architecture portfolio - joshua frick

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A collection of my architecture and art work, both academic and professional. Please offer any comment or critique you feel would be helpful. Thanks.

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  • joshua john frickportfolio of art and architecture

    master of ARCHITECTUREmiami university

    bachelor of science in ARCHITECTUREfairmont state university

    contact information:

    1209 resaca place, apt 6pittsburgh, pennsylvania 15212

    412.596.3036

    joshua.j.frick@gmail.com

    jf

    JOSH

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  • contents:academic work:

    mobile archaeology [architectural thesis]

    screen building

    visitors center

    art & fabrication:

    woodworking

    drawing

    professional work:

    mixed-use development

    oliver building

    21c hotel-museum

    multi-family development

    low-income housing

    wexford home

    jf

    JOSH

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  • 2005 - 2011

    miami universityand

    fairmont state university

    ACADEMIC WORK

  • MOBILE ARCHAEOLOGY

    2010 - 2011

    A mobile archaeology lab and community; this project is the end-result of a written thesis exploring the possibility of architectural placemaking within a mobile context - asking the question: can an architecture that has no specific site relate itself to place, or is it inherently placeless?

    The building packs itself into the dimensions of a standard truck-trailer, and the form is a function of the unfolding and layering process necessary to create a large, humane, multifunctional space from that limited footprint. When it arrives on site, the legs reach out and raise the structure from the truck. The rest of the building (in three nested shells) extends and hangs from these telescoping, adjustable legs, inspired by construction crane booms and outriggers and adapted with elements from biological structures. Multiple functions of the inte-rior space are facilitated by furniture that can be hoisted into the sleeping loft area to reveal other layers of function in order to avoid having to clear delicate artifacts and instrumentation from the work tables for every meal or meeting.

    The project also includes a mobile museum/community center, to provide a level of transparency within the archaeological process. If the community around the dig site is allowed to see or perhaps even participate in the process then the archaeological team might be seen as preservers rather than appropriators of valuable artifacts, and less as outsiders to the community memebers.

    Though technically site-less, the buildings are placed in a remote, cliffside desert site (a fairly difficult site climatically, topographically, and functionally) to test the extremes of their adaptability.

  • BB

    AA

    CC

    DD

    EE

    Section B

    -BScale: 3/8 =

    1-0

    MOBILE ARCHAEOLOGY

    lower floorplansections

    section-perspective

  • Flying TableScale: 1/2= 1-0

    Adjustable FootScale: 1- 1/2= 1-0

    Cocoon BedScale: 1/2= 1-0

    Accordion WedgeScale: 1/2= 1-0

    Tension Rod ConnectionScale: 1 - 1/2= 1-0

    MOBILE ARCHAEOLOGY

    animation stills

    exploded axonometric

  • exterior perspectives

    MOBILE ARCHAEOLOGY

    interior perspectives

    physical model

    articulated foot mockup

  • SITE

    PLA

    N

    A A

    B

    B

    MOBILE ARCHAEOLOGY

    A

    B

    physical site model

    siteplan and sections

  • B B

    A

    A

    MOBILE ARCHAEOLOGY

    section-perspective

    exploded axonometric

    floorplan and sections

  • SCREEN BUILDING

    Summer 2008

    A communication center for Miami University. This project was an introductory charette to my graduate architecture career. Earlier in the Summer, before thinking about a building, before considering a program or a function, we studied nature though sketches, photographs, and models. A common thread immerged in these studies: an attempt to capture the layered, filtered, animated quality of light through tree leaves.

    A building developed from these nature studies. I intended to use the tree-shadow phenomenon to shape the built object - without resorting superficial bio-mimicry or literal tree-image applique - to reduce the experience to a set of logical steps. The final iteration incorporates layered transparent, translucent, and opaque surfaces and a three-level glass stair hall to allow the shadows of the people passing through to overlap and combine like the shadows from the leaves of a tree. Reflections of the surrounding trees on the transparent and translucent surfaces add another, ever-changing layer to the effect.

  • physical model

    SCREEN BUILDING

    layered glass stair

    physical model

  • SCREEN BUILDING

    nature photo &study model iterations

  • SCREEN BUILDING

    massing model

    sections

    elevations

  • VISITOR CENTER

    Fall 2008

    A visitors welcome center for Fairmont, West Virginia, located along the highway at the entrance to the city proper.

    The form is derived from two common West Virginia sights - a bridge across two hilltops and the room-like space created in the valley of those hills. The building is composed of two massive concrete walls, one straight and one curved, which are sunk into the hillside and either penetrated or attached to as needed to shape the interior space. The long hallway made by these walls terminates on a caf and observation deck with a view of Fairmonts Downtown skyline and the Monongahela River.

    Offices, conference spaces, and restrooms are suspended from the curved wall and cantilevered over the hillside. A thin butterfly-type roof covers the hallway, and collects rainwater for use in the building.

    The steel entrance canopy acts as a softening of the mass of the building, a gradient from the open space on the hilltop to the extreme mass of the concrete walls, and reaches over and into the split reflecting pool that flanks the entry path.

  • physical model

    VISITOR CENTER

    perspectivesentrance canopy

  • VISITOR CENTER

    exploded axonometric

  • UP

    upper plan and sections

    VISITOR CENTER

    lower plan and sections

    entrance perspective

  • ART & FABRICATION

  • WOODWORKING

    2008 - 2012

    The process of making, and the understanding that comes from that process, is critical to the design of architecture. Without knowledge of how an object can be made, how is it possible to intelligently design that object, to question why and how it might come together, to consider the possibilities of its making?

    These projects all start with a specific need, take their form from that need, and that form is then refined as they are influenced by the process of thier own making and the materials available at the time. They are constructed almost entirely of reclaimed or salvaged wood and steel, with either handmade or simple off-the-shelf hardware. Artificial finishes were avoided in an attempt to celebrate the natural properties of the materials themselves, not a simulation or over-exaggeration of color or texture. Thin coats of hand-rubbed polyurethane or natural beeswax were used to deepen the natural grain patterns and to protect the pieces.

    Through this reciprocal relationship of designing and making, the smallest detail begins to inform the entire design, and the totality of the object influences each detail. Form and function follow one another, informing and influencing as the cycle continues. Each piece is a snapshot of some point within that cyclical development.

  • computer chair

    WOODWORKING

  • WOODWORKING

    scrap bench

  • rockinghorse

    WOODWORKING

    Sallie Gardner at a Gallop Eadweard Muybridge

  • WOODWORKING

    easel

  • tripod harvestman lamp

    WOODWORKING

  • DRAWING

    2006 - 2014

    Hand drawing is the quintessential architectural skill. The simple directness of hand drawing and the inherently filtered reductivity of digital media are not mutually exclusive processes. A young designer in our technology-infused world must be proficient with both approaches.

    The decision-making and communicatory skills honed by hand drawing are useful in themselves, but are also vital to good digital image creation the clarity of information in a construction drawing or the painterly touch guiding a digital rendering and are often conspicuous in their absence.

  • DRAWING

    barn entrance canopy, graphite & ink

    fallingwater, ink & watercolor

  • DRAWING

    castelvecchio detail, graphite & ink

    grain silos, graphite

  • DRAWING

    haddad riverfront park, graphite & ink

    cinque terra, ink & watercolor

  • 2007 - present

    perfido weiskopf wagstaff + goetteland

    LAIarchitects

    PROFESSIONAL WORK

  • MIXED-USE DEVELOPMENT

    2012 - ongoing

    219,000 sf

    $25,000,000 (projected)

    A full-block development in the Over-the-Rhine district of Cincinnati, OH. The project consists of: a 300 car parking garage, rehabilitation and conversion of seven existing 1890s tenement apartment buildings into a single mixed-use apartment/retail building, a mixed-use condo/retail building which incorporates an existing building facade into its massing, conversion of a partially demolished existing tenement apartment building to a single-family rowhouse, conversion of an existing duplex into three split-level apartments, 9 new single-family row-houses, and a courtyard area for all residents of the block. The existing buildings were in a state of extreme disrepair, even structural failure in some areas, and no original documentation

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