frank frost design portfolio

Fra

nk

Fro

st

Design Portfolio: Exploration

Fra

nk

Fro

st

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


�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


�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.


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.


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.


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.


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.


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


Study models lookat the spatial

relationships ofthe interior spaces.

�ey look at bothhorizontal and

vertical circulation.

Prof. Amy Deines


�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


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


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


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


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


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