Russell Larsen Director Landscape Architecture Portfolio

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RUSSELL L ARSEN Landscape Architect

POR TFO LIO

select projects 01 Animal Kingdom 02 Star Wars 03 Carsland 04 Toy Story 05 Expedition Everest 06 Tokyo Disney Seas 07 Pandora World of Avatar

Park Expansion Projects

Galaxy’s Edge

Radiator Springs

Andy’s Backyard

Legend of the Forbidden Mountain

Mediterranean Harbor and Hotel MiraCosta

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Pandora World of Avatar

Transformation through Adventure Orlando, Florida July 2012 - June 2017 Pandora – the World of Avatar is an immersive ‘land’ within Disney’s Animal Kingdom which was inspired by the ground-breaking Avatar movie. The land features the iconic “Floating Mountains” of Pandora, alien wildlife, and bioluminescent plants. The area spans over 12 acres and includes two attractions, along with retail, dining and entertainment spaces. The film’s themes and environmental message made it a natural addition to Animal Kingdom which has three key ideas at its core: The intrinsic value of nature; the transformation through adventure; and a personal call to action.

My role on Pandora was as the Creative Lead for the “Land”.

I partnered with the Creative Leadership team of the Portfolio in collaboration with James Cameron’s team at Lightstorm. There were a number of key strategies implemented to create the environment I had imagined. My goal was to create a convincing landscape that evoked the density and diversity of the rainforest. Within this environment we needed a cohesive story to allow guest to experience the wonders of Pandora. Three “groups” were imagined and allowed a design vocabulary to be established. The first group, the indigenous “NAVI” culture, utilized natural materials in harmony with environment. The second group was identified as the “early settlers” of Pandora - primarily scientist and explorers - who functionally and thoughtfully used indigenous materials respectfully for human use.

The final group was the fictitious company Alpha Centuri Expeditions (ACE) - an eco-tour company - established to bring guests safely to visit Pandora. This tour company with its distinct aesthetic imported

Pandoran plants transport the imagination of the guest to a new place

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Central water feature is a life-giving source for the land

Collected trees with unique characteristics show that the landscape is untamed

Floating mountains, iconic Pandoran plants, exotic plant palette, and organic textures help create the sense of place

man-made materials and infrastructure to facilitate the exploration of Pandora.

Immersive Landscapes My first goal was to build an established landscape which felt ancient and immersive. A key idea of the Project narrative was to demonstrate the power of ‘nature’ to reclaim its own. To convey this appreciation for ‘nature’, we needed to create a convincing environment that looked as if it had been in place for generations instead of recently planted. Likewise, materials and objects show the speed and power in which nature will adapt and reclaim surfaces.

Simple landscape organisms such as mosses and lichen find their way onto surfaces and portray the persistence of nature to envelope an environment.

As I began to develop a landscape palette and strategy, I avoided trees that had been grown and maintained following traditional nursery standards. Instead, I searched for plant material and trees that were unique in character. Many of our trees were collected from private properties or material that nurseries were unable to sell because of the tree’s imperfections or irregular form.

I was personally responsible for selecting, locating and installing each of the over 500 trees for the project. We salvaged and maintained more than 25 large Oak and Camphor trees measuring over 50’ tall and 40’ wide from locations within Walt Disney World.

We created a temporary tree nursery to hold our salvaged trees and provide a place to bring in collected trees early in the project cycle to give them time to recover and add size and structure after being trimmed back to allow the trees to be shipped laying down on a flatbed truck. I worked with tree brokers and searched throughout central and southern Florida to find material with the characteristics of an untamed rainforest.

Unpredictable trees growing on coral stone

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Strong silhouette add interest to the landscape

Collected trees bring age to the environment

Large salvaged trees were saved from construction site and kept in holding yard

Hero trees planted to create an instant impact

Wild nature is choreographed to frame views and create memorable moments

Alien Landscapes We wanted to recreate many of the iconic plants featured in the film. The filmmakers had gone through great efforts to fabricate an origin story and purpose for the ‘alien’ plants of Pandora.

Lightstorm had even created a printed field guide and web site dedicated to the culture, flora and fauna of Pandora. We needed a strategy to recreate many of these plants to visually transport our guest to the planet of Pandora.

I partnered with our Production Designers to create physical representations of this “alien” landscape to be integrated seamlessly with our natural landscape. Where possible, we adapted forms and colors from real plant material to inspire a modified landscape and

Epiphytes are selected to bring texture and layers to the landscape

create this unique environment. This relationship between “artificial” and real allowed us to give people the impression that the plant colonies were more expansive and diverse. I next supplemented the more traditional landscape material with unique foliage and epiphytes to add layers of complexity and interest.

All of the “Pandoran plants” are fully programmable “light fixtures” which allow each of them to exhibit a bioluminescent behavior within the network of the landscape. As dusk approaches these plants self-illuminate and pulse and change to show the interconnectedness of the natural systems of Pandora.

Inspiration from nature as cycad new growth informed artist concept and final look of iconic plant

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Augmented landscape adds layers of interest

Pandoran flower mock-ups and installation add daytime color and nighttime interest

Agave (above) served as inspiration for Dapophet (below)

Combining real agave and Pandoran plants expand the impact of the Dapophet grove

Textures and Layers There is a fundamental idea at the core of Animal Kingdom that comes with the idea of ‘The Intrinsic Value of Nature’. The idea is that like nature, Animal Kingdom rewards the guest willing to look deeper beyond the surface experience. We wanted to create a place with a history. The story of Avatar is a story of indigenous cultures, conflict over resources, and resolution through cooperation with nature. As in human history, there are layers upon layers to be discovered to the curious individual.

At Imagineering we are undertaking a process of “new-build” construction. The artistry is to find construction techniques that allow us to build environments which will be experienced by millions of people every year yet can withstand constant use and maintain its original “opening day” appearance. We do exhaustive research to collect images and understand experiences that we want to recreate in the project. It is my responsibility to develop and lead the mockup program to test and explore procedures and materials that will Cast Iron design is developed and precise mold created. Form-work was manipulated to create a final product which shows age and patina.

create the finishes and textures consistent with the creative vision.

This strategy works its way into both the hard-build and planted environments.

RDA Bridge side view of bridge (top) based on model (lower left) utilized custom grate made from mold of urethane and iron filings embedded in concrete

Texture and color evoke Pandoran nature

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ACE eco-tour company rail design

Blurring of lines between roots and conduit

Ramp model (above) developed to study design and inform final design (below)

Walls are textured to indicate layers of history

Walkways and Edges integrate a texture ‘of nature’ to suggest a consistency with environment

Bioluminescence At Imagineering, there is a heritage of research and development in all aspects of the company. As a design studio, Imagineering has been granted over 300 individual patents. This spirit of innovation is key to the design process. We recognized that to create the surfaces and experiences we believed necessary to convey the sense of awe and wonder of Pandora, we would need to explore new construction techniques and finishes.

I was the primary creative lead and director of an expansive research and mock-up process to develop a paving system which captured the texture of the “forest floor” and then transformed into a living bioluminescent surface in the evening. I worked directly with material specialist and suppliers to develop a system of layering textures and colors that captured the distinct surfaces I had imagined.

We simultaneously explored different ways to create a surface that would harness the power of natural sunlight and supplemental blacklight to transform this walking surface from forest floor into a magical Preliminary mock-up of bioluminescent paving

bioluminescent experience. Once mock-ups were fully developed

Pandoran plants begin to show their character at dusk and change throughout the night

and tested, my team and I worked with the hardscape contractor to oversee the installation. True “hands-on” art direction helped us successfully install this transformative surface.

Bioluminescent paving illuminates the pathways and unifies the landscape environment

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Mock up of Pandoran epiphytes

Skyline view of floating mountains, landscape, and walking surfaces tie together the transformative bioluminescent experience

Building a sense of Place Field Art Direction is one of the key components of delivering a project for Disney. The design process at Imagineering is not dissimilar from the process at many other multi-disciplinary firms.

Ideas are flushed out using all of the best physical and digital modeling tools available. Drawings, renderings, and models capture the vision and allow the team to share those ideas with the larger group and project leadership. Clear and precise construction documents allow installers and contractors to confidently bid the work.

There is, however, a complexity that is best conveyed with real-time direction on a job site. It is not uncommon for a Disney Bridge model captures design intent and scale of object in the landscape

project to have very few straight lines, sharp corners, or uniform

Production of rail system from preliminary texture samples, color studies, and production strategy to facilitate installation

surfaces in the final design. There is a high level of “expressiveness” in the finished design that is best captured with a collaborative effort between Contractor and Imagineer.

I typically follow my projects from the design studio onto the construction site. This transition typically happens as the documents are being finalized with the completion of mock-ups and other samples which will be part of the contract bid documents to offer clarity of design intent. Once full-time in the field, I have a number of responsibilities. Some time is spent answering RFI inquiries to clarify documents. Because the plant material is Owner furnished, I am working with growers and collectors to finalize the selection of trees and iconic plants. The majority of my time is spent in “hard hat and boots” side by side with the various contractors. I physically participate with numerous trades to guide the “artistic” expression of the finished product. This collaborative environment not only ensures that the final product meets the creative intent, but it also builds teamwork and motivates everyone to do their best work while Final design - views of bridge and rails with organic textured with synthetic lashings

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Planter rail in final location on site. Rail textures draw their inspiration from tree fern and bamboo plants used in the landscape.

Teamwork - complex execution and artistic direction require shared motivation

Construction - moving trees and building mountains

contributing to the creative vision of the project.

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Animal Kingdom Park Expansion Projects The Intrinsic Value of Nature Orlando, Florida September 2012 - May 2017 Animal Kingdom opened Earth Day, April 22, 1998. Animal Kingdom is distinct from the other theme parks at Walt Disney World in that it provides traditional Disney attractions alongside exhibits and experiences featuring hundreds of animals from all around the world.

Animal Kingdom is fully accredited by the Zoological Associations and helped to spur the Disney Conservation Fund.

Because viewing and appreciating animals is traditionally more successful in daylight hours, Animal Kingdom was primarily considered a “daytime” park and closed shortly after sunset. With the addition of Pandora and the importance of the nighttime bioluminescent experience within that land, and with the continued

Lamu, Kenya was inspiration for the expansion of Harambe Village to include the Lion King Theater complex

growth and success of the Park, Disney decided to invest in Animal Kingdom across the entire property. The goal was to provide additional capacity and services for longer visits, and to enhance existing offerings and add new experiences that would make the park enjoyable into the late evening.

I had a dual-role within Imagineering at this time. I was assigned as Portfolio Landscape Architect for Animal Kingdom. I was a primary point person and led several design teams as Disney made numerous investments across Animal Kingdom. I was also Land Lead for Pandora which was the cornerstone of the overall Park expansion and transformation.

Animals make every visit a new adventure

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Sausage tree is part of the unique landscape

Common objects reinforce an authentic story

Weathered surfaces and silhouettes tell a story of time and place

Tree of Life is the iconic centerpiece of Animal Kingdom with over 300 animals carved in its surface represents the role of animals in nature

Harambe Village Animal Kingdom, unlike the fantasy world of the Magic Kingdom, is deeply rooted in reality. The very nature of animals and their unpredictability is at the center of the guest experience. When an outcome of events is uncertain and unpredictable, a person finds themselves faced with the unknown and are prepared to learn and discover - they are truly on an adventure.

We wanted to provide our guest the opportunity to have an authentic appreciation for the cultures, landscapes and animals from around the world. In order to deliver that level of authenticity, we invest in researching and understanding the people, stories and places that we want to share. My role on this project allowed me to spend time in the iconic landscapes and villages of eastern Africa as well as traveling to Kathmandu and the Himalayas of Nepal.

I lead the expansion of Harambe, the African village area of Animal Kingdom, with the additions of the Lion King Theater

Marketplace portal is inspired by the architecture of Lamu, Kenya

and Harambe Marketplace. The Market is a quick service dining Portuguese architecture and details are found along the East African coast and make their way into the ‘theater district’ of Harambe Village

location based upon a 1960’s era train depot and marketplace of East Africa. Much of the inspiration was derived from my visit to the port city of Lamu which is Kenya’s oldest continually inhabited town and an UNESCO World Heritage site. There are distinct Arab and Portuguese influences and a strong history of trade which distinguish the diversity of design elements. Lamu is also one of the best preserved settlements of the Swahili tradition that remains today.

The design includes both clear and recognizable forms and textures from this region as well as capturing the resourcefulness of the people. There is an “unedited”raw authenticity that draws people into the story and allows them to better participate in the experience.

Research is key to creating authentic connections

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Common materials used in unexpected ways

Mickey has been interpreted worldwide

Dining area is a mixture of textures and bright colors typical of many African villages

Lion King Theater is the anchor of this expansion area

Rebar and other re-purposed materials are common themes

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Star Wars Galaxy’s Edge

Creating a Sense of Place Orlando, Florida & Anaheim, California May 2015 - June 2016 Disney acquired Lucusfilm in 2012. Soon after this acquisition, Imagineering began to explore ways to bring this iconic franchise into our Parks and to our Guests. I was brought onto the team at the early stages of the design process Imagineering refers to as the “Blue Sky” phase of the project - where initial ideas and narratives are created through brainstorming and concept design. The goal of the Blue Sky phase is to create a vision with enough detail to explain, present and sell the idea to the Executive Leadership Team of the Company.

As the creative lead Landscape Architect for the franchise portfolio, I was part of the team that developed the backstory and tone for this new project. The narrative sequences, the nature and scale of the spaces, and functional uses were explored and studied. I also

Physical model of the land is used to understand space and scale, present ideas to leadership, and informs contractors during construction

established a geologic and landscape character for the land. Story boards, image maps, and creative narratives helped sell the project and allow the design teams to move into schematic design with clear vision and creative direction.

Layers of textures and forms create an interesting and ever-changing space and heighten a sense of discovery and adventure

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Aging and weathering of common elements builds a history into the story of place

Details both new and recognizable transport the guest to a time and place and allows them to participate in the stories we tell

Imagining a New World Our core team set out to research environments and spaces as inspiration for this new Land. We visited Istanbul to study the layers and textures of a city that has been inhabited for nearly 3000 years with special attention to the famous Grand Bazaar. We concluded our research in Marrakesh again focusing on the many layers of materials, colors and history in both the built environments and exotic markets of the Souks of Marrakesh. This research helped us establish a design vocabulary that would inform the project teams moving forward.

We quickly realized we wanted to create a “new” planet that would give our guest an immersive experience and truly transport them into a new world with the iconic Star Wars themes and characters that have been part of the culture for over 40 years. The process of developing the ideas and sketches that would eventually become the physical place ‘Galaxy’s Edge’ involved establishing an overall tone and sense of place. Scenes, districts and neighborhoods were imagined with appropriate materials, spacial quality, and characteristics. Through this iterative process, we began to realize Signature and iconic elements from the Star Wars galaxy create focus and excitement in large dynamic spaces

Inspiration from research finds its way into the creation of the physical spaces and details of materials and surfaces

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Research to Istanbul and Marrakesh were important to establish identity and tone

Common functions such as audio and lighting and attraction marquee are hidden withing thematic forms to maintain continuity of story

the stories and spaces that would bring this vision to life.

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Cars Land Radiator Springs

From Animation to the Real Anaheim, California September 2010 - June 2012 Cars Land is a 12 acre themed land within Disney’s California Adventure Park built as part of a $1.1 billion expansion project that opened in June 2012. The project was inspired by the Pixar franchise Cars, and the historic Route 66 of the desert Southwest.

I was brought onto the project for the focused role of Field Art Director for this Land. At this point in my career, I had spent over 5 years in various capacities on a construction site as an Owner’s representative. As a Field Art Director, my role is to be an advocate for the Owner and to ensure the project delivers the intent of the Construction Documents. Two-dimensional drawings and threedimensional physical models make up the Bid Documents. Field art

Ornament Valley overlook with ‘visitor’ monument sign identifies the natural formations of the landscapes beyond

direction is the third leg of the stool that holds up the design intent of a project.

Eroded earth wall found in the queue

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Detail of planter rail

Rustic souvenir shop planting area

Radiator Spring sign welcomes guest to Cars Land

Recreating the iconic view down main street from the Cars movie brings people into the world and helps bring the animated characters to life

Celebrating the Southwest We work with contractors, installers and artisans to translate the documents into the built environment. Often times we will start with mock-ups and work from drawings and images for inspiration and iterate final process, form and look with the contractor to achieve the desired outcome. We participate in a very “hands on” way on the job site, many times physically assisting the execution of a final layout or surface. All trees are Owner selected for unique characteristics whether for story telling or functional purposes. As the construction progresses, having a landscape architect on site for the planting of each tree allows for field adjustments, real-time analysis of both the functional and artistic impacts of the tree placement, and final location and “facing” of all trees and signature plant material.

Quick problem solving and design modifications are part of the process to move the project from initial construction to completion. A successful project is assured by agile thinking,

Approaching Ornament Valley through this secondary portal. Planter rails and paving incorporate ‘roadway’ design cues.

cooperation with both the Creative and Project Management teams, and inspiring the contractors to take pride with enthusiasm in the work they are installing.

Arid pines and sharp textured succulents are in stunning contrast in color and form against the red geology of this iconic environment

Landscape of the Southwest with its distinct forms and seasonal interest are captured in this expressive landscape palette.

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Route 66 traditional roadside motel serves as quick service food kiosks

Silver foliage present in mixed textures create the scene

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Toy Story Andy’s Backyard

Perception of Scale Paris, France February 2008 - September 2010 Toy Story is amongst the highest grossing and most critically acclaimed franchises of all time. The goal for Toy Story Playland was to bring guests into the “world of toys” created by Pixar in these wellknown and beloved stories.

The idea we developed was to create a world where guest might interact with the Toys in their natural environment. “Andy’s Backyard” was developed as the overlaying concept. The story is that the Toys are being enjoyed in Andy’s backyard as we might have remember playing ourselves as children. Andy has set up these Toys in play environments and we as guest are walking amongst these play environments at the scale of these toys. The design challenge was to create a place that functioned as a land with three attractions that felt cohesively like we, as guests, were the scale of a toy and able

Aerial view of project near completion. Toys are laid out amongst the ‘grasses’ to be explored and discovered.

Study model captures the design intent of the project and is used throughout the life of the project

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to move about and explore this imaginary world.

Secondary portal takes guests from the “Paris” environment into the world of Toys

Buzz Lightyear stands amongst iconic childhood toys at the primary entrance into the new land.

Life of a Toy We used this idea of manipulating scale to create this immersive space. The built environment within this landscape needed to direct circulation and contain spaces. These functional and thematic built elements were derived from classic toys. Planter walls, railings, light fixtures, graphics and structures were all created to be recognizable as a toy at the scale of the original objects. Lincoln Logs, Kinex, dominoes, Hot Wheels and other toys make up this world along with the Characters from these popular stories.

The hardscape and landscape are inspired by the items and scale of materials you would experience as a guest if you were Brio train track inspired bench seating

Lincoln Logs and Revel Model pieces make up this staircase and rail

the size of toy. Paving appears as dirt with the giant footprints from Andy’s shoes measuring 4 meters long. Bamboo and large textured plant material are evocative of grasses and other plants near the earth’s surface.

Green Army Men in the attraction queue line help reinforce the idea that guests are at the scale of the Toys.

Immersive place-making occurs when all of the objects within the guest view are in harmony with a cohesive story

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Tinker Toys inspire form of pole fixtures in land to house lighting and speakers

Slinky Dog ride is nestled amongst the grasses and toys

Dinosaur Rex photo-op within the land

Innovation and Imagination After leading a team of Landscape Architects overseeing both the design and technical execution from Concept through Construction Documents, I next relocated to Paris where I spent over a year in the field art directing the installation of the project. I personally selected and Owner Furnished all plant material visiting nurseries throughout France, Germany and Italy to create the palette that would best tell the story and reinforce the scale of the space.

We developed and iterated hardscape, rail, and wall mockups to validate our design intent and test durability. I worked with vendors and fabricators to refine details that allowed many items to be created and installed as “toy like” pieces or “parts”. Whenever possible, we developed modules that could be fabricated in a workshop by a vendor. Prefabricating these elements in a shop free from the challenges of site constraints or weather impacts helped accelerate installation and provided a strategy for maintenance and future replacement as needed.

Studies of materials and fabrication

KINEX toy pieces were fabricated and assembled in segments following the properties of the original toy.

Custom stamp was developed

Domino retaining wall

Fabrication of toy race car track, guard rails, and light fixtures are design and installed as a ‘kit of parts’ much like the real toy is assembledt

First article slot car review; installation; and tree tagging for ‘toy’ topiary pieces

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Hot Wheels marque identifies entrance to ride

Low resolution details at scale reinforce toy quality

Study model conveys sense of the assembled toy

Lincoln Log house being installed as portal to ride

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Expedition Everest Legend of the Forbidden Mountain

The Nature of Myth Orlando, Florida February 2004 - May 2005 Expedition Everest is a high-speed roller coaster but its real attraction lies in a detailed backstory that engages the guest and brings the experience to life.

The experience takes place in the quiet mountain village of Serka Zong, where the native people honor and respect the legendary guardian of the mountain – the Yeti. Despite the forewarnings and local legends, the proprietors of the Himalayan Escapes Tour Company are offering ‘train’ excursions through the Himalayas.

Expedition Everest take guests on this train up into the “forbidden mountain” where they have an unexpected encounter with the Yeti.

Expedition Everest is a ride on the fictional ‘Himalayan Express’ train to travel into the Himalayas to search for the elusive ‘Yeti’ of Nepalese folklore

The Nepalese people make good use of the scarce natural resources available in their homes and villages. Rammed earth, wood and stone – often carved with great artistry – are the basis of most construction. We wanted to honor that rich artistic and harmonious tradition. Many of the carved wood elements of the project were commissioned pieces created by local artisans in Nepal.

Rainfall is limited in much of the country and temperature fluctuates greatly. I chose an arid-looking plant palette similar in color and texture to the plants we researched that would survive the wet and warm climate of Central Florida. Because wood is used in cooking and heating, many of the trees have their lower branches removed for fire wood just as we found in Nepal.

Landscape veils the view to the temple and coaster lift hill beyond

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Mani Stones were hand carved by artist in Nepal

Viewing area of main drop zone

Disney’s 18th mountain is the tallest artificial mountain in the world and contains one of Walt Disney World’s most popular attractions

Rivers of Light I was involved in the Everest project twice in my career at Imagineering. The first time was as part of the initial project team.

I was part of a small but very experienced team of Landscape Architects that designed and built the small village and mountain that would become Expedition Everest. My primary focus was conceptual design, detailed design development, and planting design. I helped to support the technical documentation of the project as part of the team.

I returned to the project a second time when the Animal Kingdom added an outdoor seating venue for a night-time entertainment spectacular, Rivers of Light. At this point I was the Creative Lead Landscape Architect for the entire Animal Kingdom portfolio. This role meant I led smaller teams on numerous projects within the Park. In this role I had the opportunity to visit Kathmandu and the Annapurna region of the Himalayas for research and to meet with local carvers and artist who would later create elements for our projects.

Rivers of Light night-time water show was added when Animal Kingdom extended Park hours and welcomes guests after dark Nepalese rammed earth and stone style buildings house technical rooms and equipment

Path approaching Everest through village

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Horses are part of the culture and inspired this design

Stupa mimics the form of the mountains

Yeti Carvings are authentic parts of the culture and sense of place

Gates are closed during day and opened at dusk to amphitheater style seating venue

Research travel to study details and materials

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Tokyo Disney Seas Mediterranean Harbor Details and Layers of Storytelling Tokyo, Japan January 1997 - September 1998 Tokyo Disney Seas is located on Tokyo Bay and opened in 2001. This 175-acre park is organized around the idea of “nautical exploration”. There are seven themed lands, or “ports of call” connected by waterways. The park welcomes over 15 million visitors a year, making it the fourth-most-visited theme park in the world.

Tokyo Disney Seas was the first project I was assigned to when I joined Imagineering in 1997. I was brought onto the team as a designer and focused my attention on Mediterranean Harbor, an Italian based “port of call” with strong inspiration coming from Portofino and Venice. I also was lead design landscape architect for the Hotel Mira Costa, which was the first and only hotel placed entirely within a Disney theme park.

Portofino, Italy serves as the inspiration for the picturesque Mediterranean Harbor (above) area at the front of the Park

Historic Venetian reference was used to develop bridges, walls and rails for the project

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Layered view of the numerous wall and rail designs which add variation and interest

Architecture of the surrounding hotel encloses and creates the setting for the canals

Pollarded sycamore tree in harbor plaza

Hotel Mira Costa My primary responsibilities for this project were to develop ideas, sketches and finally schematic details for the paving, bridges, walls and rails of this area. My ability to generate numerous ideas, sketch and communicate clearly, and respond quickly to the creative notes and operational constraints helped me develop my skills and reputation within Imagineering. This exposure as a new employee provided me the springboard I needed to be cast as a design lead on subsequent projects and quickly as a “Land Lead” with the responsibly of managing and directing larger teams of landscape architects and to become a leader within the overall studio organization.

Porte Cochere approach lined with cypress trees bring guests to Disney’s first hotel fully contained within the Park.

Garden colonnade in hotel pool area

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Hotel Pool details

Paving details at Porte Cochere

Italian Baroque style sculpture in the central water feature in Porte Cochere

Disney Seas welcome plaza features a globe to celebrate the spirit of nautical exploration. Guests enter though hotel beyond into Mediterranean Harbor.

C O N TA C T relarsen@mac.com +1 949 933 2348 Austin, TX 78702

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