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Brian Henry S e l e c te d Wo r k s 355 NE Olsen St #203 Pullman, WA 99163 (509) 339-3248

Brian Henry: Selected Works 355 NE Olsen St #203 Pullman, WA 99163 (509) 339-3248 Š Copyright 2012, Brian Henry. Third Edition. All Rights Reserved. No part of this portfolio may be reproduced, distributed, displayed or utilized in any form or by any means-physical, electronic or otherwise-without express consent of the copyright owner. Individual works attributed to others may be subject to further copyright restrictions by their respective copyright holders that may not be expressly stated herein.


Graduate Work Bellevue Meta-Burb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Music-Architecture Translation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Eighteen Inches Exchange Tower. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Undergraduate Work Landscape Dissection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 McCall Carbon-Neutral Living . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 MFD Station #4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Seeing Through a Viewfinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Perspectiva Artificialis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Photography Studies with Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Park is Closed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Ira Keller Fountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Waiting on Wall Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Our Closest Neighbors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Untitled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Independent Work Champagne Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Bellevue Meta-Burb

Course Instructor Project Scope

Architectural Design IX (Graduate Thesis) - Spring 2011 Bruce Haglund Bellevue Meta-Burb attempts to understand the dominant form of development in the United States; suburban development. This project takes an approach that tries to balance theory, research and practice to the point of developing a building strategy and potential typology. Contrasting other attempts of dealing with suburbia from within the suburban context, this project does not attempt to alter suburbia as we know it, nor transform it into something different. Rather, it understands it, and transcends beyond typical models of suburban and urban development to create the Meta-Burb. This project focuses on Bellevue, Washington. Located on the shores of Lake Washington, ferries once connected Bellevue to Seattle but it wasn’t until the completion of the I-90 floating bridge and then a second floating bridge on SR 520 that the city began to be viewed as a bedroom community to Seattle. This sparked a term of accelerated, unsustainable growth in the form of suburban development. Bellevue has been classified a bedroom community, suburb, edge city, techno-burb and many other things all dependent on Seattle. Over the years, Bellevue grew to hold the second-largest city center in the state, shedding its status as a Seattledependent community and today boasts a downtown of its own. My preliminary research centered around the growth patterns of Bellevue and its future sustainability as a city center.



No. of Residents

In downtown Bellevue, 35,000 employees work in a given day. Out of Bellevue’s population of roughly 125,000 residents, only 5,000 live in the downtown. The best case scenario is that 30,000 people travel to and from the downtown area everyday. This model of development isn’t sustainable. Bellevue needs to encourage its residents to stop developing the edge of the city and instead focus on living densely and living sustainably.






Founded 1869 by William Meydenbauer




City of

BELLEVUE annexation history

1953-present City Limits 1953 New Annexations Existing City








SR 520 bridge constructed over Lake Washington

Establishes headquarters in nearby Renton, WA



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Bellevue Incorporated

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I-90 bridge constructed over Lake Washington












Moffat, Riley Moore. Population History of Western US Cities and Towns, 1850-1990. (1996); United States Census Bureau, “Census 2000,” “Census 2010.”; City of Bellevue, “Bellevue by the Numbers.” (July 2010)


In most urban areas, walkability, and consequently the viability for alternative transportation options, is closely tied to block size and buildings’ relationship to the sidewalk. As walkable examples, New York City’s blocks are roughly 260’ x 900’ and Portland’s are 260’ x 260’.

NE 12th St

102nd Ave NE

NE 10th St

As seen in the figure-ground to the left, Bellevue’s large block size is very apparent. While the city has made some attempts to create pedestrianfriendly corridors, the 600’ x 600’ blocks are a major obstacle. NE 8th St

108th Ave NE

106th Ave NE

Bellevue Way NE

100th Ave NE

Breaking the blocks up into more walkable 300’ segments would be a major improvement to the urban feel of the downtown, and the dashed green lines represent areas where new corridors could be implemented.

Project Site Existing Pedestrian Corridor Potential Pedestrian Corridors 0

NE 4th St

+ 80’ Level 8 - 12, 956 SF + 70’ Level 7 - 12,956 SF Level 6 - 24,867 SF + 60’ Level 6 - 12, 956 SF Level 5 - 24, 867 SF + 50’ Level 5 - 12,956 SF Level 4 - 24,867 SF + 40’ Level 4 - 12,956 SF Level 3 - 32,041 SF +30’ Level 3 - 32,041 SF Level 2 - 33,117 SF + 15’ Level 2 - 33,117 SF Level 1 - 32,552 SF + 0’ Level 1 - 32,552 SF Total - 172,311 SF Total - 162,490 SF




Schematically, the project was strongly influenced by zoning and code, as well as the theory that concentrating population in downtown areas provides opportunities to conserve energy allowing people to live more sustainably. The zoning for the site is ‘DowntownMultiple Use’ (DNTN-MU) Additionally, the site is located in a ‘Perimeter Design District’ which limits some aspects of the DNTN-MU zoning, namely it only allows for 75% lot coverage instead of 100%, and the max. building height is limited to 90’ instead of 200’. While zoning allows for 90’ it also stipulates that anything over 75’ must include building setbacks above 45’. Staying below 75’ allows for more leasable floor area as seen in the diagram to the left.

It is apparent from looking at the housing market that in Bellevue, and the United States in general, housing has largely been in the category of suburban development. Because of this, one of my research questions stands out; Are people getting what they are paying for when they purchase a home in suburbia? When it comes to consumer perceptions of the suburban lifestyle we can see various expectations. Mainly these trend toward issues of privacy, entertainment, and social amenities. Also important to note is that for most of us in the United States, home ownership is the largest investment we are bound to make. Consequently, issues of property value and home equity, which are closely tied to what our neighbors do with their homes and property, become important to the suburban home buyer as well.




An analysis of the factors that matter most to suburban home owners show their expectations of the suburban housing market. However, further research into the realities of the market show that what home owners expect doesn’t always compare to what they get. Furthermore, looking at what people expect in home ownership shows that suburbia isn’t specifically tailored to provide these amenities. In fact, Bellevue Meta-Burb creates spaces that allow for neighbors to gather and children to play in semi-private spaces. These spaces are only accessible to the adjacent units making them secure while still giving you opportunities to interact with and get to know your neighbors, this specifically combines issues of privacy and social interaction.



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Taking advantage of the mixed use zoning district that the project is located within, Bellevue Meta-Burb incorporates shopping, business, and community amenities into the lower two floors. These functions engage users at street level encouraging pedestrian traffic rather than vehicular to not only participate in the project’s amenities but nearby attractions as well. Overall, residents will be able to live comfortably in an environment that goes beyond the current suburban or urban housing typologies. Users will be able to interact in a community like suburbia aims at, yet they will still live within walking distance of most of Bellevue’s attractions.


Music-Architecture Translation In a Landscape

- John Cage




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1” Insulating Glass Unit Concrete Column Mullions for Glazing Primary Scrim Wall Structure (Rectangular Tube)

Fire Stop

Secondary Scrim Wall Structure (Rectangular Tube) Scrim Wall Panels (Perforated Aluminum)

Reinforced Concrete Floor Slab Steel Decking

Steel Bracket Primary Scrim Wall Structure (Circular Tube) Steel Bracket W-Section Beam W-Section Girder Spray-on Fire Proofing W-Section Column Light-Gauge Steel Furring Dropped Ceiling Panels 3/4” Gypsum Board Concrete Column

Course Instructor Duration Project Description


Architectural Des Design VII (Graduate Studio) - Fall 2010 Frank Jacobus 4 Weeks Students were given a musical piece to analyze and diagram. The method of diagramming was left open, but we were told to “measure the measurable,” and to remain objective. Then, we were to take our understanding of a facade from a previous case study, and translate the diagram into architecture as a new building facade. My case study facade was the perforated scrim wall on the Caltrans District 7 Headquarters by Morphosis, and my musical piece to diagram was, In a Landscape, by John Cage.

1/4” Holes 1/2” Holes 1” Holes 1-1/2” Holes 2” Holes Pre-Formed Panel (1-1/2” Holes)

Panel Arrangement Diagram







Eighteen Inches Exchange Tower

Course Instructor Duration

Architectural Design VIII (Transformative Studio) - Summer 2010 Frank Jacobus 5 Weeks

Project Description

Manhattan is home to unique housing conditions where personal, private space is minimized. It is also home to large primarily public urban areas. This project challenged students to analyze the effects of exchanging private space for public or communal amenities and design a residential exchange tower for a site located in The Bowery in lower Manhattan.

Design Solution

Initially, the idea of minimizing private spaces and exchanging that for public or shared community amenities was difficult for me to balance. However, upon reviewing the following passage from Here is New York by E. B. White, I had a breakthrough in conceptualizing the design of the tower: When I went down to lunch a few minutes ago I noticed that the man sitting next to me (about eighteen inches away along the wall) was Fred Stone. The eighteen inches were both the connection and the separation that New York provides for its inhabitants. ... New York blends the gift of privacy with the excitement of participation. In the design for the Eighteen Inches Exchange Tower the housing units are arranged so that you can interact with others like yourself but community areas are mixed in so that there are opportunities for residents to rub shoulders, or at least find themselves within eighteen inches of one another. Unit design allows for small cozy spaces, so within the tower you are open to the excitement of participation but have the gift of privacy as well.


2 Bedroom 1 Bath

Studio w/ Bath

Pod Unit w/ Bath

Pod Unit


3D Facade Detail

The southern facade of the tower, along Great Jones Street, shows the potential for community connections within the outermost layer of the facade system--a perforated aluminum scrim wall. By adjusting the size of the perforations, the panels create softened lines that draw connections between units serving to remind residents of the larger community in which they reside, thereby encouraging connections among residents. The scrim wall also serves to psychologically give residents a sense of privacy from within their rooms as the floor to ceiling windows have been effectively screened from the outside. This screening also limits exposure from harsh southern elements. 12

Facade/Concept Diagram

Photo: L. Lloyd

Landscape Dissection

Course Instructor Duration Project Team

Architectural Programming - Spring 2009 Frank Jacobus 3 Weeks S. Dobbins, M. Geserick, B. Henry, M. Maiolie

Project Description

Student teams were asked to select a stretch of road along the MoscowPullman highway within the city limits of Moscow, and reveal the programmed, experiential, and cultural elements embedded within the landscape.

Project Focus and Analysis

The entire section of road in this area is programmed for vehicles, it is dominated by paved streets, parking lots, and large-scale signs meant to be read by cars passing by at 35 mph. What would a pedestrian experience in this space which was designed with only a small sidewalk as the provision for foot traffic? The team set out to individually record its experiences in the landscape. We noted dominant colors, noise levels, hard and soft scapes, interactions with other pedestrians, bicycles, and cars, and our relative anxiety levels. Analyzing the team’s findings we noticed that anxiety spiked where different modes of transportation cross paths, especially at the intersection of Peterson as it is the site of a major crosswalk leading to campus. High noise levels were also a cause for anxiety and were the result of passing cars which are uncomfortably close to people on the sidewalk because of the lack of buffer zone between them. The results of our experiences led us to conclude that the pedestrian experience is unduly stressful, harsh, and unpleasant due to the lack of programmed landscape specific to foot traffic.


Subsidiary Users within a Single-Focus Landscape Baker Street

Peterson Drive

Line Street

street parking lot sidewalk

Time (minutes)











anxiety color experience




Traf多c Interactions: Pedestrains, Vehicles, Bicyclists

McCall Carbon-Neutral Living

Photo: B. Henry Model: M. Keithley & K. Wells

Course Instructor Duration

Architectural Design V (Design-Build Studio) - Fall 2008 Frank Jacobus Preliminary Research; 3 Weeks Conceptual Design (materials focus); 6 Weeks Design Development & Documentation; 6 Weeks

Project Teams

Design-Build Research: D. Gullickson, B. Henry, H. Hernandez, E. Simplot Cordwood Research: B. Boehler, M. Geserick, B. Henry Conceptual Cordwood Design: M. Geserick-Modeler, B. Henry-Virtual Modeling & Documentation, H. Martindale-Modeler Construction Documentation: D. Gullickson-Details, D. Sundquist & B. HenryDetails & Documentation, E. Simplot-Codes

Project Description

Provide bunking accommodations for overnight visitors to the McCall Outdoor Science School (MOSS). Using architecture as pedagogy, aid in the instruction of the school’s students on environmental friendliness and help meet the specific goal of the MOSS campus to become carbon neutral.

Design Solution

Existing accommodations on the campus were very utilitarian in both form and function. Our studio’s design solution focused on creating a meaningful space that fit within the client’s budget, responded to the natural context of Ponderosa State Park, and incorporated opportunities for students visiting the campus to learn about building performance and carbon neutrality. Specifically, we used straw bales as building material, incorporated efficient heating and heat recovery ventilation systems, passive and active solar systems, as well as utilizing waste material from the ponderosa forest as fuel for a wood-fired boiler to strive toward carbon neutrality. The build phase of this project was to occur during the following summer after an independent study team finalized the construction documents in the spring semester. However, due to a lack of funding, the project was not realized.


Initially, we developed three different strategies for the bunkhouse based on three building materials selected from earlier research; cordwood, straw bale, and Structural Insulated Panels (SIPs). With the project site being located in Ponderosa State Park, cordwood was the material most abundant and local. However, cordwood construction needs dry wood that has cured properly for about a year. So while very appropriate for our application, the necessity of a shorter construction schedule ultimately ruled this out as a building material. The class decided to proceed with a structure that utilizes a mixture of both straw bale construction and Structural Insulated Panels (SIPs) due to the ease of construction and our goal of carbon neutrality. Additionally, the bunkhouse’s southern facade utilizes large, energy efficient windows to capture as much solar radiation during the short winter days and store it in an exposed, polished-concrete floor. Along the north, the bunkhouse uses thick straw bales to protect against heavy snowfall and insulate the building’s guests. The plan is divided into three distinct areas. The central area is comprised of the entrance vestibule, mud and coat rooms, bathrooms, showers, and mechanical facilities. Flanking this on either side are the bunk rooms and common areas. This design facilitated a phased approach to the construction as each area could be constructed separately and as funding allowed. This also allows for separation of the guests into male and female with distinct bathroom facilities for each, an important part of the client’s wishes as most of the guests will be school-aged children.

Construction Documents: B. Henry & D. Sundquist

Image: S. Dobbins


MFD Station #4

Course Instructor Duration

Architectural Design IV (Third Year Studio) - Spring 2008 Frank Jacobus 8 Weeks

Project Description

Sponsored by the Idaho Concrete Masonry Association (ICMA), this design competition asked students to design a fire station showing knowledge and competence using concrete masonry units (CMUs).The program called for a fire station complete with administrative offices, living quarters, training areas and apparatus bays to serve the expanding Moscow-Pullman corridor.

Design Solution

Looking at a wall built of CMUs, one notices the individual units that together create the wall - a singular element. Examining the organization of a fire department, one notices that similarly the department is composed of individuals all working together as a singular element to accomplish their goal. The Moscow Fire Department’s Station #4 was designed to exhibit these qualities in form, material, and purpose. The front elevation wraps around the corner of Harden Road and A Street as a single unit composed of individual CMUs. Behind this datum wall exists the rest of the station clearly defined as individual programmatic elements - apparatus bays, living quarters, administration, and training areas - arranged so that they support the main wall and represent the individuality of the men and women that together make up the Moscow Fire Department. The station itself flows naturally from one space to the next, allowing the station to work together as a whole to accomplish its ultimate goal - to serve the community. My design received the honor of being selected as one of the ten finalists in the competition.


Sectional study model of the street facade

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AS tre et

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Study model

Understanding the way the building facade addressed the street was a critical aspect of this design. Overall, the wall must act as one element despite the change in elevation and the program beyond. Because of this, it was necessary to understand the wall compositionally as a whole, as well as design the individual parts for their specific needs. For example, the offices called for transparency to the street while the dormitories called for privacy screens.

Diagrams showing effectiveness of privacy screens in dormitory areas

Apparatus Bays

Living Quarters


Training Area

Procedural sketches of street facade


Seeing Through a Viewfinder

Phase I final composition

Phase II final composition

Course Instructor Duration

Design Process I - Summer 2007 Jessica Semzock 6 weeks

Project Description

Phase I - Shape; create a monochrome composition using a single shape that is representative of a social group. Phase II - Color; adding another shape to the original, create a composition using color as a design element Phase III - Form; Create a three-dimensional composition using one shape and 90% of 16 square feet of 1/2� MDF board.

Design Solution

Photographers, both professional and amateur, are constantly looking at their subject matter through their viewfinder. Representative of this social group are the points within the viewfinder used to focus the camera. This object, the focus points in the viewfinder, was abstracted and used to communicate certain techniques, theories, and experiences of what it is like to be a photographer. I strove to embed a significant amount of information into the project, specifically: the rule of thirds, a technique used in framing a composition; lens distortion, an effect of how a spherical lens translates to a flat plane; perspective and aspect ratios, dealing with foreshortening and more; and finally color handling, the mixture of red, green, and blue to create different hues. The final sculpture invites the viewer to look through the abstracted viewfinder at the subject matter in a way that alerts them to this embedded information.


Phase III final sculpture

Perspectiva Artificialis

Image: R. Jelaco & T. Ashworth

Course Instructor Duration Project Description

Architectural Design II (Second Year Studio) - Spring 2007 Ron Jelaco 9 Weeks This project was an exercise in viewing buildings “as they really are.” Students were challenged to sketch a building from multiple vantage points but to use a tool that would help to establish perspective views as accurately as possible. The result was various two-dimensional images of a three-dimensional building; in other words, images that fell short of a true representation of the building. Jacques Riviere once said, “The true purpose of painting is to represent objects as they really are, that is to say, differently from the way we see them. It tends always to give us their sensible essence, their presence.” In order to represent the building in the two-dimensional plane we combined the various views into one composite image that more closely resembles the whole building. Finally, we were asked to construct a maquette of our image using materials that spoke to the essence or presence of the building. I used the Student Recreation Center (SRC) as my object. During this process I began to notice that ironically the SRC was a place where students would come to enhance the image of their personal form, but in order to do that they subjected themselves to a very public place and reduced their form to a very undesirable image; that of a sweaty, smelly, exhausted human being. Most remarkably, the majority of students entering the SRC would smell of perfumes and colognes only to start working up a sweat. Relating this with the final maquette, I chose to represent the SRC as a combination of baltic birch plywood representing strength and Plexiglas representing transparency in the process of reducing your image only in order to improve it.



Photography Light in photograph has especially been an interest of mine, as it is vital to both architecture and photography. Without light photography is impossible in the most basic sense. Light can give a photograph a different mood or feeling simply based on the temperature of the light. Contrast plays an important role in photographs as highlights and shadows can create depth, focus, and rhythm as opposed to the mundane flatness created by excessive mid tones. Learning from the scientific basis for how a camera functions to the qualitative aspects of the final composition, photography has allowed me to see the world in a different way. It has taught me as much about art and architecture, as it has about focal lengths, depth of field, exposure, and composition.

Self portrait

Studies with Light Eastern Washington - 2007


The Park is Closed Chicago, Illinois - 2010


Ira Keller Fountain Portland, Oregon - 2007 2009 College of Art & Architecture Undergraduate Juried Art Exhibit

Waiting on Wall Street Lower Manhattan, New York City - 2010


Our Closest Neighbors Moscow, Idaho - 2009 2009 College of Art & Architecture Undergraduate Juried Art Exhibit, 2009-2012, U. of Idaho Provost office suite

Untitled Pullman, Washington - 2009


Power Maquinista F. Savio, Argentina - 2003


Champagne Studio

Existing structure

Champagne Studio is an adaptive reuse, design-build project in Moscow, Idaho. The client had the hundred-year-old carriage house on their property but aside from a little bit of storage it remained unused. A musician, the client required a space to use as a practice and recording studio for producing his own music. Something that served him creatively, but also something that controlled sound from entering and escaping for cleaner recordings as well as noise consideration for the neighborhood. Our design called for a concrete floor, to upgrade the foundation to replace the existing wooden grade beams, and to add a secondary set of walls within the existing structure with insulation to aid in sound isolation. The existing structure uses rafters and collar ties to hold up the roof and these are left to penetrate the interior leaving a voluminous space with better proportions and scale. The alternatives to the ceiling design we investigated were various methods of doing a dropped ceiling or a redesign of the roof structure. These alternatives would result in better sound isolation but would ultimately leave the space too cramped or prove to be prohibitively expensive given the project scope and budget. The studio’s finishes are intentionally left bare and somewhat raw while still showing refinement. The concept behind this decision was to leave the client with a blank slate that the he could change, adapt, and experiment with to fit his own creative style as well as allowing him to tune the room acoustically to fit his needs. 30

Image: D. Champagne


Brian Henry: Selected Works