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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
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-
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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
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8
18
42
63
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30
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44
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50
54
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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)\\
9
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 \\
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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.
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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.
15
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 \\
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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.
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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).
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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.
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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.
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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
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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.
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
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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\\
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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.
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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.
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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.
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...because being a student of architecture brings more than just design charrettes.
Introduction \\
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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.
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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\\
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510 03’ N
1140 04’ W
OCTOBER NOVEMBER DECEMBERSEPTEMBERAUGUSTJULYJUNE MAYAPRILJAN. FEB. MARCH
5225338 3 303 27 32
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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.
499
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 \\
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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.
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.
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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
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w o
f build
ing
pers
pective v
iew
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outs
ide s
pace
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ma o
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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
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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
Lighty Student Services
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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
Lighty Student Services
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 \\
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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 Pacifi c Ocean of the
Northern Washington Coast in January of 2012
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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
\\
BRADLYGUNN@LIVE.COM
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.