Bradly Gunn
31417 NE 90th Cir. Camas, WA 98607 BRADLYGUNN.COM BRADLYGUNN@LIVE.COM 360.433.7689
\\ Passion I want to inspire people and get them excited about quality driven design. I want to make architecture relevant to as many people as I possible can. The best way to go about achieving this goal is to work passionately and respectfully. I believe that the quality of my work depends on the quality of my relationships, inspirations and the intensity of passion for the work. This portfolio contains work that is the result of passion, inspiration and constructive relationships. Bradly Gunn
THE PREREQUISITE OF ORIGINALITY IS THE ART OF FORGETTING, AT THE PROPER MOVEMENT, WHAT WE KNOW. -ARTHUR KOESTLER-
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Index
6 DRAWING (FIGURES AND LINES) 8 PROCESS AS DESIGN 18 STUDIO PROJECTS VERTICAL FARM MIXED USE FACADE ART SCHOOL LIBRARY 42 OTHER ‘MAPPING’ SCREEN AGRARIAN BUILDINGS OF THE PALOUSE ENTRANCE STUDY PHOTOGRAPHY PAINTING 63 RESUME
20 24 30 38
44 46 50 54 56 60
add detail
drawing \\ Visually Articulate
There are a variety of intelligences. Some excel at understanding their body like a dancer or athlete, while others understand numbers like a mathematician or physicist. We spend countless hours developing these intelligences. I have always been attracted to creating and reading images. An image can contain the subtle, implicit messages of poetry and simultaneously have the complex structure of confusing mathematical equations. As a student of architecture and ďŹ ne art it is important for me to continue to develop these skills. Being visually articulate is as important to me as literacy.
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Top: Figure studies. Bottom: Line drawing.
process as design \\ Examining the creative process (Master of Architecture Thesis)
For the completion of my M.Arch at Washington State University I chose to examine the creative process. I conducted a series of experiments emulating the design of a residential co-op housing project in Fremont Seattle, WA. A series of design charrettes acted as barometers to the depth and content of my work. Which included models, surveys, studies, drawings, videos, paintings, installations, and presentations. Some of the work was analytical and straight forward and some was grounded by mere curiosity. Ultimately my work was about studying the value of serendipity, reciprocity, curiosity and perseverance not designing a building.
Above: Chiseling out a depression into local, reclaimed timber. Opposite: Reworking program for a single family residential project.
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\\ Navigating Analog and Digital Studies It’s natural to start the design process with a pencil and it’s rare that the final design is presented without a computer. Culturally, I believe that architects have moved past an analog vs. digital paradigm and now see the computer as a beneficial counterpart to drawing by hand in the design process. Each method has its own drawbacks, but as your mastery of the tool increases so does your ability to mitigate the drawbacks. Each tool also has a tendency to promote a particular set of design choices. (Imagine drawing complicated angles on the computer when it is set to snap at increments of 90o.) The top set of studies were completely drawn by hand, the second set used a combination of analog and digital techniques, and the third set were drawn with a mouse and keyboard.
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hand
hand + computer
elevation
east elevation
section
A.2 section
section
b.1 section
b.2 section
b.3 section
computer
\\ Brainstorm Modeling While architectural modeling is becoming more digital every year, I ďŹ nd building physical models in appropriate situations is increasingly important. The ability to physically interact with models and materials, allowed me to brainstorm and explore design solutions. I also noticed that models, when models are accompanied by ďŹ gures of people, became more architectural. (Perhaps an unclever observation, but a very important one.)
Above: Instead of stacking layers vertically the topography is modeled with a horizontal succession of styrofoam layers. Opposite: Various models made out of museum board, scrap plywood and claimed timber.
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\\ From Workshop to Exhibition To conclude my M.Arch I exhibited my work in Gallery III of the Fine Arts Building at Washington State University. On display was a collection of models, drawings, paintings, videos, photographs, installations and several surveys. The transformation that took place when I brought my material from the workshop to the exhibition was extremely rewarding and reinforced my belief in the contingency of value. Value is not inherent or autonomous, it is ascribed by perception.
Above: Vignettes from some of the models. Each model was inspired by a different type of room (from left to right): entry, reading, lookout. Opposite (From top to bottom): looking backwards toward the entrance, working in the wood shop, and the view entering the exhibition.
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This drawing uses overlain clothing patterns purchased at a local thrift shop to provide a underlying structure for a developing city.
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\\ Introduction
The following samples of work are excerpts from four undergraduate studio projects. Many thanks to the teachers and classmates that surrounded me while working on them.
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STUDIO PROJECTS
Vertical Farm \\ Extending the Urban Path to the Bay
The vertical farm was a response to urban paths in San Francisco. The driving principled of the design was to encourage the revitalization of the water front by extending the urban path from chinatown to the San Francisco Bay. Pedestrians can walk through low-level development, high-rise development, urban parks, sequestered courtyards, bamboo forests, kelp forests and out into the San Francisco Bay.
Top: Section from China Town through the Historic district, Embarcadero Center, a proposed development, the bamboo forest, the kelp garden and the bay. Bottom: Various brainstorming and concept diagrams. Opposite: Interior elevation with bamboo removed to show program.
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bamboo planters
viewing platform
hang ha an ing g scul scu ptur pt e p pa ark
to kelp forest cafe
to urban core
\\ Bamboo Forest + Kelp Garden The urban path terminates in an under water viewing room and an above water platform. One can either take a gradual descent into the kelp forest or a quick plunge into the San Francisco Bay. The hydroponically grown vegetables face south, while the north side has a cafe and tidal pool on the ďŹ rst oor, hanging sculpture garden (2nd), and a viewing platform in the middle of the bamboo forest (5th).
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5th
2nd
1st
Mixed use Facade \\ Capturing the Identity of Los Angles in a Facade
“The Everyday Imagery of Space in Los Angels” by Jerome Monnet was the starting point for this project. In this publication, he collected post cards from various sites across LA as a means to identify symbols of Los Angeles identity as a place. The most common symbols are those seen below: palm trees, mountains, high-rise buildings, coast, freeway.
palm trees
mountains
high-rise buildings
coast
freeway
slender
monolithic
verticality
defined edge
linear
privacy/climate screen with personalized images mo onolithic screens made by many linear elements orie ented verrtically modular translucen nt panel system for storeffront display
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Concept Concept e m mode o lb built out ou of pai paint aint,, p ter, mettal scree plas scre creen, n, bassw n swood, o ood, toy cars c , and and candle candle le wax wax..
\\ Working with Units Using a strict two foot grid, residential units rest on top of a boutique retail space and are anchored by a private shaded garden on the west. The south facade shows the modularity of the units and monolithic uniformity of the commercial space. Collapsible screens shade the residential units from the hot sun while voids act as thermal chimneys.
Above: Several vignettes of some of the models. Each model was in spired by a different type of room (from left to right): entry, reading, lookout. Opposite: oor plans.
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3rd
2nd
1st
\\ Boutique Retail + Row Houses Above the Street The primary facade faces out toward Broadway. Grounded by the commercial space that is entirely made out of a 2’x 2’ texture rich, translucent box. Boxes can either be faced inward to act as shelf or they can be faced outward acting as a traditional display, offering the pedestrian a clear view at the products for sale. Each residential unit has a separate and defined entrance. Voids through the center of each unit act as a light well and a thermal chimney.
Above: Section looking west through bedrooms on the upper floor, living room on the middle floor and the retail space and cafe on the main floor.
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Art sCHool \\ Finding Inspiration in my Childhood
As a child I spent my time exploring the seventy ďŹ ve acres of forest my family owned. Being home schooled meant that while other kids my age where sitting in class, I was running around pretending grass was hot lava and sticks where guns. When designing an art school for downtown San Francisco I immediately thought of my own childhood. I wanted the school to become rich and stimulating like the forest; a counter to stale academic environments. The school was designed to be texturally rich and have dappled light, dark places of seclusion and open bright places of exposer.
carved entrance
winter sun
framed views
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Above: Photograph of Redwood forest. Opposite: Top: Early conceptual model. Bottom: Massing Diagrams.
\\ Documenting Context: Diversity in the Streetscape After visiting San Francisco, I found the streetscape diversity is one of the city’s most striking qualities. The proposed site for the art school was at the intersection North Beach meats Chinatown meets Russian hill meets the Historic District. I wanted to pick up on the various things going on around the site: the alley like atmosphere of Chinatown, the grandness of the Bank of America tower, the quaintness of the Historic District.
nor nort orr h b o ort beach accch
no nob ob o b hill hill
his hist ist storic st ric ric Left: Vicinity map. Above: Satellite image with site outlined in red. Opposite: Street views of neighboring blocks. emb emba m rcad rcc ero rca ro o
chi chin hhin i atow atow at ato own
ďŹ na nancia ancia nci ccia ci i l
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\\ An Elevation + Sections
South-East facade is glazed with fritted glass panels. All the panels are fritted in an abstracted fern pattern. Dark and light boxes are a result of wall types sitting just behind the glass. A continuos slit helps brake down the facade revealing a laminated glass box that holds the administration ofďŹ ces.
Section through main entrance (lower), dancing studios (upper left), and dorms (upper right).
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Section through rooftop basketball court (upper), auditorium (middle right), circulation areas (middle left),) gallery ((lower left),) cafeteria ((lower right)) and parking garage ((bottom).)
Section through the gallery (lower left), painting studio (middle left), covered back entrance (lower i ht) and d hhallways ll right), off th the d dorms ((upper).)
Plans + Development of South-Western Facade Both the plans and elevations went through multiple design changes during development. With less programmatic reasonability the facade is allowed to be more expressive (as one might expect from an art school), while the plan maintains the functionality of a simplified geometry.
6th
5th
4th
3rd Above: Detail of 3rd floor plan showing precast concrete panels on the inside of a glass facade looking down to a small library on the second floor. Right: Floor plans. Opposite: Several designs for the South-Western facade.
1st
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Library \\ Books by the Water
Winner of the 2009 WSU Masonry Competition, this small library for Pullman, WA focused on creating public outdoor space and three different area’s for library patrons. The upper floor is quiet with a north facing reading room, the main floor has a community room and children’s area taking on the personality of a bookstore. The lower level is has computers and lounge space for teens.
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Above: Section looking west, through the reading room on the upper floor, central stacks, and computer lounge in the lower flower. Opposite: Top: Laser cut model. Middle: Main floor plan showing community rooms towards the street, outdoor amphitheater, the central stacks and circulation towers on either end. Bottom: Site plan showing relationship to river and the downtown.
View from bike path and running trail across the river.
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\\ Introduction
...because being a student of architecture brings more than just design charrettes.
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OTHER
‘Mapping’ \\ Measuring Embodied Energy with Sweat
Mapping is usually thought as tools for physical navigation, but they can also be used as tools for understanding a variety of features and relationships. As a class project we were asked to map the Colton grain silo. I chose to map the effort it took a person to construct the silo. I started by counting the nails in several three foot squares. After establishing an average nails per square foot I calculated the approximate number of nails in the silo. I then documented the effort it took to build the Colton grain silo by hand.
Above: As a means of documenting the effort it to construct the Colton grain silo I hammered a plate steel over 3,000 times. After more than hour and less then one percent of the estimated hammer swings, I gave up with blisters and a bloody thumb. A short excerpt of the experiment is available to watch at my online portfolio. Opposite: Photograph of the Colton grain silo before it collapsed.
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THE COLTON GRAIN SILO HAS
130,000
HAMMERING CONTINUOUSLY AT ONE SWING PER SECOND THAT WOULD TAKE
NAILS WHICH WOULD HAVE REQUIRED OVER
455,000
HAMMER SWINGS
5.3 DAYS
BURNING OVER
62,796 CALORIES
Screen \\ Solving Complex Problems with Simple Solutions
Often we try to solve problems with complex gadgets that address a multitude of problems. In partnership with Olson|Kundig Architects, three classmates and I decided that we wanted to use simple solutions to solve complex problems. In this case study, there was an overheating issue during mid-day of spring and fall, but with high temperature swings the house lost a substantial amount of thermal energy and night. We developed a screen to shade the glass wall when there was a overheating issue, and a translucent blanket to insulate the house on cold nights. We also incorporated a thick concrete oor to be used as a thermal mass. The screen and the blanket could be separately and manually adjusted, allowing for maximum exibility.
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510 03’ N
1140 04’ W
location
53
3 38
3 30
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NOVEMBER
DECEMBER
JAN.
32
39
522 temperature
JUNE
JULY
AUGUST
62 o
SEPTEMBER
OCTOBER
39o
FEB.
15 o
MARCH
APRIL
MAY
39o sun angles
9.3 10.2 9.1 6.9 5.8 4.1 3.6 3.8 5.0 5.7 7.3 8.2 JUNE
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
JAN.
FEB.
MARCH
APRIL
MAY
Above: Climate data for Calgary Canada Opposite: Top: Interior render looking out to the nearby aspen forest. Bottom: Detail of blanket system drawn by team member Aaron Trampush.
daylight hours
Model built by all team members for testing and presentation.
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Agrarian Buildings of the Palouse \\ Documenting a Dying Typology
The documentation of agrarian buildings of the Palouse was inspired by a number of exhibitions that were curated by Robert Hutchison, Taiji Miyasaka, and others. I viewed them as members of a dying typology; monoliths of the past. Recording their interactions with nature and man. Most of the structures are seen by local farms as insurance liabilities and are either torn down or left to decay.
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Above: Various photographs of timber grain elevators and silos throughout the Palouse region. Opposite: Photo-collage of an abandoned timber grain elevator on the north edge of Pullman, Wa.
The monolith’s demise came from a wind storm during the middle of the night and created a temporary Serra like installation.
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University Entrance study \\ Documenting Entry Sequences of Collegiate Classrooms
As an independent study I wanted to do some ďŹ rst hand research. Interested in the variety of entry sequences around campus I to document major buildings used as classrooms. Initially I wanted to see if there was any correlation to the ďŹ eld of study and the entry sequence. By collecting historic photographs and drawings, taking photographs and measurements of current condition I determined that there was little correlation in both the original designs and any alterations with one exception: Johnson Hall when it was remodeled to hold the landscape architecture program. As one might expect, the primary factor for entrance sequence was the time period in which it was built.
Above: A collage of the entrance space to the Fine Arts Building. Opposite: posters presented as part of my work.
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BUILDINGS OF WSU A look at the development of building entrances on a land grant campus: a story of change
1902
1910 90 910
1913 13
119 1929 9 9 929
1935
19 1942 94 942 4 42 2
project overview HOW DOES ONE ENTER INTO A BUILDING? Its not a question that much of us entertain on or daily route, walking from class to class, building to building; but it does have a profound impact on how we intact with a building. Take for instance the difference between how one might visit a fancy hotel (pull up in your car, under a portico, greeted by a bellhop, enter though a heavy oversized door into a luxurious lobby with hanging chandlers.....) or your friends house (pull up and walk around to the back door, slide open the glass door to be greeted by your fiend sitting on the couch watching tv). This project was an exercise to critically observe and document the transition from outside to inside of academic buildings over the course of Washington State University’s history.
194 1946 946 94 46
fancy hotel
friends apartment
selected buildings
conclusions As a land grant university Washington State is constantly changing its campus. Building new buildings and renovating old buildings. I have found that very few academic buildings are now entered as they were originally designed. Some due to funding like Carpenter Hall, who’s grand stair to the second floor was never built. Some because of new infill buildings like Johnson Hall whose main entrance no longer exists. Some because of additions like Murrow, where the original lobby is now office space and the main entrances are located in two fire stair well on the back side of the building. Still others by renovations and pedestrians desire to walk from one building to the next in the shortest path possible. With all of these issues present there seem to be few builds that are designed in such a way that foresee and plan for change so that students 50 years from now aren’t walking to there class via the fire escape on the side of the building.
Thompson Hall Murrow Hall Van Doren
1894 1899 1909
Bryan Willson-Short Hall
1909 1913
Carpenter Hall
1915
Todd Hall
1949
Hollad Library
1948
Johnson Hall
1961
Cleveland Hall
1963
Lighty Student Services Student Recreation Center Life Sceinces Building
Kimbrough Music
1964
13'8"
Eastlick Hall Owen Science Library
Student Recreation Center
Beasley Coliseum
Tunnel
Kimbrough Music Fine Arts Center Webster Science Building
2 2010
Johnson
1970
Bryan
1974
Lighty Student Services
1977
WilsonShort
Cooper Publications
Feed Plant
Food Services
Fine Arts
Eastlick
1977
M MP
Todd
Agronomy Seed House
skey ces
1996 2001
reamery Annex
Webster Phys. Sci.
Surplus Stores
2009
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F
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G H
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P M
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B AA
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L K
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Underground hallway after you enter one of Jonshon Halls most used entrances.
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Washington State University ARCH 499 Spring 2010 Bradly Gunn
1894-1930 Murrow Hall
Van Doren
Bryan
Willson-Short Hall
Carpenter Hall
1894
1899
1909
1909
1912
1915
Thompson Hall is the oldest existing building on campus and originally served as an administration building.
Originally Science Hall was built to serve the biological sciences and geology, then became the Arts Hall and finally in 1972 was named after Edward R. Murrow.
First known as the Domestic Economy Building, it was later to be named after NancyL. Van Doren, becoming the first campus building named after a woman.
Built on top of the old College Hall, the clock tower was not added until several years later in 1912.
Wilson Hall was designed by Rudoph Weaver, the same man that would design Carpenter Hall. Consequently, it looks almost identical and it too had several delays before it was completed. However, unlike Carpenter Hall the grand stair to the second floor fl was completed.
As a cost-saving measure Carpenter Hall was planned as a twin to Wilson Hall and was originally named the Mechanical Arts Building.
panorama of inside lobby space
perspective view of outside space
outside courtyard plan 1/128”=1’
original view of building
Thompson Hall
1931-1970 Holland Library
Johnson Hall
Kimbrough Music
Cleveland Hall
Fine Arts Center
1948
1961
1964
1963
1970
Todd Hall currently holds the College of Business and up until 1963 was the largest classroom building on campus.
One of the first libraries to be built on campus the original entrance is flanked fl by a thirty foot tall high relief sculpture.
Like most buildings on campus Johnson Hall’s entry sequence and been changed as newer buildings in-fill the campus. In this case only the access to the glass pavilion between the two major buildings is through the center courtyard.
Although Kimbrough Music Building has under gone an extensive renovation it has continued to house the music department since is was built.
Cleveland Hall was built for the College of Education with specialized laboratories in place of standard classrooms.
The Fine Arts Center’s main floor fl is on the fifth level and is accessed through a sculpture plaza.
panorama of inside lobby space
perspective view of outside space
outside courtyard plan 1/128”=1’
original view of building
Todd Hall 1949
1971-2010 Webster Science Building
Eastlick Hall
Owen Science Library
Lighty Student Services
Recreation Center
Life Sciences Building
1974
1977
1977
1996
2000
2009
Webster Science Building is the tallest building on campus and holds the physics and geology departments.
Eastlick Hall was built as an addition to the nearby Science Hall and named after Herbert L. Eastlick, Chairman of the Zoology department.
While the connecting overpass from Abelson Hall may seem like a later addition it was actually built at the same time.
An addition to French Administration Building Lighty Student Services houses admission, financial aid, counseling services and career services.
Designed by Yost Grube Hall Architects the well used Recreation Center was budgeted at thirty-nine million dollars.
Costing over seventy-two million dollars the Life Sciences Building supplies the School of Molecular Biosciences with 128,000 sq. feet of laboratory and administrative space.
Photography \\ Looking for Stories in Texture
Palimpsest is a fancy word referring to when parchment was reused and you could see the traces of previous writings. Like reused parchment, the environment around us records stories of the past.
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A now abandoned bowling alley that I used to visit as a child slowly shedding its skin.
Widow washers and a building blocking views to Treasure Island in San Francisco.
An abandoned industrial site in the middle of Washington State. The weathered wall now acting as a sun dial.
Taken after jumping into the PaciďŹ c Ocean of the Northern Washington Coast in January of 2012
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painting \\ Finding Alternate Means of Communication
Sometimes I’m asked if I’m afraid of being seen as a distracted student of architecture that would rather be an artist. Personally, I don’t try to differentiate between the two professions. Both my architectural and artistic endeavours help facilitate my understanding of the human condition. Consequently, the majority of my paintings are about the body in some way. Studying the body through painting deepens my understanding of the body in architectural situations.
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Above Left: Painting about the ambiguity between the expression of pain and pleasure (acrylic on canvas). Right: Detail. Opposite Top: Various details from a series of work about making makers with the body (graphite on paper). Bottom: Abstraction of a young boy in intensive care (wine and graphite on paper).
Curiosity and observation often go hand-in-hand (acrylic on canvas).
Bradly Gunn
31417 NE 90th Cir. Camas, WA 98607
BRADLYGUNN@LIVE.COM 360.433.7689
BRADLYGUNN.COM
\\ Objective To thrive in a junior architect or internship position.
\\ Education 2011
Masters of Architecture Thesis: Process as Design Magna Cum Laude
2010
Bachelor of Science Architecture and Fine Arts Cum Laude
WASHINGTON STATE UNIVERSITY The Miller Hull Partnership Design Excellence Scholarship Departmental Tuition Waiver Institute For Sustainable Design Scholarship WASHINGTON STATE UNIVERSITY Outstanding Senior Award Jane Logan Scholarship President’s Honor Roll
\\ Proficiency PROFICIENT
FAMILIAR
DIGITAL Production
DIGITAL Adobe
ANALOG Graphic
ANALOG Construction
Autocad Sketchup MS Office Artlantis Revit Vector Works
InDesign Photoshop Illustrator Bridge Muse After Effects Lightroom Dreamweaver Premier Pro
Acrylic Charcoal Graphite Watercolor
Framing Roofing Siding Masonry Flooring Drywall Windows
\\ Experience 2011
The Miller Hull Partnership Seattle, WA
201 1
Washington State University Pullman, WA
2010
Nystrom | Olson Spokane, WA
2007
DABCO Management Pullman, WA
2005
Hardy Construction Vancouver, WA
INTERNSHIP Worked with Principal and Lead Architects on models, presentation drawings and daily office procedures. FIRST YEAR INSTRUCTOR Introduced assignments, helped lead class discussions, provided desk critiques, and graded projects. INTERNSHIP Worked with Principal and Lead Architects on schematic design and design development material for residential projects. HOUSING MAINTENANCE Responsible for assessing and repairing tenant damage along with general building maintenance. CONSTRUCTION Worked as a team and individual completing tasks throughout the entire remodeling process.
\\ Exhibitions 2011
Working on Ways of Working on work
PULLMAN, WA Final show for completion of M.Arch at Washington State University included paintings, models, drawings, installations, surveys, and videos.
2011
Ambiguity
SPOKANE, WA Solo show of paintings, drawings and photographs exploring the gaps of visual communications.
2010
MemoryScapes:
PULLMAN, WA Group exhibition included models, photographs, videos, and installations documenting the Agrarian Buildings of the Palouse.
Agrarian Buildings of the Palouse Recalling our Interactions with the Landscape
2010
Timber Grain Elevators of the Palouse
UNIONTOWN, WA Group exhibition curated by Robert Hutchison and Taiji Miyasaka included design projects, photographs, video and models.
2010
Hope:
SEATTLE, WA 13th annual AIA Seattle architecture model exhibit.
Something to Build On
2009
Selected Student Work
PULLMAN, WA Annual student showcase at Carpenter Hall.
2008
Exemplary Student Work
PULLMAN, WA Showcase for NAAB CertiďŹ cation Committee for Washington State University.
2006
Student Annual
VANCOUVER, WA A curated event at Archer Gallery: several drawings and paintings where selected to participate in the student annual for Clark College.
\\ Competitions 2009
WSU Masonry Competition
WINNER A Northwest Concrete Masonry Association and Masonry Institute Promotional Group sponsored event.
2008
Live the Box Competition
PARTICIPANT An AIA Newark and Suburban and Skanska sponsored International Design Competition.
Thank you.