SERENA GARDINER WORKS
professional work
WSU MUSEUM OF ART
6
BELLEVUE CHRISTIAN HIGH SCHOOL
8
MARK TWAIN ELEMENTARY SCHOOL
10
3RD+LENORA
12
DEPARTMENT BENTO
14
DRAGONFLY HOUSE
16
STIRRUP HOUSE
18
EAGLE INDUSTRIAL CAMPUS
20
PORTLAND WATER BLOCKS
22
academic
BROAD
30
SHIFT
62
VERTICAL FOREST
66
INVERSION
68
WALL HOUSE
72
THE BOX EXPERIMENT
76
REFRACTION
78
observations
81
contact
101
4
p rofe s sio na l wo r k
5
JORDAN SCHNITZER MUSEUM OF ART Client Location Firm
Washington State University Pullman, WA Olson Kundig Architects
This project, led by Jim Olson, is located on a prominent site of the WSU campus in Eastern Washington. The 10,000 SF addition of galleries to the existing WSU Museum of Art serves as a beacon and gathering space for the campus and community, housing much of the school’s dynamic collection. This diverse assembly of art prominently features work from the collection of Jordan Schnitzer, filled with an assortment of notable post-modern and pop art works. As one of the primary projects I worked on while an intern at OKA, one of my main roles on the project was to create dynamic graphics, renderings and presentations which conveyed the essence of the project that could be shown to stakeholders. I was also responsible for production and assembly of the detailed final recommendation report and proposal for the client prior to moving forward with design development. Many of my other roles included: conducting site, code, & environmental analysis/research; site and building modeling in CAD, Sketchup, and Revit; scheme development & coordination
6
7
BELLEVUE CHRISTIAN HIGH SCHOOL Firm:
Mahlum
Location:
Clyde Hill, WA
Status:
On Hold
This complex, multi-phase project for a private high school just outside of Bellevue required demolishing part of the existing building and constructing new classrooms, administrative offices, gym and athletic facilities, and a black box theater during the first phase. The second phase demolishes and rebuilds the second half of the building, primarily classrooms, STEM lab, and cafeteria/commons. As project architect on the five person team since conception, I was responsible for helping develop the program, space planning and main concept of uniquely bringing light and materiality into the building which will enhance the user’s spiritual experience. While developing the design, I also helped to manage costs, develop the construction documents, select materials and products, and coordinate specifications. Due to the complexity of phasing and the extremely complicated, multi-level terrain and height constraints, much of my design work required an extraordinary amount of coordination with consultants, city and county officials, and the client. As a GCCM project, we also worked closely with the contractor and subs throughout the design process. The end result is a beautiful and dynamic building which met the budget while providing an enhanced learning environment for it’s students, educators, and community.
Main Lobby -
8
Early Concept Rendering
Main Entry Rendering (by others)
Exterior View at Entry (rendering by others)
9
MA R K TWA I N E L E M E N TA RY S CHOOL AD D IT ION Firm:
Mahlum
Location:
Clyde Hill, WA
Status:
On Hold
This neighborhood school on Seattle’s east side required the addition of four new classrooms, new gymnasium and covered play structure. Because the existing building, site, and utilities were already extremely tight, the project required extensive coordination with all consultants and stakeholders, and had to be executed in multiple phases. As the project architect, I led the design process in finding a creative and unique solution which enabled the new classroom pods to remain close to the other existing learning spaces. It also allowed the placement of the more public functions of the gym and library to coalesce on the other end of the site, which better serves the students and community while minimizing the building footprint and costs. As part of the design team since project conception, I was responsible for programming and planning, client interaction, concept development, code and egress analysis, permitting, consultant and contractor coordination, product selection, technical detailing, budget, bidding, and construction administration. During the design development I helped lead the interior development and concept primarily in the library, which resulted in a fun and playful scheme offering students and staff a multitude of space types and scales within. Library Interior - Concept rendering
10
Exterior View at Library and Covered Play
Library Interior - Final Rendering
11
3RD+LENORA Firm:
Perkins + Will
Client:
Martin Selig Real Estate
Location:
Belltown, Seattle, WA
Status:
Under Construction
This forty-story, mixed-used tower is located in the heart of Seattle along a dynamic and prominent transitarterial. The lower half of the building consists of commercial and office space with an green roof/terrace and amenities, while occupied the rest is made up of hotel rooms, short term rental units, and 25 floors of market-rate microunits and amenities. The tower also features a luxurious top-floor, double height penthouse containing unique amenities and sweeping, 360-degree views of the city and Puget Sound.
As project architect on a large team of over ten designers, my primary role throughout the design process was leading the curtain wall design and coordination. Given the building size and prominence, our goal was to create an elegant and minimal facade while meeting stringent energy requirements and responding to the surrounding context. Additionally, I took on a number of roles during design including: exterior envelope research and detailing; green roof detailing and design; exterior materials research and selection; client, contractor and consultant interface; mechanical, structural and plumbing coordination; hotel and residential unit design and coordination; specifications writing and research; code/life safety analysis and documentation; permitting coordination; Revit/BIM modeling and management.
12
LEVEL 18 362' - 6"
View looking south on 3rd Ave (rendering by others)
13
DEPARTMENT BENTO Firm:
Graham Baba Architects
Client:
Tom Douglas Restaurants
Location: Bellevue, WA Status:
Complete
Photo Credit: Charles Koh, eatinseattle.c om
14
This 2,500 SF, 70-seat restaurant, for local Seattle chef Tom Douglas offers a fresh, dynamic space within a complex and established retail building. The space contains an ordering line adjacent to an open kitchen, two separate dining areas, an updated existing kitchen, and back-of-house spaces. The restrained palette, thoughtful lighting, and clever branding design allow for a relaxed yet playful atmosphere.
As project architect, I helped implement the original concept within the constraints of the existing space, including the design of the “boxes within a box” which carries through the restaurant. Within those tight D E PA R Tconstraints M E N T B EI Noptimized TO the layout and seating arrangement to best serve the client and customers. As design progressed, I led consultant coordination and the development of the construction documents and detailing.
Early concept rendering
TOM DOUGLAS I NORDSTROM BELLEVUE RESTAURANT
DESIGN DEVELOPMENT
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L3
L1
D R A G O N F LY H O U S E
3000
MEAN HIGHWATER ELEVATION (MHWE) 3000.79' MSL NAVD 1988
#10 3000
20"
3020
10
20'
3020
EP
12"
S
3°4 S2
ST
18"(SNAG)
DECK
#8
3024'
12"
MAIN HOUSE
12"
12"
18"
12"
35 STE
12"
30 30
14"
MAIN FLOOR ELEV. @ 3041 BASIN
30
ROARING HELL
S TIE
12"
R
40
12" 18"
45 30
12"
BOULDER
12"
D OA ILR RA
14"
35 30
PLA NTE
14" 16" 12"
D TIES
E
S
12"
16"
14"
3040
50 30
R HBO NEIG
- Closer to area of boulders
ROA
NG H RA FIS
14"
14"
3035
12"
PS
RAIL
ITE WH
12"
#9
12"
30
12"
- Potential for limited view by pulling house further back - Closer distance to garage 1 06
12"
14" #4
- Removal of many trees required
3030
) '(R .78 ) 189
#5
K DEC
PLANTER
25 30
DECK
12"
EXISTING GUEST HOUSE H HOUSE 3024' RC PO RED VE CO
AREA OF BOULDERS
3025
'(M .80 189
12" 12"
12"
) )(R
303 0
18"
'(M .44 233
AREA OF BOULDERS
3"E
25
0'2
30
- Elevation is much higher than guest house
2 06
6"(DYING) 8"(DYING)
12"
- Potential for walk-outs at both living area and basement
3015
#661 5"(DYING)
14"
Whitefish, MT Olson Kundig Architects Complete
10' HORIZONTAL SETBACK FROM LAKESHORE PROTECTION ZONE
DW ALK
TRAIL
12"
14"
- Minimal amount of cut/fill in regards to north/south elevations
3010 AR
R BOULDE GAME
301 5
12"
12"
20 30
BO
TH
12" 20"
14"
2 07
24"
PA
12"
2'
(DYING) 30
GAME TRAIL
1 07
LAKESHORE PROTECTION ZONE 20' HORIZONTAL SETBACK FROM MHWE
3005
16"
(DYING)
#7
12"
2' PATH
16" OLD DECK
12"
3015
GRAVEL BEACH
3005
12"
18"
3010
Location Firm Status
M a in H o u s e O p t io n 1 D is c u s s io n P o in
AREA OF BOULDERS
AREA OF BOULDERS
16"
14"
12"
14"
18"
55 30
40 30
15'
15"
18"
12" 12"
#3
3055 AREA OF RO CK
20"
12"
14"
14"
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3 76
EOW
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EOW
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3 0 53 .1 88
18"
3 0 40 .6 34
3 0 37 .3 21
4 79
5 16
3 0 51 .3 61
TB
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BB
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TB
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12"
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1 14 CL
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OF DRIVE WAY
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3050
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30
55
EDGE
14"
EXIS TIEDNGE GOFR OROAAD D 304
12"
22"
12"
#6 3040
304 5
55 30
Modeling of the site and buildings in Revit were
30"
5
12" 12" 12" 12" 22"
60 30
among some of the tasks I assisted with, as
12" 12" 14"
#2
"LACOB DRAINFIELD"
12"
30 60
16" 12"
12"
16"
12"
R IV E
12"
A Y
12"
W
25' 3070
1
M a in H o u s e O p t io n 1 - S it e P la n SC A LE:
1 " = 5 0 '- 0 "
305 5
129.39'(R) N77°0 9'33"W
12" 15
12"
'
25'
12" 129.33'(M)
D
14"
D
12"
14"
306 5
12"
#1
E
2
12"
3070
V
305 0
A
BOAT GA RAGE OP T
16" 15'
P
3065
siting studies, and presentation graphics.
21
16"
well as setting up the schematic drawing set,
45
4. 31 '(M ) 21 S3 9° 4. 57 43 '49 '(R "W )
30
16"4'LATH
18"
16
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1 85 3 0 46 .2 27 BB/EORD
3 0 51 .6 16
1 88
3 0 54 .6 64
X
12"
30
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3 0 36 .1 07 54 3 0 37 .7 57 REB_ W/CAP(7 9 75 S)
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2 17 X
2 9 96 .7 53
4 43 3 0 31 .3 35 X 3 04 3 0 32 .8 08 T OP_ ROCK
3 01 3 0 32 .0 92 EORD
2 36 3 0 46 .1 84 T OP_ ROCK
2 44 2 97
3 0 48 .8 41
3 0 50 .7 56
X
2 78 3 0 50 .4 21 ROCK
T OE
2 94
1 62 3 0 45 .4 83 1 2 "FIR 3 0 46 .6 32
1 58
16"
4 14 3 0 11 .5 43 8 "BIRCH(DYING)4 10 3 0 10 .9 53 BB
3 0 14 .4 30
3 06 3 0 26 .4 39 ROCK
3 07 3 0 29 .7 09 ROCK
2 99 3 0 44 .4 56 T OP_ ROCK
TB
6 45 2 9 96 .9 84 6 21 EOW 6 46 3 0 00 .4 33 2 9 97 .7 15 T OP_ ROCK 6 40 X 2 9 96 .8 83 6 39 EOW /EOG 2 9 96 .8 29 6 47 EOW 2 9 98 .8 92 6 20 X 3 0 02 .1 87 10 2 9 97 .8 94 T OP_ ROCK SET _ NAIL 6 24 6 22 6 16 2 9 99 .1 69 6 25 .7 41 3 0 01 .73520 02 .0 76 ' PAT H CEN_2 2 9 99 15 6AT H3 0 02 .6 74 DECK CEN_2 ' P 6 18 CEN_2 ' PAT H 6 14 6 17 DECK 3 0 01 .2 44 6 23 3 0 03 .3 10 3 0 01 .6 19 T OP_ ROCK 3 0 00 .7 54 DECK/LIGHT T OP_ ROCK 6 48 CEN_2 ' PAT H 57 2 9 98 .5 33 3 0 02 .0 80 EOG 6 13 6 19 3 0 05 .2 73 REB_ W/CAP(7 9 75 S) 3 0 05 .4 91 6 26 DECK DECK/LIGHT 3 0 01 .2 44 6 73 6 79 3 0 06 .9 88 CEN_2 ' PAT H 3 0 05 .3 61 1 6 "FIR X 6 74 86 6 80 6 12 6 11 33000505.7.7 72 3 0 06 .5 73 6 27 DECK 6 81 X 3 0 04 .0 47 243 0 07 .1 50 DECK 3 0 08 .1 DECK/LIGHT 6 82 6 78 CEN_2 ' PAT H BB 6 33 3 0 08 .4 24 6 34 3 0 08 .2 24 3 0 04 .9 37 6 72 6 75 .2 45 3 0 07 BB X 6 29 0 07 .0 60 3 0 07 .1385 CL UM P_ 4 BIRCH(DYING) 6 31 T OE 3 0 05 .4 24 6 83 6 77 10 .6 17 DECK DECK 3 0 05 3 0 11 .4 01 6 84 DR 33000909.1.16161 BL DR6 BL 3 0 11 .9 20 30 T OP DECK/LIGHT 6 02 6 32 T OP 3 0 06 .0 81 6 76 6 28 10 .2 52 05 .2 32 3 0DR BL 3 0 09 .6 00 3 0 6 35 3 0 07 .4 36 DECK BL DR 6 71 DECK 3 0 13 .5 69 CEN_2 ' PAT H 3 0 09 .9 89 5 95 T OP 3 0 13 .0 43 DECK 6 70 6 61 X 3 0 11 .3 14 3 0 14 .0 16 DECK/LIGHT SET _ NAIL 6 88 6 69 4 15 6 36 3 0 11 .0 60 3 0 13 .0 32 3 0 07 .1 01 5 96 3 0 14 .3 53 CEN_2 ' PAT H 3 0 16 .2 78 2 0 "FIR 5 "BIRCH(DYING) T OP 6 856 68 6 01 X 31.2 80 6 87 130.413 303 6 03 6 86 6 89 3 0 13 .5 22 3 0 17 .1 46 28 DECK/ 3 0 14 .4CEN_2 3 0 13 .8 74 HEP ST ' PAT 5 94 3 0 09 .0 01 EP ST CEN_2 ' PAT H CEN_2 ' PAT H POL X 3 0 17 .9 70 X 67 6 00 6609 4 25 0 15 .2 31 33 00 14 80 14 .9.8358 3 0 23 .7 42 08 6 DECK/LIGHT 6 06 COR DECK_ 18 3 0 16 .3DECK 6 66 DECK/LIGHT 3 0 11 .4 22 5 97 3 0 17 .2 12 DECK DECK_POST 3 0 19 .0 22 5 93 COR/ST EP 3 0 21 .3 03 07 6DECK_ 6 90 4624 23 463 X 3 0 14 .4 25 3 0 11 .2 58 5 99 03 1 2 "FIR 23.7.501 330016 3 0 23 .5 94 DECK_POST X 5 91 3 0 17 .5 49 DECK_POST DECK_ CORDECK_ COR/T OP_ST AIRS 4 16 DECK 3 0 22 .9 59 3 0 11 .3 51 6 65 4 26 6 62 X 5 92 3 0 17 .7 78 3 0 23 .9 25 DECK_POST 3 0 13 .9 24 DECK_ COR 3 0 25 .1 37 DECK_ COR 5 98 DECK_POST 1 2 "L ARCH 6 64 3 0 20 .1 15 3 0 17 .1 77 4 11 DECK 3 0 15 .2 85 X BB 4 08 5 90 3 0 19 .5 31 3 0 26 .4 60 BB 1 2 "FIR 4 27 4 17 33001723.0.99251 DECK_ COR DECK_POST 5 46 3 05 24 .1 05 35045 4 12 3400722 .8 31 3 0 24 .1 21 HSE_ COR 8 ROCK 3 0 18 .4 78 3 0 22 .1 58 4 28 DECK_ COR 3 0 24 .2 43 BB T OP_ ROCK 3 0 23 .9 85 SET _ NAIL 4 18 5 89 F F _ EL EV 4 06 3 0 18 .4 42 3 0 26 .7 16 6 04 3 0419 3 0 30 .7 97 X DECK_POST 5 50 19.8 95 T OP_ ROCK 3 0 23 .7 83 3 03 POL 5 48 3 0 18 .7 97 5 86 3 0 23 .5 92 3 0 33 .5 48 ST EP/LIGHT HSE_ COR 3 0 24 .0 15 5 87 5 65 EORD/ROCK X 3 0 30 .8 55 F F _ EL EV 3 0 24 .0 28 5 51 5 88 4 30 X 3 0 25 .9 21 5 49 ST EP 3 0 28 .5 10 3 0 20 .5 92 5 44 98 1 2 "L ARCH 3 0 24 .8 ST 3 0 23 .0 80 BB 5 64 EP 4 35 1 8 "FIR 3 0 26 .0 74 ST EP 3 0 26 .8 81 5 85 ST EP 5 52 3 0 26 .6 43 T B/STUM P 3 0 35 .3 06 63EP/LIGHT 5 5 43 X ST 3 0 26 .5 33 3 0 23 .0 75 5 66 4 31 4 34 0 26 .3 73 3 EP ST 9 3 0 28 .3 88 ST EP 3 0 26 .6 14 PL ANT ER 3 0 36 .6 24 4 204 1 2 "FIR TB 3 0 21 .4 08 SET _ NAIL 5 84 4 29 COR 5 42 HSE_ 3 0 35 .5 31 3 0 21 .8 69 3 0 22 .5 25 21 1 2 "FIR BB 3 0 22 .3 29 ST EP 4 33 5 67 22 5 41 4 COR 76 3 0 27 .3HSE_ 3 0 26 .9 49 22 .9 50 35 040233 .30 06 5 70 5 83 TB 3 0 34 .5 58 .0 14 5 53 0 26 3 ER /ROCK COR EP 3 0 23 .2 47 PL ANT DECK_ST 4 32 ROCK ROCK 4 37 3 0 28 .7 62 1 2 "FIR 3 0 27 .7 19 3 0 33 .5 94 5 62 EP/LIGHT X ST 3 0 27 .6 97 1 4 "FIR ST EP
4 13 3 0 08 .4 42 6 "BIRCH(DYING)
3 0 09 .8 51
4 09 3 0 18 .1 97
3 0 26 .3 67
3 0 34 .1 95 ROCK
3 00 3 0 40 .0 50 EORD/ROCK
2 80 3 0 43 .6 76 HEL L _RRNG
2 34 3 0 48 .1 11
6 49 3 0 00 .4 74 EOG
3 70 3 0 05 .4 92 GAM E_ T RAIL 3 0 10 .9 92
BB
BB
3 0 31 .5 11 3 08
2 24 3 0 42 .0 11 EORD
2 81 3 0 43 .8 83 W EL L/SPIGOT
X
X
2 03
1 61 3 0 45 .5 07 1 4 "FIR 3 0 44 .9 49
2 9 96 .7 50
6 60
X 6 51 2 9 99 .3 29 EOG
6 52 3 0 00 .8 81 EOGEOG 3 0 08 .5 476 54 6 53 3 0 05 .6 82 3 0 01 .2 29 X
3 12
3 11
BB
3 0 37 .9 29 EORD
3 0 43 .9 82
X
2 21 3 0 44 .5 47 EORD/BB
2 84
2 77 3 0 50 .0 82 ROCK
POL
3 0 20 .3 87
3 13 3 0 32 .0 86 1 2 "FIR 3 10
3 09
2 22 3 0 43 .2 08 EORD/14 "F IR 2 82 2 83 3 0 45 .5 94 1 4 "FIR
3 0 41 .4 82 2 93 3 0 44 .4 46 1 2 "FIR
2 18
X
X
X
3 0 28 .2 71
BB
3 14 3 0 32 .9 65 1 2 "FIR
2 23 3 0 40 .6 95 EORD/12 "F IR
3 0 42 .2 34
2 35
X
3 0 41 .2 50
1 60
3 69 3 0 08 .6 86 GAM E_ T RAIL
6 58
4 02
3 18 4 03 3 0 26 .7 45 3 0 26 .3 49 T OP_ ROCK 6 "CEDAR
3 0 24 .6 50
3 15
X
3 0 39 .9 50 2 92
X
6 37
6 55
BBT
3 19 3 0 35 .9 08 1 2 "L POL E
3 20 3 0 41 .6 29 T OP_ ROCK
4 3 0 42 .4 34 SET _ NAIL
3 29
2 85 3 0 47 .2 13 1 6 "FIR
3 30 POL
2 91
6 50 2 9 98 .3 64 EOG
6 56 3 0 05 .1 08 3 0 05 .1 72 BIRCH(DYING)
4 01 3 0 16 .2 30 1 2 "FIR
3 17 3 0 23 .5 84 OP_ ROCK
3 16
3 0 28 .2 34
X
3 0 41 .8 20
X
3 27 3 0 42 .1 32 1 2 "FIR
2 86 3 0 42 .8 88 1 4 "FIR
2 88 3 0 41 .8 57 W F _ RNGE 3 31 3 0 38 .7 24 2 87 1 2 "FIR 3 0 39 .8 39 1 2 "FIR
2 90 3 0 39 .3 87 1 4 "FIR
2 9 99 .3 14
BB
3 0 06 .1X91
4 04 3 68 3 0 12 .6 09 3 67 3 0 09 .5 75 5 "CEDAR 3 0 14 .1 23 GAM E_ TRAIL /ROCK GAM E_ T RAIL
4 00 3 0 19 .3 55 T OP_ ROCK
3 61
3 21 3 0 39 .0 52 T OP_ ROCK 3 28
2 89 3 0 37 .4 87 W F _ RNGE
3 32 3 0 36 .9 73 1 4 "FIR
6 57
3 99 1 6 "FIR
X
3 66 3 0 14 .4 29 GAM E_ T RAIL
3 60 3 0 25 .4 83 1 8 "L ARCH(SNAG)
3 0 37 .1 38
X
3 0 36 .8 77
X
3 34 . 53 3 0 37 1 1 2 "FIR
3 33
2 9 99 .6 87
93 3 0 13 .4 99 7 COR .1 76 3 0 13DECK_ 3 98 SET _ NAIL 3 0 14 .6 69 ROCK
3 0 28 .2 97
3 22 3 0 37 .2 80 T OP_ ROCK
3 26
3 25 3 0 37 .4 32 1 2 "FIR
3 0 27 .3 05
3 37
EOW 3 82 2 9 96 .9 34 EOW /GRAVEL _BEACH
3 84 3 96 3 0 08 .4 11 ROCK
3 0 08 .4 26 ROCK
3 0 06 .2 26
X 3 0 08 .3 29
3 62 1 2 "FIR
3 0 32 .7 78
3 40 3 0 25 .7 15 1 4 "FIR
5 3 0 32 .5 91 SET _ NAIL
3 38
2 9 97 .0 74
2 9 99 .7 04
BB
3 95 3 89 3 88 1 2 "FIR
3 0 23 .5 02
X
3 0 18 .9 26
12"
2 9 96 .8 15
EOW
3 85 3 0 00 .0 95
BB
3 71
3 41 3 0 27 .1 71 2 0 "FIR
X
6 43 2 9 96 .8 97 EOW /ROCK
3 79 EOW
3 86
3 64 3 0 17 .7 72 GAM E_ T RAIL
3 23 3 0 34 .7 60 T OP_ ROCK/1 2"F IR
3 0 12 .7 55
3 42 3 0 21 .0 42 1 2 "FIR
3 39
12" 12"
15"
12"
6 42 2 9 97 .0 82 EOW /ROCK
3 78
3 74 3 0 13 .5 77 1 8 "FIR
3 63 3 45 3 0 22 .5 27 8524 3 0 20 .6 3 GAM E_ T RAIL 1 2 "FIR 3 0 23 .4 69 X 3 49 3 0 25 .1 06 3 44 TRAIL /T OP_ RIDGE 3348 0 19 .3 59 GAM E_ 3 0 19 .9 75 1 2 "FIR GAM E_ T RAIL
3 47 3 0 15 .9 44 GAM E_ T RAIL
3 46 3 0 08 .6 38 GAM E_ T RAIL
3 43
EOW
3 72 3 73 3 0 15 .9 70 3 0 14 .9 17 2 0 "FIR 3 0 13 .4 48 ROCK
3 0 10 .4 76
3 54 3 503 0 01 .2 11 BB 3 0 03 .7 02 TB
2 9 99 .9 53
3 0 05 .4 87
6 92
3 52 3 0 01 .4 39 BB 51 3 3 53 3 0 04 .4 95 2 9 99 .9 51 TB BB 55 3 0 05 .2 62 REB_ W/CAP(7 9 75 S)
2 9 96 .8 16
2 9 96 .8 21
3 75
3 57
EOW
3 56
3 55
EOW
12" 12"
OP T2
1 OPT AGE GAR
12" 12" 50 30
schematic design efforts and site development.
103.16'(M) 103.24'(R)
14"
the hilly shore of Whitefish Lake, I assisted with
14" 12"
S01°29'11"W
12"
12" 12"
GA RA GE
For this grouping of vacation homes located on
12"
3050
) 01'(R ) 424. )(R) 15'(M 30'(M 424. 453. 48"W °29' N15
14"
45 30
306 0
N
5/8" REBAR
JO H N S O N R E S ID E N C E
306 5
PA V
ED
RO
AD
S IT E S T U D IE S A P R IL 9 , 2 0
M A IN H O U SE O PT
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STIRRUP HOUSE
Location
Ketchum, ID
Firm
Olson Kundig Architects
This home, hidden away in the quiet forest of Idaho, was intended to frame the beautiful surrounding landscape while also being designed around the client’s contemporary art collection. For this project, led by Tom Kundig, I participated in 3D Revit and Sketchup modeling, materials research and selection, renderings, and presentation graphics for the interior development.
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EAGLE INDUSTRIAL CAMPUS Client
Suzhou Eagle Manufacturing Group
Location
Suzhou, China
Firm
iHabitat Design
As a job captain for this massive industrial campus project, I led the in-office efforts of transferring the on-going development of construction documents into Revit for the purpose of systems coordination and conflict identification. This included modeling all architectural, interior, structural and mechanical systems with BIM. I was responsible for training the junior staff in Revit, modeling various systems, model and document checking and coordination, conflict identification, and communication between our staff and the contractor on-site during construction administration.
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P O R T L A N D W AT E R B L O C K S Client Location
Human Access Project Portland, OR
For this freelance project, colleague Lucas Gray and I designed a proposal for redeveloping key areas of the Portland waterfront along the Willamette River. Working with the client in preparation for the event The Big Float, it was intended to draw attention to the issues of direct community and pedestrian access to the river as environmental water standards become more stringent and pollution declines, thus creating potential for an active and iconic urban waterfront zone. Paying homage to Keller Fountain Park and playing off the city grid, the design would redevelop a mixed-use beach front and integrate a series of stepped blocks extending into the water. This would create a sheltered area for swimming and provide a variety of dynamic spaces and platforms to swim, lounge, picnic, sunbathe, watch live music and a multitude of other activities.
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ac ade mi c
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BROAD Culver City, CA
The Broad Contemporary Art Museum, housing the collection and facilities for the Eli and Edythe Broad Art Foundation, embodies the playful and unexpected nature of the post-modern and pop art within. The building draws from the industrial and also glamorous movie studio roots of Culver City, which is situated centrally amongst the harmony and chaos of the greater Los Angeles area. The museum manifests as a simple rectilinear form on the exterior, while subtle pushes and pulls on the semi-translucent façade offer a hint of the unexpected within. Once inside, the user is confronted with a world of ephemeral boxes floating amongst a massive, multi-use public space. The suspended boxes house the immense collection and each one reveals a unique experience based on the art within. A library, lecture hall, outdoor plaza and commercial spaces additionally serve as vehicles for dynamically connecting the community and public to the ever changing art world, furthering the mission of the Broad Foundation. This studio was taught by Yo Hakomori and Kulapat Yantrasast of wHY Architecture based in Culver City.
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Just some of the many post-modern and pop-art pieces in the Broad Collection.
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cu
so
ny
e tur c i p
s dio u t s
e
di
os
l vd
nic
rs tu
rb
ve
d blv
l ve
l ve
l
l vd
cu
pa
b ms
N
The surrounding context of the site, located in the heart of Culver City’s dynamic movie studio district.
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The driving concept for the design was to create a wholly internal yet dynamic procession through the museum, amplifying the ritual of viewing art and providing a series of unique experiences for the users. The volume would remain simple, understated, and form-fitting to the site, while a diaphanous materiality could allow it to take on varying qualities from day to night. Within the massive space are a series of unique destinations hovering in the void and clearly visible to all users. Each destination would contain a unique design and experience to compliment the pieces within. Equally as important as the galleries would be the spaces in-between. The resulting voids would be delineated by structure, light, and views, and provide unexpected venues for a multitude of uses.
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The development of the plan evolved by unearthing compositional balance and proportion within the programmatic and site constraints. The relationship of solid to void was explored in a variety of mediums, unfolding a pattern which maximizes the aesthetic and experiential qualities of the spaces while maintaining the strict functional requirements of such a specialized museum.
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Physical modeling was integral to the development of the form and materiality of the building. The process models shown explored various relationships to the site, the tectonics of the outer skin, and programmatic relationships and composition within the overall building volume.
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Final massing model
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The development of the facade was a constant exercise in finding compositional balance of the interior spaces both during the day and at night. Due to the enclosure’s translucent qualities, the volumes within are barely noticeable in daylight and the building sits quietly in the urban landscape. At night however, the glowing masses and structure shine through, revealing the dynamic character of the museum and the art within.
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RESTAU RANT
CO-OP GALLERY
TO PARKING
LOADING
LIBRARY CAFE
SECURITY
RECEIVING
TIX
MAIN ENTRY
TRANSITIONAL STORAGE
FOUNDATION LOBBY
PLAZA
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First Floor Plan
W A S H IN G T O N B LV D
MUSEUM SHOP
CULVER BLVD
GALLERY
GALLERY
LARGE SCULPTURE STORAGE
GALLERY
open to below
LIBRARY
STORAGE
STORAGE
SUPPORT FLAT STORAGE
reading LOUNGE room
3D STORAGE
PAINTING STORAGE
Second Floor Plan
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GALLERY
DAYLIGHT GALLERY
GALLERY
OPEN GALLERY
OFFICE PHOTO STUDIO
STAGING +PREP
open to below
VIEW GALLERY
VIDEO GALLERIES
GALLERY
GALLERY
WOODSHOP
Third Floor Plan
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GALLERY GALLERY
STORAGE/ FUTURE GALLERY
GALLERY
GALLERY
OFFICE
RESEARCH
open to below
FOUNDATION OFFICES
OVERLOOK
CLOUD GALLERY
Fourth Floor Plan
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North Elevation along Culver Blvd.
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MECH
OFFICE
CLOUD GALLERY
OFFICE MECH
VIDEO GALLERY
LIGHT GALLERY
HVAC
OPEN GALLERY
STAGING MECH
LIBRARY MECH
MUSEUM SHOP
restaurant
LOADING MECH
LECTURE HALL
STORAGE
ARCHIVES
security
CLASSROOMS
PARKING
N-S Section
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The primary structural system - trussed steel frames, suspended frames, and lateral bracing, enclosed by a double glass façade.
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The secondary structural system – post-tensioned concrete floor plates, steel column supports, and vertical concrete cores for circulation and
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The massive interior public space lends itself to a variety of uses.
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Each gallery contains a dynamic experience related to the size, type, and overall essence of the works. Although each one is selfcontained, the user is periodically given small glimpses back into the public realm and surrounding city, reinforcing and elevating one’s sense of floating within the larger space.
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Cloud Gallery
Typical gallery
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Looking down on the Open Gallery
View Gallery
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Subtle daylight filtering down through the largest of the floating galleries.
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Looking northeast down Culver Boulevard.
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SHIFT Portland, OR
At the collision of downtown Portland’s two major grids and in the shadow of the city’s tallest building, Shift is an economical thirty story mixed-use tower which serves as an icon and catalyst for community connections. The ground floor contains a local gallery, community arts co-op, subsidized retail space, and restaurants, all transforming a once drab parking lot into a lively continuation of the urban fabric. The upper tower offers office space and affordable low-income apartments ranging from 400 to 700 square feet. To enforce the dynamic energy of the city at this location, each level of the tower appears to shift and slide in relation to the grid and sight-lines, and is achieved by simply extending and receding the concrete slab of each floor plate with minimal extra cost. Having a total of only four floor plan variations which alternate in orientation, structural economy and efficiency are maintained while providing additional shading and offering outdoor space to those on upper levels. This project demonstrates the unique and dynamic qualities that an otherwise static building can take on when slight variations and patterns to the structure are explored.
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In an era where affordable housing is in short supply, a serious question affecting both architects and developers is how to create delightful and sustainable spaces without sacrificing efficiency and economy. This project explores the simple variations and patterns in a common building type that can result in beautiful and unexpected arrangements. By designing a simple floor plate consisting of small, efficient
bath
bed
VERTICAL FOREST
bath
kitchen
kitchen
living living Typical 1bedroom and studio layout
units, one unit per floor may be removed to give each level
floor plan, this theory could be applied in almost any climate, location, and extended to almost any size building needed. A multitude of patterns may arise based on the location and
terrace
2br 2br
for all to enjoy. Because of the simplicity and flexibility in the
1br
studio
and gardens to flourish and create a vertical urban forest
1br
studio
growth at these locations, allowing potential for trees, plants
studio
Furthermore, the slabs can be designed to allow for vegetative
2br
outdoor access and provide community gathering space.
Typical upper floor plan
height of the voids, adding dynamic and organic beauty to
lounge
laundry
janitor
lobby
entrance desk
Ground floor plan
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conference
offices
the urban landscape.
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I N V E R S I O N Tokyo/Kyoto/Osaka, Japan
Within the dense metropolises of Japan exist numerous alley spaces that typically go unnoticed and often are deemed too narrow or small to be utilized. In a country where the demand for affordable housing is astronomical, this project explores the potential for ultranarrow and minimal prefabricated dwellings that could be deployed in under-used spaces. The new infill serves not as a break, but rather an inversion of the urban fabric, emphasizing continuity, flow and connection between the solid and void instead of separation. The solution is a simple and flexible module based on an elongated “C” shape which can interconnect in a variety of configurations. It is available in lengths and widths based on the typical tatami mat layout, with the interior arrangements drawing from common Japanese dwelling patterns to create a meaningful space despite the confined size. The modules and cladding are assembled on a strong yet simple steel frame system, allowing the unit to begin at ground level or to be lifted so the street level space remains free for pedestrian traffic. As all of the components are repetitive, made from widely available materials and commodities, and allow for a multitude of arrangements, the resulting dwellings are efficient, inexpensive, and offer a temporary housing alternative for young professionals who wish for their own space within the dense cities of Japan.
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Interconnecting C-shape composite module
Interior finish panels
Side panels for infill and enclosure Panel and window system infill
Steel moment frame
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WALL HOUSE
HATCH
Hatch, New Mexico
Just outside of the rural farming town of Hatch, New Mexico lies a small, informal community of immigrant
PLACITAS LAGE HATCH VIL
and migrant workers. The impoverished residents face a severe health and housing crisis that is accentuated by lack of common municipal services such as water,
MILAGRO
AVENUE CHONTE
DOS AVE NUE
of individual homes and properties, as well as overall
DN
UER
a methodology for deploying growth and expansion
RO
REC
sewage and road maintenance. This project proposes
LIMIT
TEPACHE
STREET
community design and connectivity throughout El Milagro. By using a set of carefully oriented compressed earth walls as an initial framework, a family can build community center
upon them incrementally and ultimately base their
or e corrid
personalization and expansion as new family members move in or property is subdivided. Building upon these patterns encourages the growth of healthier and more pleasant dwellings, evolving family and community life so
RUSBAYO STREET
that ultimately residents may focus their energies on the bigger issues which affect them. Proposed community site plan
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Walking paths
future growth. This methodology allows for continual
d wildlif
while maximizing thermal mass and potential for
Proposed streets
Arroyo an
expansion on the formation of central courtyard spaces
EY
LA
TE
RA
L
(I
RR
IG
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These models explored the multitude of random and organized arrangements of a wall and it’s adjacent structures within a constrained site. This exercise revealed how these spatial patterns could potentially enhance social and community interaction and growth.
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PARK PARK sleep
driveway
2
bath
kitchen
1
living
patio
private yard bath
3
sleep courtyard
patio
living
4
kitchen
bath
5
sleep
PARK
circulation
private yard
N
connection to street
road Potential expansion sequence of one property
Potential community growth patterns in response to the landscape
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THE BOX EXPERIMENT The objective of The Box Experiment was to explore the dynamic nature of a typically static architectural component, The Wall, and to observe how people could potentially respond to its various spatial arrangements. By using a set of narrow boxes that were arranged initially in a public lobby, The Wall was able to shift, transform, and easily move within the space. Not only did people react to The Wall, but began to interact with and change it themselves. Over one week, The Wall constantly disintegrated and reassembled while completely altering the dynamics of the space. The experiment was a firsthand example of how spaces and objects normally considered static can be transformed when users are given the ability to physically interact with their environment.
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REFRACTION Eugene, OR
Refraction is a low-cost passive device that harnesses natural elements to create a dynamic space and provide visual stimulation to occupants. Designed to serve the occupants of the Moss St. Children’s Center in Eugene, it acts as a prism to refract light and create a spectrum on an adjacent surface. With collected rainwater acting as the medium, the spectrum constantly ripples and moves, and the reflecting surface underneath can be adjusted to aim the effect where desired. Even during the winter when direct sunlight cannot provide a full spectrum, the caustics from water movement are still visible. During the summer, if properly located, the device can also assist with evaporative cooling. Throughout the design process, 1” scale replicas were made of existing spaces to physically test and record the actual effects.
Interior view
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Morning
Mid-day
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obse r vatio n s
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F L AT T E N E D T I M E As one moves through a gallery or museum, there exists a peculiar relationship between the observer and the observed. Perception of time can fluctuate in correlation to proximity between the two. The closer one gets to a work of art, the slower they move and the more carefully they observe and reflect upon the subject. Their range of view also changes as they advance through a space. This project graphically explored these three dimensional relationships within a two dimensional medium mapping movement, views and time through a gallery space.
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MODELING The exploration of volume, composition, and materiality through physical modeling is a crucial and often pivotal component in my design process. I use modeling to continually inform my design, from the initial stages with abstract models, until the end with a fully developed massing, structural or detail model. I employ a variety of materials and textures in unique ways to best convey my ideas and develop a concept to its fullest potential.
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ART Through my art, I strive to convey fluidity, motion, and dynamicism, whether with rough architectural and urban sketches or a composed figure drawing or painting. My most developed mediums have been pencil and charcoal, with an emphasis on human figures and portraits. I also possess skill in watercolor, oil and acrylic painting, with subject matter ranging from abstract to detailed architectural compositions and landscapes.
acrylic
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Shanghai
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Hong Kong
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oil
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watercolor
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Hong Kong
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Ningbo Museum, Ningbo, China
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Tokyo, Japan
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Kyoto, Japan
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LIGHT+TEXTURE The interaction of scale, shadow and texture in nature and the built environment supply my design process with informal precedents that I document through photography, video and sketching. The constant interplay of these elements reinforces my resolve to create spaces that come alive with movement, light and materiality.
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video
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contact
www.serenagardiner-works.com e: serena.gardiner@gmail.com p: 206.596.6916
connect
www.linkedin.com/in/serena-gardiner-aia www.instagram.com/serenagardiner.works www.instagram.com/seattlesketcher
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