Bradly Gunn - Portfolio

[email protected]

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

Bradly Gunn BRADLYGUNN.COM

31417 NE 90th Cir.Camas, WA 98607

THE PREREQUISITE OF ORIGINALITY IS THE ART OF FORGETTING, AT THE PROPER MOVEMENT, WHAT WE KNOW.-ARTHUR KOESTLER-

5

I n d e x

DRAWING (FIGURES AND LINES)

VISUALLY ARTICULATE

PROCESS AS DESIGN (M.ARCH THESIS)

EXPLORATIONS AND EXHIBITIONS

STUDIO PROJECTS (UNDERGRADUATE)

VERTICAL FARM

MIXED USE FACADE

ART SCHOOL

LIBRARY

OTHER (RESEARCH + ART)

‘MAPPING’

SCREEN

AGRARIAN BUILDINGS OF

THE PALOUSE

ENTRANCE STUDY

PHOTOGRAPHY

PAINTING

RESUME

6

8

18

42

63

20

24

30

38

44

46

50

54

56

60

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 fi ne art it is important for me to continue to develop these

skills. Being visually articulate is as important to me as literacy.

draw i ng

Visual ly Articulate \\

7

Top: Figure studies.

Bottom: Line drawing.

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.

process as des i g n

Examining the creative process (Master of Architecture Thesis)\\

It’s natural to start the design process with a pencil and it’s rare that the fi nal 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 benefi cial 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.

Navigating Analog and Digital Studies \\

11

A . 2 section

b . 2 section

section

b . 3 section

section

b . 1 section

elevation

eas t elevation

hand

hand + computer

computer

Brainstorm Modeling \\

While architectural modeling is becoming more digital every year, I fi 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 fi 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.

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.

This drawing uses overlain clothing patterns

purchased at a local thrift shop to provide a

underlying structure for a developing city.

171717177

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.

Introduction \\

19

STUDIO PROJECTS

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.

Ver t i c a l Farm

Extending the Urban Path to the 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.

21

hanghanghanganha ing ingg sculsculscuscu pturpturpturpt e pae pae paae p rkrkrk

cafecafe

to kelp forest

to urban core

viewing platform

bamboo planters

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

fi rst fl oor, hanging sculpture garden (2nd), and a viewing platform in the middle of the bamboo forest

(5th).

23

1st

5th

2nd

“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.

M i x ed use Facade

Capturing the Identity of Los Angles in a Facade \\

high-rise buildings

verticality

freeway

linear

coast

defi ned edge

mountains

monolithic

palm trees

slender

onolithic mo

eens made scr

many linear by

ments ele

ented orie

rticallyver

modular

translucennt

panel system

for storeffront

display

privacy/climate

screen with

personalized

images

2525

ConcConceptepte modemodeom l bul bub ilt iltilt out out ou of pof pof paiaintaintaint, , ,

plasplasplasp ter,ter,ter, metmetmettal sal sal screecrecreen, bn, bn, bn asswasswasswswood,ood,ood,o

toy toy toy carscarscarsc , an, anand cad cad cad candlendlendlendlele waxwaxwax..

Working with Units\\

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: fl oor plans.

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.

27

3rd

2nd

1st

Boutique Retai l + 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 defi ned 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 fl oor, living room on

the middle fl oor and the retail space and cafe on the main fl oor.

As a child I spent my time exploring the seventy fi 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.

Ar t sCHool

Finding Inspiration in my Childhood\\

winter sun

carved entrance framed views

31

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.

Left: Vicinity map. Above: Satellite image with site outlined in red.

Opposite: Street views of neighboring blocks.

nortnortnortnortnortorortnortortortornorrnortnortnortortnortorto h beh bh beh beh beh beh behh bhh beh bh bh beh b achachachachachachchchachachachacachcc

histhishisthisthisthististhisthisstiststttstttoricoricoricoricoricrioricoricoricoricricoricricoricccoric

chinchinchinhinchinhihihinhinhinchinchinhihihichinc ihih aatowatoatowatowatowatoatoatatowatotowowatowatowatoatatato nnnnnnnnnn

nobnobnobnobnonoobonobnobnobobobobnobo hillhillhillhilhillhillhillhilllhillll

fi nananaananananciancinciancianciancianciacianciaicic l

embaembaembaembembaembaembaembaembaembaembaembamm rcadrcrcadrcacrcadrcadrcarcadrcadrcc eroeroeroeroeroeroerooorooo

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 offi ces.

Section through main entrance (lower), dancing studios (upper left), and dorms (upper right).

An Elevation + Sections\\

35

SSection through the gallery (lower left), painting studio (middle left), covered back entrance (lower

right), and hallways of the dorms (upper).i ht) d h ll f th d ( )

SSection through rooftop basketball court (upper), auditorium (middle right), circulation areas (middle

left), gallery (lower left), cafeteria (lower right) and parking garage (bottom).) ( ) ( ) ( )

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

simplifi ed geometry.

3rd

5th

4th

6th

1st

Above: Detail of 3rd fl oor plan showing precast concrete

panels on the inside of a glass facade looking down to a

small library on the second fl oor. Right: Floor plans.

Opposite: Several designs for the South-Western facade.

L i b r ary

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 fl oor is quiet

with a north facing reading room, the main fl oor 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.

39

Above: Section looking west, through the reading room on the

upper fl oor, central stacks, and computer lounge in the lower

fl ower.

Opposite: Top: Laser cut model. Middle: Main fl oor 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.

...because being a student of architecture brings more than just design charrettes.

Introduction \\

43

OTHER

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.

‘ M a p p i n g ’

Measuring Embodied Energy with Sweat \\

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.

45

5.3

62,796

DAYS

CALORIES

HAMMERING CONTINUOUSLY

AT ONE SWING PER SECOND

THAT WOULD TAKE

BURNING

OVER

NAILS

130,000

455,000HAMMER SWINGS

THE COLTON GRAIN SILO

HAS

WHICH WOULD

HAVE REQUIRED

OVER

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 fl oor to be used as a thermal mass. The screen and the blanket

could be separately and manually adjusted, allowing for maximum fl exibility.

Screen

Solving Complex Problems with Simple Solutions\\

47

510 03’ N

1140 04’ W

OCTOBER NOVEMBER DECEMBERSEPTEMBERAUGUSTJULYJUNE MAYAPRILJAN. FEB. MARCH

5225338 3 303 27 32

39

OCTOBER NOVEMBER DECEMBERSEPTEMBERAUGUSTJULYJUNE MAYAPRILJAN. FEB. MARCH

7.3 8.29.3 10.2 9.1 6.9 5.8 4.1 3.6 3.8 5.0 5.7

15 o 39o39o62o

location

temperature

sun angles

daylight hours

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.

Model built by all team members for

testing and presentation.

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.

Agrar i a n Bu i l d i n gs of the Pa louse

Documenting a Dying Typology \\

51

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.

535353

As an independent study I wanted to do some fi 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 fi 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.

Un i v e rs i t y En trance s tudy

Documenting Entry Sequences of Col legiate Classrooms \\

Above: A collage of the entrance space to the Fine Arts Building. Opposite: posters presented as part of my work.

55

Carpenter HallWillson-Short HallThompson Hall Murrow Hall BryanVan Doren

1894-1930Thompson Hall is the oldest existing building

on campus and originally served as an

administration building.

1894

Originally Science Hall was built to serve the

biological sciences and geology, then became

the Arts Hall and fi nally in 1972 was named

after Edward R. Murrow.

1899

First known as the Domestic Economy Building,

it was later to be named after NancyL. Van

Doren, becoming the fi rst campus building

named after a woman.

1909

Built on top of the old College Hall, the clock

tower was not added until several years later in

1912.

1909

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 was completed.fl

1912

As a cost-saving measure Carpenter Hall was

planned as a twin to Wilson Hall and was

originally named the Mechanical Arts Building.

1915

outs

ide c

ourt

yard

pla

n 1

/12

8”=

1’origin

al vie

w o

f build

ing

pers

pective v

iew

of

outs

ide s

pace

panora

ma o

f in

side lobby s

pace

Johnson Hall Kimbrough MusicHolland Library

One of the fi rst libraries to be built on campus

the original entrance is flanked by a thirty footfl

tall high relief sculpture.

1948

Todd Hall

Todd Hall currently holds the College of

Business and up until 1963 was the largest

classroom building on campus.

1949

Like most buildings on campus Johnson Hall’s

entry sequence and been changed as newer

buildings in-fi ll the campus. In this case only the

access to the glass pavilion between the two

major buildings is through the center courtyard.

1961

Although Kimbrough Music Building has under

gone an extensive renovation it has continued

to house the music department since is was

built.

1964

Cleveland Hall

Cleveland Hall was built for the College of

Education with specialized laboratories in place

of standard classrooms.

1963

Fine Arts Center

The Fine Arts Center’s main floor is on the fi fth fl

level and is accessed through a sculpture plaza.

1970

1931-1970

outs

ide c

ourt

yard

pla

n 1

/12

8”=

1’origin

al vie

w o

f build

ing

pers

pective v

iew

of

outs

ide s

pace

panora

ma o

f in

side lobby s

pace

Eastlick Hall Owen Science Library Life Sciences BuildingRecreation CenterWebster Science Building

1971-2010Webster Science Building is the tallest building

on campus and holds the physics and geology

departments.

1974

Eastlick Hall was built as an addition to the

nearby Science Hall and named after Herbert L.

Eastlick, Chairman of the Zoology department.

1977

While the connecting overpass from Abelson

Hall may seem like a later addition it was

actually built at the same time.

1977

Lighty Student Services

An addition to French Administration Building

Lighty Student Services houses admission,

fi nancial aid, counseling services and career

services.

1996

Designed by Yost Grube Hall Architects

the well used Recreation Center was

budgeted at thirty-nine million dollars.

2000

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.

2009

Tunnel 13'8"

MPM

Bryan

Eastlick

Beasley Coliseum

Johnson

Cooper Publications

Feed Plant Food Services Wilson-Short

Agronomy Seed House

Webster Phys. Sci.

Todd Fine Arts

Kimbrough Music

skey ces

SurplusStores

reamery Annex

A

A

X V

C

B

A D

E

F

G

H

J

K L

M N P

Q

U W

S T

B C

D AA

E

F G

H

K L

M N J

B C D

E G

K

L

F

J H O

P

N M

Student Recreation Center


270

Thompson Hall

Murrow Hall

Van Doren

Carpenter Hall

Willson-Short Hall

Bryan

Johnson Hall

Todd Hall

Kimbrough Music

Fine Arts Center

Eastlick Hall

Webster Science Building

Owen Science Library

Life Sceinces Building

Student Recreation Center


Hollad Library

Cleveland Hall

BUILDINGS OF WSUA look at the development of building entrances

on a land grant campus: a story of change19021902 19109109 01910 1913119133

1929199 91929911929929919291929 19351935 1199444444222219429429494294299429

selected buildingsconclusionsAs 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 fl oor was never built. Some because of new infi ll buildings like Johnson Hallfl

whose main entrance no longer exists. Some because of additions like Murrow, where the original

lobby is now offi ce space and the main entrances are located in two fi re 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 fi re escape on the side of the building.

project overview

201020102

1946946946194694194461946446

1894

1899

1909

1909

1915

1913

1949

1961

1970

1974

1977

1977

1996

2001

2009

1963

1964

1948

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 fi end 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.

fancy hotel friends apartment

Washington State University ARCH 499 Spring 2010 Bradly Gunn

Underground hallway after you enter one of Jonshon Halls most used entrances.

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.

Photography

Looking for Stories in Texture \\

57

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 Pacifi c Ocean of the

Northern Washington Coast in January of 2012

pa i n t i n g

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.

61

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

Proficiency

Education

Objective

BRADLYGUNN.COM

31417 NE 90th Cir.Camas, WA 98607

Bachelor of ScienceArchitecture and Fine ArtsCum Laude

2010

Masters of ArchitectureThesis: Process as Design

To thrive in a junior architect or internship position.

2011

Magna Cum Laude

President’s Honor Roll

Outstanding Senior Award

Jane Logan Scholarship

Institute For Sustainable Design Scholarship

Departmental Tuition Waiver

The Miller Hull Partnership Design Excellence Scholarship

WASHINGTON STATE UNIVERSITY

WASHINGTON STATE UNIVERSITY

\\

\\

\\ Experience

2005

2007

2011

The Miller Hull Partnership

Washington State University

DABCO Management

Hardy Construction

Nystrom | Olson

2011

2010

Worked as a team and individual completing tasks throughout

the entire remodeling process.

CONSTRUCTION

Responsible for assessing and repairing tenant damage along

with general building maintenance.

HOUSING MAINTENANCE

Introduced assignments, helped lead class discussions, provided

desk critiques, and graded projects.

FIRST YEAR INSTRUCTOR

Worked with Principal and Lead Architects on models,

presentation drawings and daily offi ce procedures.

INTERNSHIP

Worked with Principal and Lead Architects on schematic design

and design development material for residential projects.

INTERNSHIP

Seattle, WA

Pullman, WA

Pullman, WA

Vancouver, WA

Spokane, WA

\\

[email protected]

PROFICIENT

FAMILIAR

Acrylic

Charcoal

Graphite

Watercolor

Framing

Roofi ng

Siding

Masonry

Flooring

Drywall

Windows

InDesign

Photoshop

Illustrator

Bridge

Muse

After Effects

Lightroom

Dreamweaver

Premier Pro

DIGITAL Adobe

Autocad

Sketchup

MS Offi ce

Artlantis

Revit

Vector Works

DIGITAL Production ANALOG Graphic ANALOG Construction

360.433.7689

2008

WSU Masonry Competition A Northwest Concrete Masonry Association and Masonry

Institute Promotional Group sponsored event.

2009

An AIA Newark and Suburban and Skanska sponsored International

Design Competition.

Live the Box Competition

SPOKANE, WA

PULLMAN, WA

PULLMAN, WA

UNIONTOWN, WA

SEATTLE, WA

PULLMAN, WA

PULLMAN, WA

VANCOUVER, WA

WINNER

PARTICIPANT

Hope:Something to Build On

Selected Student Work

Exemplary Student Work

Student Annual

2009

2008

2006

Competitions \\

2011

2011

2010

2010

2010

Ambiguity

Working on Ways of

Working on work

Timber Grain Elevators of

the Palouse

MemoryScapes:Agrarian Buildings of the Palouse Recalling

our Interactions with the Landscape

Solo show of paintings, drawings and photographs exploring the

gaps of visual communications.

Final show for completion of M.Arch at Washington State

University included paintings, models, drawings, installations,

surveys, and videos.

Group exhibition included models, photographs, videos, and

installations documenting the Agrarian Buildings of the Palouse.

Group exhibition curated by Robert Hutchison and Taiji Miyasaka

included design projects, photographs, video and models.

13th annual AIA Seattle architecture model exhibit.

Annual student showcase at Carpenter Hall.

Showcase for NAAB Certifi cation Committee for Washington

State University.

A curated event at Archer Gallery: several drawings and

paintings where selected to participate in the student annual for

Clark College.

Exhibitions \\

Thank you.

Bradly Gunn - Portfolio

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