Frank Frost Design Portfolio
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Transcript of Frank Frost Design Portfolio
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Design Portfolio: Exploration
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Studio Projects
Laboratory: Greenhouse
Rural Context: Block ProjectBillboard: History of Music
Bookends: WoodshopPilgrim Baptist Church: �eater of Light
Harmonie Club: Polish Cultural Center
Urban Pivot Point
Spirit of HopeDetroit Film Studio27-38
39-55
39-41
42-44
45-50
51-55
Other Projects
Visual Communication
Landscaping
Revit Tutorials:Developed for Acedemic Courses
Photography
1-3
1-38
4-8
9-16
17-22
23-26
Design Portfolio: Exploration
Laboratory: Greenhouse 1
�is project began by studying the structure of a bats wing. �e wings are translucent with the bone structure being opaque. With this knowledge, I built a model which I derived these sketches from tostudy how di�erent values of light e�ect ones perspective view.
Prof. Amy Deines
Laboratory: Greenhouse2Drawings attempt to convey the �exibility and translucency of the bat’s wing through shading and line weights. �e drawings also look at the spatial relationship of the buildings on the site.
Prof. Amy Deines
Laboratory: Greenhouse 3
�e �nal model takes the study of a bat’s wing and the analysis of the drawings to create very light, translucent structures. �e structures allow for large amounts of natural light into the buildings which serves well for the use as a greenhouse. �e orientation of the buildings also varies the conditions in each building to study how the orientation of a building a�ects growth.
Prof. Amy Deines
Rural Context: Block Project4
I began this project by studying di�erent paths and planes within the context of my site. I took theprogrammatic needs for the site and arranged the planes around them to create a series of forms which would su�ce these needs as well as relate to the creek that runs through the site.
Prof. Tom Roberts
Rural Context: Block Project 5
A�er my early studies, I looked at how the interior spaces would �t 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 in�uence the occupants of the stuctures.
Prof. Tom Roberts
Rural Context: Block Project6
�e �nal model re�ned the de�nition of space and orientation of the spaceson site. �e buildings were pushed to the back of the property for privacy and organized to take advantage of natural daylighting and the stream whichruns through the site.
Prof. Tom Roberts
Billboard: History of Music 7
A�er studying how music has evolved over time Ibuilt a series of sketch models that looked at how abuilding 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. �e design also needed to �t into the site restrictions we were given. Our site was limited to a billboard structure located between two existing structures.
Prof. Tom Roberts
Billboard: History of Music8
�e �nal design further explored the use of materiality as the basis of how both buildingmethods and music changed over time. I also looked at how people would transition from�oor to �oor. �e �nal design therefore exhibits the use of di�erent methods to displaythe transition through time within the limited space constraints.
Prof. Tom Roberts
Bookends: Woodshop 9
�is project began by looking at spatial arrangements for a building which hadtight 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
Bookends: Woodshop10
Study models explored how my building would work functionally. �e design had to accommodate for bringinglarge logs into the building and moving them around asthey were turned into more re�ned pieces. �ese models looked at those problems and how they could be solved.
Prof. Tom Roberts
Bookends: Woodshop 11
�e �nal model looked to work with the designs of the other projects to create a continuous facade alongthe street. My design waspushed up to the street toaccommodate my programand preserve the identityof my early studies.
Prof. Tom Roberts
Pilgrim Baptist Church: Theater of Light12
A�er visiting the site, I composed a series of collages thatI felt represented the site and surrounding area. From these collages I found paths within them that I used todesign early sketch models. �e forms that I derived from the collages are represented in the designs of each sketch model.
Prof. Tom Roberts
Pilgrim Baptist Church: Theater of Light 13
Study models allowed me to look at materiality and the relationshipbetween my design and my partner’s. When relating our design togetherwe created a central axis spine which would act as the backbone of thesite. �rough materiality I looked at how di�erent materials would a�ectthe interior spaces.
Prof. Tom Roberts
Pilgrim Baptist Church: Theater of Light14
�rough drawings I was able to convey many of the details of my design. Here you see a site elevationand �oor plans.
Prof. Tom Roberts
Pilgrim Baptist Church: Theater of Light 15
�rough elevations and sections, I investigated howmateriality and �oor heights would a�ect the spatial
relationships of the interior spaces.
Elevations
Sections
Prof. Tom Roberts
Pilgrim Baptist Church: Theater of Light16
�e �nal design focused on integrating my addition into the existing Pilgrim BaptistChurch. �e existing church is on the National Registry of Historic Buildings and mustbe worked with in a careful manner. My design looks to celebrate the existing structurewhile drawing attention to the addition.
Prof. Tom Roberts
Harmonie Club: Polish Cultural Center 17Analysis 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 o�ered. �isconcept was carried all the way through the project.
Prof. Grzegorz Rytel
Harmonie Club: Polish Cultural Center18
Study models looked to explorethe spatial relationships thatcould be created between the existing structure and the addition. I did this by buildinga model in which each �oorcould be removed so the modelwould be able to be read sectionally. �is allowed me tosee organization of the roomsand the public circulation pathsthroughout the building.
Prof. Grzegorz Rytel
Harmonie Club: Polish Cultural Center 19
�rough the site model I looked to understand therelationship of the site to the surrounding context.Details that were taken into account included futuredevelopment, renovating the adjacent green space, and preserving and expanding on the existing sightlines from the site.
Prof. Grzegorz Rytel
Harmonie Club: Polish Cultural Center201st Floor Plan
2nd Floor Plan
3rd Floor Plan
4th Floor Plan
�rough �oor plans I was able to understand theinterior spatial relationships and circulation pathsthroughout the entire structure. �ese plans allowed me to move forward in designing the interior spaces.
Prof. Grzegorz Rytel
Harmonie Club: Polish Cutural Center 21
�e �nal 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 isused to distinguish the designs and celebrate the site as a beacon for the Harmonie Park area.
Prof. Grzegorz Rytel
Harmonie Club: Polish Cultural Center22
�e digital model shows interior and exterior spaces that give realistic views of certain points offocus within the building. �ese views give an understanding of the interior spaces through the useof materiality and lighting to create a realistic environment.
Prof. Grzegorz Rytel
Urban Pivot Point 23An Urban Pivot Point is a space in which multiple functions come togetherto create a unique condition. �is site a�orded this because of its proximityto Je�erson Avenue, Indian Village, and the Detroit River.
HousingBusinessResidence
Je�erson AvenueSecondary StreetsDetroit River
PedestriansPublic SpacePrivate Space
Prof. Wladek Fuchs
Urban Pivot Point24
Due to the size of the site I broke it into four zones. In each of these zones I looked at ways inwhich 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 thepedestrian scale as you move deeper into the site.
Prof. Wladek Fuchs
Urban Pivot Point 25
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 di�erent parts of the day.
Prof. Wladek Fuchs
Urban Pivot Point26
�e focal point of the site became a multi-purpose structure positioned along Je�erson Ave.�e building served as a frame for the site bordering a pavilion and Burns St. �e interiorwas developed as a community center with a restaurant, library, and conference spaces within.
Prof. Wladek Fuchs
Spirit of Hope 27Prof. Amy Deines
�is project incorporated the concept of designing a restaurant within an existing
church. Understanding and using theexisting structure and context with the
addition was vital in integrating the twobuilding types. Working with on sitematerials also proved to be neccesary
for my design.
Spirit of Hope28
�e �nal design looked for the addition to act as a transition space between the garden and the church. �is was done through the use of transparent materiality throughout.
�e use of planter boxes with an interactive �oor plate is meant to engage people as they
choose from the on site fresh produce to be cooked.
Prof. Amy Deines
Detroit Film Studio 29From a material study project I took the idea of bendingwood and creating forms which people could interactwith both physically and �guratively. �e knowledge gained through this study has allowed me to understandthe limits of how far the material can be manipulated.
Prof. Amy Deines
Detroit Film Studio30
Site
Greenspaces
Paved Spaces
Vacant Land
Site
Riverwalk Path
Paved Areas
Water Features
As part of my design I looked at the existing site context and how the land was being used. �rough studying the requirements for a �lm studio and looking at the site conditions I decided that the Globe Trade Building would be an appropriate pivot point. �e building could serve to connect the Dequindre Cut and the Detroit Riverfront thus creating a large pedestrian axis.
Prof. Amy Deines
Detroit Film Studio 31
Primary Streets
Express-ways
Existing Light Rail
Proposed Light Rail
Site
Business
Educational
Recreational
Residential
Ren-Cen
HartPlazaCobo Hall
Joe Louis Arena
CompuwareBuilding
Ford FieldComerica Park
MGM Casino DTE
Motor CityCasino
Cass TechHigh School
GreektownCasino
Wayne StateUniversity
Site
Light Rail
Existing Stops
Proposed Stops
As part of the design I began to look toward the future of Detroit. Mass Transit mustbecome a part of Detroit for it to �ourish. To do this, my concept is to run transit linesalong the existing primary roads that run through Detroit using the existing PeopleMover as the basis.
Near the site, Je�erson Avenue would serve as a transit line which could run all the wayto Grosse Point. A�er making that decision I looked at the spacing of transit stops and
what would warrant a stop. �e primary factors in determining stop location was basedon the distance people would be willing to walk and the population density of the
surrounding area.
Prof. Amy Deines
Detroit Film Studio32
Study models lookat the spatial
relationships ofthe interior spaces.
�ey look at bothhorizontal and
vertical circulation.
Prof. Amy Deines
Detroit Film Studio 33
�e �nal model was used to understand the interior spaces sectionally. �e model was able to pull apart at each �oorplate which allows you toview the building at di�erent levels, allowing for a greater understandingof the interior spaces.
Prof. Amy Deines
Detroit Film Studio34
Level 1: 0’-0”
Library-Media
StudioO�ce
ChangingRooms
ChangingRooms
ChangingRooms
ChangingRooms
Green Room
Green Room
StudioO�ce
StudioO�ce
Studio Studio
Studio
Cafeteria
Kitchen
Restaurant
Egress
Egress
Top: Axis Hallway Bottom: Primary Entrance
Prof. Amy Deines
Detroit Film Studio 35
Level 2-Loft: 17’-6”
Egress
Level 2-Machine Shop: 21’-0”
Egress
Studio
Mediatheque
Concessions
Theater
ChangingRooms
ChangingRooms
Dark Room
Production Production Production Production
Dark Room Dark Room
Conference Conference
Top: Mediatheque Bottom: 2nd Floor Public Space
Prof. Amy Deines
Detroit Film Studio36
Level 3-Loft: 31’-0”
Level 3-Machine Shop: 35’-0”
Gallery-Museum
Fitness
AdministrationAdministrationAdministration
Storage
Storage
Top: Gallery Bottom: Secondary Entrance
Prof. Amy Deines
Detroit Film Studio 37
For the �lm studio I looked at ways to incorprate the publicinto a mostly private program. �e integration of public and
private spaces makes this �lm studio di�erent than most.�e location of the Globe Trade Building also allows for
future development in which the public could play a largepart.
Prof. Amy Deines
Detroit Film Studio38
Detailed spaces in the building included the Restaurant, Library, Mediatheque, and theEntrances. In detailing these spaces it shows the attention paid to areas in which the public will spend their time. Using the existing �oor plates also allow for separation ofspace between the public and private.
Prof. Amy Deines
Top: Acrylic Painting of the Golden Gate BridgeBottom: Oil Pastel of the Mackinaw Bridge Above: Colored Pencil of P-51 Mustangs
Visual Communication 39
Visual Communication40
Above: Chalk Pastel of Poppy Field In A Hollow Near Giverny by Claude MonetTop: Object Perspective 1
Bottom: Object Perspective 2
Visual Communication 41
Top: Water Color of Country HomeBottom: Perspective of Hallway Above: Oil Pastel interpretation of Bedroom in Arles by Vincent van Gogh
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 whatthe property would look like in �ve years when mostof the plants have fully matured.
Above: View of Don Bolt Residence Front BedRight: View of Don Bolt Residence Front Yard
Landscaping42
Landscaping 43
Top: United Foam EntryBottom: United Foam O�ce Entrance Above: United Foam Entrance
Landscaping44
Above: Synergy Development Front Top: Synergy Development EntranceBottom: Synergy Development Yard
In the summer of 2010 I worked withProf. Wladek Fuchs to create a series of
tutorials for the Revit program. �is wasdone as part of a co-op. By developing
the tutorials I expanded my knowledgeof the program and put together a
comprehensive list of topics that areessential to use the program. All of the
tutorials are located on the University ofDetroit Mercy School of Architecture
website. �ey are located under the Resources tab as Autodesk Revit Tutorials.
�e link is: http://arch.udmercy.edu/index.php/
resources/autodesk-revit-tutorials
Revit Tutorials 45
Revit Tutorials46
1. To create a camera, go to the View tab and use the pull-down menu saying 3D Views. �is 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.
Camera Tutorial�is tutorial helps people understand how to set up a camera for a 3D view of a speci�c space in their model.
3. Once you have placed the base point select a point which will serve as the target. 4. A�er you de�ne the target point, a window will appear that will show you the view that the camera is creating. �ere are four control points in the window that you can use to expand or shrink the target area.
Revit Tutorials 47
5. With each camera you create you should name it so that they can be easily di�erentiated. To do this right click on the view you want to rename and click on Rename.
6. A dialogue box will appear, name your view. When you have renamed the view click OK.
Revit Tutorials48
As part of writing the tutorials I chose to work on a singleproject. Working on a single project I was able to create asense of continuity from tutorial to tutorial.
Revit Tutorials 49
Revit Tutorials50
Photography 51
Top Le�: Millenium Park NightBottom Le�: IIT Student CenterAbove: Crown Fountain NightTop Right: Millenium Park Day
Bottom Right: Milwaukee Art Museum
Corn Palace Detail
Corn Palace
Photography52
2009 Final Four at Ford Field
Photography 53
Views of Torch Lake, MI
Photography54
Pictured Rocks National Park
Photography 55