Science in Design - Architecture with distinction minors : Studio Art + Mathematics

WOR K

E X PE R I ENC E

:

Graduate Teaching Assistant : University of Nebraska- Lincoln ARCH 111 : Design Making, first year studio with adjunct instructor Adam Post

2017

ARCH 210 : Representation, second year studio with professor Dr. Peter Olshavsky (studio coordinator) with professor Robert Trempe

2016 2015 summer 2015, 2016

Architectural Intern : BVH Architecture Archrival Creative Agency Renovation : Lincoln, NE Nebraska State Capitol Historical Building Renovation : Lincoln, NE Wisner- Pilger Elementary School Addition : Wisner, NE Arbor Day Lodge Historical Renovation : Nebraska City, NE AXP Hours Completed : 1022

Research Assistantship : University of Nebraska-Lincoln

2014

Building Configurations for Design with Professor Steven Hardy

2012-2013

SKI L L S

UCARE Grant Award with Professor Peter Hind

: Profecient Knowledge :

Revit , Rhinoceros, Illustrator, InDesign, Photoshop, Premiere Pro, Lightroom, Laser Cutting, Wood Working Working Knowledge :

Sketchup, 3ds Max, V-Ray, CNC Machine

E X H I BI T IONS 2017 2015 2014 2014-2017 2013

2017 2016 2015 2015 2015-2017

:

Architecture

Thesis Project Installation : Lincoln, NE Finalist in Archistart International Competition : Carpineto Mountain Reserve, Italy Big Omaha Conference Installation : Omaha, NE KANEKO Gallery Permanent Collection : Omaha, NE UNL Parking Day Installation : Lincoln, NE Photography

Trade Talks: Tokyo-Nebraska Photography Exchange : Place M, Tokyo, Japan BVH Architecture : Lincoln, NE Currents : Prescott Gallery Juried Exhibition : Lincoln, NE 7:1 : Medici Gallery Juried Exhibition : Lincoln, NE UNL Hixon-Lied Website Feature

HONORS

:

2017 2015-2017 2012-2016 2016 2015 2014 2010 2010 2010

Graduate Graduation Class Speaker Graduate Teaching Assistantship Retention of work for accreditation Ron and Judy Hess Scholar Sinclair Hille Scholar AIAS Gender Equity Scholar Zana Memorial Scholar Warren and Velda Wilson Scholar James Canfield Scholar

I N VOLV E M E N T 2011-2017 2015-2016 2014-2015 2013-2014 2012-2013 2011-2015 2016-2017 2013-2014

:

American Institute of Architecture Students Member Marketing Director Vice President Treasurer Freedom by Design Project Manager Freedom by Design Member College of Architecture

UNL Architecture Faculty Search Committee UNL Peer Mentor

R E F E R E NC E S

:

Academic :

Rumiko Handa, Ph.D. Interim Associate Dean and Professor of Architecture College of Architecture University of Nebraska-Lincoln rhanda1@unl.edu

Academic + Teaching :

Peter Olshavsky, Ph.D. Associate Professor College of Architecture University of Nebraska-Lincoln polshavsky2@unl.edu Robert Trempe Associate Professor Arkitektskolen Aarhus Aarhus, Denmark rbt@aarch.dk

Professional :

Joyce Raybuck, AIA Architect BNIM Architects Kansas City, MO jraybuck@bnim.com

Academic

pg. 02

R E C O N ST R U C T I N G S PAC E graduate thesis 2016-2017

pg. 08

SEED BANK urban seed bank Spring 2014

pg. 14

ENTROPIC LIGHT mountain refuge Fall 2015

pg. 18

RE|USE

architecture school Fall 2014

pg. 24

PA R A S I T I C TAV E R N tavern

Spring 2015

Explorative

pg. 30

WORKING METHODS darkroom photography 2015-current

pg. 36

HOME

architectural film Summer 2016

pg. 38

ROME INTERRUPTED architectural representation Spring 2017

Professional

pg. 40

F ’N AWESOME WUNDERKAMMER archrival remodel Summer 2016

Academic

01

R E C O N S T R U C T I N G S P A C E : i n p rog re s s

Graduate Thesis 2016-2017 Advisor : Dr. Rumiko Handa

giving presence to the physical, phenomenological, existential, and imaginary.

This thesis will discuss spacial manifestations of the physical, phenomenological, existential, and imaginary.

A B S T R A C T

:

I became interested in these spacial manifestations because of the lack of qualities I have personally experienced within “architecture”, notably local “architecture”. I began to deal with these manifestations using 35mm film photography, for me using film and the camera allowed me to look at and understand what these spaces and qualities were really telling me.

This project has consisted of multiple performances with which I have deployed several traditional and non-traditional methods of working such as : slow moving drawings, full scale hard line drawings photographic diagramming, go pro and video recording, video editing, and video drawing and manipulating, 35mm photography where I slice and arrange the film to create visual plates that I expose in the darkroom using experimental processes, and I set up a full scale installation. I utilized the methods that I had available to myself, and allowed the questions I was asking and tasks I was performing to dictate the medium I was utilizing.

S U M M A R Y : Space cannot exist without the physical, the phenomenological, the existential, and the imaginary. Architecture and space should be seen as an extension of all of these things together.

Architecture exists where all of these are present, when it is not easy to understand or depict where one stops and starts.

This thesis has been a culmination of my stance within architecture. While these have been attempts to depict things that we cannot necessarily see, they are a start to my work that continues to question what is space?

02

academic

03

01

00:00

03

00:23

05

00:42

f ig.

42

space is something which exists as a “mental construction...a property of o u r mf ii n l md . . . a p u r e f o r m o f i n t u i t i o n �

(Jeremy Till, Architecture in Space, Time. Immanuel Kant, Critique of Pure Reason.)

058

Does physical space exist when no one is there? After you leave physical space does it only exist as a memory?

Medium : digital film + overlays

04

02

00:11

04

00:30

06

00:45

f ig.

film

064

45

01

02

00:00

00:14

03

04

00:36

00:49

05

06

01:07

01:17

your footsteps follow not what is on the eyes, but what is within, buried, erased (Italo Calvino, Invisible Cities)

How does the way we experience space change through the effects of life in a space over time? How can the changing of space through time inform the way that one interacts with space?

Medium : digital film + overlays academic

05

m i r ro r d raw i ng

w indow draw ing

I M AG I N A RY The imaginary was explored with an installation using hard lined hybrid drawings that hung in the entrance to architecture hall. Each imaginary was constructed from physical, phenomenological, and existential qualities within the space. My intension was to engage the designer through the physical by offering opportunities to encourage them to construct their own imaginary.

06

mir ror + w indow signifier

m i rro r i n c o ntex t

w indow in contex t

These imaginary constructs exists in pairs. There are a total of three pairs : 01 : Mirror + Window, 02 : Above + Below, 03 : Time + Memory.

Mirror : Constructed from the reflection and mirror on a glass door, a space of internal reflection and mirroring is constructed.

Window : Constructed from the growth and patina left on a glass window, a space of outward seeking and control is constructed.

Location : Through their placement in space you are encouraged to see them together, seeing the world within and out ward together.

Medium : Hybrid drawings printed on mylar.

academic

07

S E E D

B A N K

:

u r b a n se e d b ank Sprin g 2014 Lincoln, NE Professor : David Karle Par tner : Allison Fejfar

an architecture that uses enclosure and facade erosion that speaks to the relationship between interior and exterior space

: To design a seed bank in downtown Lincoln, NE with a emphasis on the building site context.

I N T E N T I O N

N A R R A T I V E : This project focuses on the transition of the user from an urban downtown context into a private laboratory building. This transition architecturally explores moments of enclosure that through the journey of the building change from : under, within, inside, on top of. To aid in this transition from public to private, the facade is constructed from a wood rain screen that through its patterning allow for moments of transparency for public programs and moments of opaqueness for private programs.

08

S E E D

B A N K

:

ur b an seed bank Spr ing 2014 Par tner : Allison Fejfar Professor : David Karle

an architecture that uses enclosure and facade erosion that speaks to the relationship bet ween interior and ex terior space k a i t l i n . f r a n k f o r t e r @ i c l o u d .c o m : 3 0 8 . 3 9 0 . 7 6 2 5

academic

09

f ro n t el eva t i o n 0’

5’

section

15’

1

1

up

1

up

up

2

2

2

3

3

3

4

4

4 up

up

up

5

A

f l o o r p l a ns 0’ 5’

10

15’

B

C

5

A

B

C

5

A

B

C

l i g ht i ng a t ni g ht

fa ca d e d eve l o p m e nt

academic

11

p r i vate : wood screen

semi -p r i vate : wood screen over glaz ing w.

2” gap

semi -p u b l i c : wood screen over glaz ing w.

6” gap

public : wood screen over glaz ing w.

14” gap

fa ca de d eve l o p me nt 0’

12

2’

5’

ro of p l a nt i ng

e nt ra nc e a t n ight

academic

13

E N T R O P I C L I G H T : m ou n t ain re fu g e Fall 2015 Carpi neto Mountain Range, Italy Professor : Jason Griffiths

a hut that reflects the transition from city to nature to create a place a refuge through the use of light and shadow

: To design a minimal hut situated in the remote Carpineto Mountain region to serve as a point of refuge for hikers.

I N T E N T I O N

N A R R A T I V E : This hut explores and mirrors the transition of the hike from city to country using entropic patterning. The building serves as a reflection of the hike to distill one’s mind to a place of solace and refuge through the use of light and shadow. Brettstaple is used as a method of solid timber construction that allows for this type of patterning to occur through its construction. This method of construction allows for the structure to be manufactured on site utilizing local craftsmen and sourcing local materials. Timber adds desirable ambient qualities, and when utilized in a stacked method, has substantial structural and thermal qualities.

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* f i n al i st i n j u ri e d A rchi st a r t Inter na t i o na l C o mp et i t i o n

academic

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02 :

03 :

04 :

02 :

03 :

04 :

ef fe ct

c on st ru c t i on

sh a dow

p a t tern

s i te

01 :

01 :

study of fa ca d e d e ns i t y

16

03.

01.

05.

02.

04.

floor plan 0’ 2’

5’

01. fully enclosed

02. sleep

03. partial enclosure

04. cook

05. minimal enclosure

sec ti on s of e nt ro p i c fa cade

m i d m o r ni ng

late morning

ear ly mor ning

academic

17

R E | u s e

:

a rc h ite c t u re sc hool Fall 2014 Kansas Cit y, MO Professor : Joyce Raybuck Par tner : Allison Fejfar

a collaborative design school with a focus on material research that connects the community to the campus and architecture school

: To design a comprehensive architecture school on the Kansas City Art Institute campus and create a full set of technical details and construction documents.

I N T E N T I O N

N A R R A T I V E : While researching the campus we found an opportunity to create a cross-disciplinary research studio that investigates the re-purposing of consumed materials and explores how conventional material applications relate to architecture and art. This research establishes new material initiatives within the Kansas City community that will make a measurable decrease in material waste. This research studio is the connection between the community to the campus and the campus to the architecture school. Spatial connectivity, circulation, and material placement celebrates and encourages collaboration throughout the school and campus.

The building is used as a teaching tool for the school and therefore it places a focus on re-used materials, sustainable heating and cooling strategies, exposed structure, and open circulation.

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academic

19

20

progra m m a t i c b re a kd own

happy flexibile

natural light

24 hr

sporatic

public

private

program

program

circulation : 8,800 sf

cafe : 500 sf lounge : 500 sf restroom : 1,000 sf

main gallery : 3,000 sf

library : 625 sf classroom : 625 sf conference room : 625 sf crit space : 600 sf crit space : 600 sf crit space : 600 sf crit space : 600 sf crit space : 600 sf

mechanical : 1,450 sf

faculty offices : 920 sf staff offices | rection : 620 sf staff kitchen : 200 sf accrediation storeroom : 400 sf REsearch center : 1,000 sf

outdoor shop : 2,180 sf

shop : 3,500 sf

REsearch tudio : 1,000 sf media lab : 500 sf

studio y4 : 2,000 sf

studio y3 : 2,000 sf

studio y2 : 2,000 sf

studio y1 : 2,000 sf

user

user

faculty+ staff

warm

task light

students+ faculty

raw

blank

static students faculty+students+guests studio

lounge critique

core

studio

lounge critique

core

studio

offices

gallery

research studio

core critique

core

library

classroom

conference

critique

core

media center

wood shop

i nte r i o r view

so u t h e ntranc e

academic

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l o n gi tu d i na l se c t i o n 0’

22

5’

15’

tra n sverse se c t i o n 0’

5’

15’

academic

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P A R A S I T I C T A V E R N : ye a r 2100 c.e.

Sprin g 2015 Federal Center Plaz a, Chicago, IL Professor : Bob Trempe

a tavern that promotes its culture through the booth, but hides itself through the distortion and reflection of it's context

: To design a parasitic architecture that will feed off of a host.

I N T E N T I O N

N A R R A T I V E : A seminal work of architecture, Mies Van de Rohe’s Federal Center Post Office is conceived as a host for a parasite that behaves with the logic of the woodland tick-- invasive, hidden, and delicate. Programmed as a tavern for the workers of the post office this parasitic architecture reflects and distorts views and actions on the site to create a place of refuge that is hidden in plain sight. : Projecting to the year 2200, the United States government has fallen to the Chinese-Russian government and all federal buildings are used as propaganda billboards for the city of Chicago. An extension of the tavern, mini parasites have attached to the face of these government buildings with the force of a rebel group of Americans who have attempted to expose the truth of this new government.

F U T U R E

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academic

25

re pe titio n :

ref l ection :

refl ec ti o ns o n th e bu i l d i ng

lig h t :

alignme nt with c ontex t

co n t ra s t :

p oint of re fuge

only open space in dense area

depth :

re fl e c t i on :

layers of spaces

hidden m o m e n t s in reflect i o n s

The booth is spaced and for med around the propor tion of the human and of four humans sitting together. The booth responds and adjusts to the gird present on the site. The specificit y of the booth and site set up the project logic and ar rangement .

b o ot h si zi ng from human

45

” 42

” 82 ” 35

82

”

79 .

5”

82”

” 82

42

”

42”

56”

42 ”

42”

82”

”

56”

42

56”

5” .7 39 ” 75 39 . .

79

5”

56”

7”

15”

b o ot h s i z i ng to site

26

sec ti on t hro u g h b u i l d i ng + b ooth + si te Adams S treet

D e a rbo rn S t re et

Fe d e ra l Ce n te r Po st O ffi ce

dearborn st.

fice

adams st.

floor plan 0’

5’

John C. Klucz ynski Federal Building 15’

academic

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Explorative

29

W O R K I N G M E T H O D S

d a r kro o m p hotography

:

Fall 2015 - ongoing Mentor : Dana Frit z

the manifestation of light, architectural elements, and the figure through photographic and physical space

I am interested in constructing photographic manifestations of space using light, architectural elements, and the figure. Through the capturing of existing physical space, a new architectural space is constructed through the manipulation of the photograph. Observed spaces are manipulated and arranged in a negative carrier and produced in the darkroom.

S T A T E M E N T

30

:

barbara 01 : silver gelatin print, 10�x8�, 2015

*prints shown in multiple juried exhibitions

explorative

31

untitled 02 : silver gelatin print, 11�x14�, 2015

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untitled 03 : silver gelatin print, 11�x14�, 2015

explorative

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untitled 010 : silver gelatin print, 11�x14�, 2015

34

untitled 04 : silver gelatin print, 11�x14�, 2015

This work has led to a way of thought on the ways in which we think, visualize, and construct architectural space. It became the initial dialogue for my thesis work and continues to talk about what it means to exist within space. The process and thought behind this work acts as an extension of architectural thought; for me these depictions of photographic space are as architectural as traditional methods of working.

explorative

35

H O M E

:

a rc h ite c t u ral film Summer 2016 Lincoln, NE Professor : Dr. Rumiko Handa Par tner : Zoe Cope

“She moved through this life like a ghost, and when she had finished her years, she put them all back in their places and wiped out the sink, turning her back on the rest of us, forever.�

(A Room in the Past, Ted Kooser, Poet Laureate)

: To produce a video narrative that speaks about architecture in a meaningful way.

B R I E F

N A R R A T I V E : This film focused on the ideas of montage, time, and space. Through these lenses we explored architectural space through the traces of memories left in space. With these traces and layers we focused on the life and memories of a woman in her home, where one is unable to decipher her memories of the past from each other. Our goal was to depict a richer understanding of what it means to exist within space. film link : https://indd.adobe.com/view/6c8c6604-bde7-44ef-8c47-f6420d152cf9

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f i l m sti l l s

01 00:00

05 01: 53

02 00:51

06 02: 15

03 01:14

07 02: 23

04 01:38

08 02: 53 explorative

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R O M E I N T E R R U P T E D a rc h ite c t u ral re presentation

:

Sprin g 2017 Lincoln, NE Professor : Anthony Morey

drawing conventions used to construct a language of your own

: Use basic conventions within architectural drawings to construct your own map of Rome based off of Roma Interrotta.

B R I E F

N A R R A T I V E : Utilizing the top of the trident as my focused part of Rome, I was interested in layering the city upon itself three times, utilizing different parts of the city: block, street, water, green space as different conventions: fill, line, hatch, photo.

38

plan

a xo no me t r i c

explorative

39

Professional

41

F ’ N A W E S O M E W U N D E R K A M M E R

:

a rc h r ival re nova tion BVH Architecture Built : March 2017 Lincoln, NE Design Par tners : Brittany Coudriet R yan Hier

a workspace that reflects it’s creative culture by curating the studio with personal objects To redesign an existing space, questioned: How we can position our client to grow and mature while retaining their youthfulness? How can we use physical space to celebrate what made their old home so great- their people?

I N T E N T I O N

:

N A R R A T I V E : For Archrival, the youthful and creative nature of their agency has led to the accumulation of a number of tchotchkes representing their individuals and the collective. To celebrate these artifacts we designed a wunderkammer, or cabinet of curiosities, that would allow the objects to reflect the creative culture by curating the studio with personal objects. Workstations organically emerged from the wunderkammer and “jam spaces” locate themselves around the perimeter, facilitating chance encounters and create a dense layering of people, allowing creative energy to permeate the studio. Curating opportunities for open, semi-open and enclosed work spaces, the design accommodates different working styles while personalized objects, and unique personalities creates the f’n awesome wunderkammer.

42

* b u i l t wo r k

*d e s i g n wo n i n- ho u se i nter n d es i gn co mp et i t i o n

professional

43

l on gi tud i na l se c t i o n

w u n d erk a m me r

44

wor k desk densit y

ba c k p l a t fo r m + wu nd e r k amme r

professional

45

en tr y + l i v i ng ro o m

l ook i n g d ow n b o ot h

46

break out space

ba c k p l a t fo r m wo r k i ng s p ac e

brea k ou t s p a c e

professional

47

Kaitlin Frankforter kaitlin.frank for ter@icloud.com 308.390.7625

https://issuu.com/ kaitlin.frank for ter