GNTRT

EDUCATION

University of California, BerkeleyCollege of Environmental DesignMasters of ArchitectureBerkeley, CA

Parsons The New School for DesignSchool of Constructed EnvironmentsBachelor of Fine Arts, Architectural DesignACADEMIC HONORSNew York, NY

Studio Art Centers InternationalArchitectural DesignFlorence, IT

2010-2013*

2006-2009

2005-2006

WORK EXPERIENCE

Snarkitecture Brooklyn, NYDesigner . Fabricator . Renderer

Parsons The New School for DesignNew York, NYStudio Teaching Assistant

Kraft StudioBrooklyn, NYIntern

2009-2010

01-06.2009

06-08.2007

* Expected

D’Asign SourceMarathon, FLDesign Intern

06-09.2006

Lesovsky Donaldson ArchitectsStockton, CAJunior Project Manager . Designer

2004-2005

Chris Schrimpl ArchitectureStockton, CAIntern . Draftsman

2002-2004

AWARDS

Commemorative Marker, FL Marlins Miami, FL [Commissioned]Art in Public Places: Public Art Proposal

Column Illumination, FL Marlins Miami, FL [Commissioned]Art in Public Places: Public Art Proposal

Chase Housing Design CompetitionNew Orleans, LA [2nd Prize]NOLA : 9th Ward Recovery Proposal

09.2009

09.2009

05.2008

Immersive LightscapesNew York, NY [3rd Prize]IESNY : Lighting Design Competition

11.2006

EXHIBITIONS

Bangkok:Architecture of Three EcologiesNew York, NYAronson Gallery, 66 Fifth Ave.

Not the Usual Suspects: [new] Art in [new] Public [new]Places Miami Beach , FL

Total Housing 01 : ApartmentsNew York, NYStorefront for Art and Architecture

01.2009

09.2009

05.2008

PUBLICATIONS

archlighting.comImmersive Landscapes

MAS Context University Issue

05.01.2007

12.2009

WMy Favorite Room [pp. 90-91]

12.2010

GQOutside of the Box [pp. 60-63]

03.2010

MiamiCreative Pitch [pp. 70]

03/04.2010

Southeast Asia BuildingMarlins Select Daniel Arsham/Snarkitecture for Two Large Public Art Commissions [pp. 31]

03/04.2010

bustler.comArtist Daniel Arsham/Snarkitecture Wins Two Major Commissions For New Miami Marlins Ballpark

01.13.2010

artforum.comCommission for New Ballpark

01.13.2010

MLB.comMarlins Select Artists for New Ballpark

12.18.2009

ROSS BERRY GUNTERT

2087 Delaware StreetSTREET

6APT #

BerkeleyCITY

CASTATE

94709ZIP

209.609.8878TEL.

ross.guntert@gmail.comE-MAIL

STUDENT WORK[s]sfKOFHiding SpaceManipulating Spaces

PROFESSIONAL WORK[S]PrototypesCommemorative MarkerColumn IlluminationBOX / BOXWhy Patterns

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sfKOF 2010Professors Mark Anderson . Ronald Rael . Richard Fernau

In order to maintain the vocabulary of the site, the existing pier grid was integrated into the new grid of the structure and transformed into the structural system of both a com-munity kayak center and oyster farm. Due to the site’s close proximity to a water runoff outlet, the oyster farm serves as a potential water remediation effort to help clean the waters surrounding the building as well as set up a flagship center that could potentially spread throughout the Bay Area.

Conceptual Sketch : “Floating Colonnade” Conceptual Sketch : Main Center and Floating Clubhouse

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OAKLAND

ALAMEDA

RICHMOND

MARTINEZ

BENICA

VALEJO

SAN RAFAEL

SAUSALITO

SOUTH SAN FRANCISCO

SAN BRUNO

MILLBRAE

BURLINGAMESAN MATEO

BELMONTSAN CARLOS

REDWOOD CITY

MENLO PARK

PALTO ALTO

ALVARDO

NEWARK

HAYWARD

SAN LEANDRO

SAN PABLO BAY

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“FLOATING COLONNADE”-OYSTER FARM

Program Diagram

Bay Area Oyster Farms Historical Precedence City of San Francisco Water Runoff

KOF

Kayak Center

Oyster Farm and Kayak Training Area

San Francisco Bay

Pier 14

Clubhouse

Here the grid extends out from the Bay and onto Embarcadero greeting the public at the street level and leading them through the Kayak Center and out to the water and terminates at the Members Club.

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Launching Docks Oyster Farm and Kayak Training Area Clubhouse DocksEntrance

Second Floor Gallery Space Third Floor Gallery Space Fourth Floor Classrooms and Admin. Offices Roof Terrace

Perspectival Section

Berkeley Fire Station 2010Professors Mark Anderson . Ronald Real . Richard Fernau

Architects have long employed machines to design and build architecture, and there has long been a central fascination with the machine as a conceptual reference in the history and theory of modern architecture. In recent decades digital machinery of design has opened new frontiers in our thinking, and increasingly digital machinery is directly linking the design process into digitally controlled machinery of fabrication and assembly. My engagement of the machine, in this case a fire engine, employed some of these design and fabrication concepts, while exploring the machine systems of a fire engine as a catalyst for design.

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Investigations of the potential of the mechanics of a fire engine’s ladder and how it extends, retracts and rotates.

The information gathered from the initial investigations are placed on the site and carve away at the surroundings adjacent to it’s path.

EXISTING FIRE STATION

Manipulating Spaces 2010Professors Mark Anderson . Ron Rael . Richard Fernau

The “Casting Machine” was an exploration of space created by a found object that was to be examined, manipulated and exploited in order to create a series of volumetric studies and conceptual drawings. Here, the hand; man’s first tool, was the machine of choice.

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Furniture Prototypes 2010Snarkitecture

Built

Commemorative Marker 2010Snarkitecture

The existing letters from the sign are reconstructed at their original ten-foot height and orange color and scattered throughout the public plaza on the east side of the stadium. Their positions capture an ambiguous moment between destruction and rebuilding: some stand vertically; others are angled in mid-collapse or submerged in the ground, while others lay horizontally as if at rest. As visitors enter or exit the stadium and move through the plaza, different alignments are created between the letters, spelling out various words as the new stadium is glimpsed through fragments of the old.

The commemorative marker turns the destruction of the Orange Bowl into a creative act. It encourages people to stop, look, walk around, touch, and sit on and around the letters, creating a site for visitors to contemplate and celebrate the collective memory of the Orange Bowl and the legendary teams, historic events, and generations of fans who inhabited it. For newer visitors unfamiliar with the Orange Bowl, the letters create an immediately recognizable work around which new stories and memories will be formed, to be passed down and shared alongside those already established and rooted in the site.

Column Illumination 2010Snarkitecture

The installation by Daniel Arsham/Snarkitecture for the illumination of the columns at the new Florida Marlins Ballpark in Miami, Florida (commissioned by Miami-Dade County Art in Public Places) uses the simple idea of revealing and concealing the columns through the use of light. Standing nearly 200 feet in height, each of the four super columns will fade up and down as if the light was a human breath, appearing and disappearing in subtly varying rhythms suggesting a group of people breathing in unison, but at slightly differing rates. The effect will be generated using powerful LED lights programmed to create a flickering, sparkling light that moves up and down the column.

The scale of the columns and the oscillating light allow this effect to be visible at great distances through the city, acting as a kind of beacon drawing people to the stadium and announcing events occurring within. As people move through the west public plaza area on the approach to the stadium, the fluctuating light will be most prominently visible on the four columns framing the plaza, but will also reflect on the faces of fans as they enter or exit the stadium, altering the event surroundings to create a distinctive post-game environment.

BOX / BOX 2010Snarkitecture

A pied-à-terre as permanent residence, Box/Box is an apartment for Snarkitecture partner Daniel Arsham. A 90 square foot private hideaway contained within a larger 2,500 square foot collaborative workspace, the project was conceived as an accelerated design/build experiment and was completed within a two-month period at a cost of less than $100 per square foot.

The selected site is an existing storage loft onto which the volume of the apartment sits like a gift balanced on a high shelf. Enclosed within this volume is a simple and economical program: a space for sleeping and dressing. A ladder at ground level leads upwards through a hatch concealed in the floor, entering a treehouse-like residence consisting of only a closet and a bed. A gradient of 25,000 spheres clad the walls, moving from dark to light as they meet the illuminated grid of the ceiling, made of translucent panels that reveal a hidden grid of spheres when backlit. This luminous ceiling, the skylight and the facing mirrors on opposite walls brighten and expand the room to create an illusory space that appears more expansive than actual size.

Why Patterns 2010Snarkitecture . Jonah Bokaer . Morton Feldman . Edith Ordelman

A collaboration with choreographer Jonah Bokaer, Why Patterns is a performance commissioned by Dance Works Rotterdam. The visual design emerges from a single ping-pong ball that is introduced into a frame on stage, initiating a series of choreographed games. Unpredictable results trigger events that flood the stage with thousands of balls, which are manipulated by the movements of the dancers as the square frame is collapsed.

Why Patterns had its world premiere on February 28, 2010 at the Rotterdam Schouwburg in Rotterdam, Netherlands as part of the 3/Sense/Scene/Scenarios program.