Architecture and Design Portfolio

EMMA HALENKO ARCHITECTURE AND DESIGN; SELECTED WORKS 2019

1109 N Northlake Way, Seattle, WA

206.601.5801

emmahalenko@gmail.com

TABLE

01

02

02 CIT 8-13

02 WU 14-17

OF

RESUME

UNDERGRADUATE WORK

CITY UNCONSCIOUS

WU - WEI WAY

PROTEUS MOVES: A STUDY OF DURATIONAL SPACE

AN ARTIST’S STUDIO

CONTENTS

03 ROO 36-41

03 DAR 42-43

03 OFF 44-49

04

04 IFAC 52-55

ROOST

DARLING RESIDENCE

OFF THE EJ

BUILT PROJECTS

INT. FESTIVAL FOR ART AND CONSTRUCTION

INDIGO ARCHITECTURE + INTERIORS

INDIGO ARCHITECTURE + INTERIORS

A SUSTAINABLE JEWELLERY DESIGN COMPANY

A VILLAGE REVITALIZATION PROJECT

02 JAR 18-23

03

03 SEA 26-29

03 PRINT 30-31

03 DRIFT 32-35

JARDIN

PROFESSIONAL WORK

SEASHORE RESIDENCE

VIGNETTE MODELS

DRIFTWOOD HOUSEBOAT

WANGEN ARCHITECTS

IMPRINT ARCHITECTURE AND DESIGN

COMMISSION DESIGN

A RETREAT, A LODGE, A SPA

04 RAV 56-59

04 CON 60-61

04 ERU 62-63

05

05 PER 66-73

RAVEN

SEEMLESS CONNECTION

ERUBUS AND TERROR

PERSONAL PROJECTS

PERSONAL PROJECTS

AN INTERACTIVE INSTALLATION

A PLAY

A CHAIR FOR EDGAR ALLEN POE

A COLLECTION OF MIXED MEDIA WORK

EDUCATION 2011 - 2016 Fall - Summer Honours Bachelor of Architectural Studies, Co-op Program

University of Waterloo

EMMA HALENKO CV

RELEVANT SKILLS 01

RESUME

SketchUp Kerkythea + Thea Rhino V-ray Revit AutoCad Layout for SketchUp Adobe Photoshop, Indesign, Illustrator Microsoft Office Adobe Acrobat

Hey, this is me. Emma.

Throughout my life, art and design have been the keystones of my path, and remains something that I am very passionate about. While studying architectural at the University of Waterloo, I had multiple internships in different cities around Canada, as well as expanding my individual design sense by creating a sustainable jewellery design company. Since then, I’ve worked at a wonderful modern residential design office and started my own independant design practice working with multiple architects and designers.

This portfolio manifests a collection of works and explorations in the field of architecture as well as a few personal projects that I have poured my soul into.

They reflect who I am as a designer and artist and where my passions and inspirations derive.

I look forward to expanding and deepening my knowledge in this exciting field. The challenges and experiences that are offered by working in a firm of talented architects and designers is something I deeply value. I would love to bring this passion that I have for art, design and life into your firm. Thank-you and enjoy!

Sincerely, Emma Halenko

Laser-Cutting 3-D Printing Hand Modelling Hand Drafting Metalworking Jewelry Design and Implementation Material Manipulation Sewing Drawing Painting

3D

2D

Other

VOLUNTEER AND RECOGNITIONS The BLOCK project

2018- present

Volunteer for Seattle initiative to end homelessness by building off-grid tiny homes in residential lots

Sustainable Start-up Entrepreneur

2014- 2019

Creator, Designer and Fabricator. Awards earned: the Norman Esch Enterprise Co-op Award, Campus Led Accelerator Entreprise Co-op Award and a recipient of the Ontario Summer Company Program. Became a mentor for student entrepreneurs following this experience for 3 years.

IFAC

2012 + 2015

Participant in the International Festival for Art and Construction design festival for 2 years; Villarino de los Aires in Spain and Bergen in the Netherlands

PROFESSIONAL EXPERIENCE Emko Architecture and Design

Architectural and Design Contractor

Seattle, WA, United States

2018 - Present

Architectural and Design Firms under contract:

TenPenny Studio design and construction

Architectural Designer

Seattle, WA, United States • Responsibilities include on-site building measurements, as-built drawings and 3-D models • Produce Schematic and Design Development level design sketches for client meetings • Research building code standards, produce building permit packages and submit to city

Michael Wangen Architects

Project Architect

Bainbridge Island, WA, United States • Continuous development of construction drawings; plans, elevations, sections, details • 3-D model as-builts as well as design developed projects at varying stages of projects • Prepare permit and construction administration packages

Imprint Architecture and Design, LLC

Architectural Designer

Stillwater, MN, United States • Create 3-D models from schematic and developed designs • Create visual vignettes of project model for client meetings

HCA

Graphic Designer

Toronto, ON, Canada • Photo editor for marketing company, poster design and various graphic design needs • Designed and created multiple media kits for start-up and developed companies

Indigo Architecture+Interiors

Intern Architect

2015 - Present

2016 - 2018

Bainbridge Island, WA, United States • Produced permit, design and construction phase drawings and packages, submitted to city for review • Collaborated on designs and worked on projects from schematic design through to construction phases • Produced 3-D models, attended site and client meetings, revised drawings per meetings and change orders

Student Intern Architect Experience: • •

Participated in site development, schematic, design and working drawing stages of multiple projects including two hospitals, Habitat for Humanity, an addition at a local College and a train station proposal in Mecca, Saudi Arabia Annotated and produced drawings, renders and attended on site and office client meetings

Perkins+Will Canada Architects

Vancouver, British Columbia, Canada

architects Tillman Ruth Robinson Toronto, Ontario, Canada

RBM Architecture

Student Intern Architect Student Intern Architect

Student Intern Architect

Saskatoon, Saskatchewan, Canada

Parkin Architects Limited

Toronto, Ontario, Canada

Student Intern Architect

2016 2015 2013 2013

02

UNDERGRADUATE WORK

...we do not just see it “as it is” but as “how we are.” We are all co-creators of the places we experience.

– Tim Richardson, Avant Gardeners

02 CIT

UNDERGRADUATE B.ARCH

89

CITY UNCONSCIOUS

A STUDY OF DURATIONAL SPACE PERIOD 3B Design Studio PROFESSOR Dereck Revington DATE Fall 2014 LOCATION Hypothetical threshold of a city in transition

02 CIT

Column 1: Stills from original video of Molten Lava Column 2/3: Form and texture material studies Column 4: Light and form material studies

UNDERGRADUATE B.ARCH

Column 5: (top to bottom) Dominant Precedents; Burning Man Festival, Friedrick Kiesler’s Endless House and a still from ‘LaJetée’

10 11 “Living itself is a process, a continuous change; if it stands still the form disintegrates- for the permanence is a pattern of changes. Nothing therefore is as fundamental in the fabric of our feeling as the sense of permanence and change and their intimate unity.�

-Susanne K Langer’s Feeling and Form

Column 6: (top to bottom) Fearless explorer of abandoned and underground places; Miru Kim, Project by Jeremy Kai; Rivers forgotten and the Barbican Centre by Chamberlin; Powell and Bon

Bottom Row: Light and form material studies Top Right: Vignette through mid-size-shared spaces

02 CIT

UNDERGRADUATE B.ARCH City Unconscious Unconscious isis situated situated on on City theprecarious precariousthreshold thresholdofofaacity city the inintransition; transition;an anarea areaofofaacity citymomo“Play is not simply an instance of culture mentarily mentarilypaused, paused,abandoned abandonedand and but inon factthe precedes culture…

The perhaps discovery ofofcreperhaps on the discovery cre-temonos is cut-out, for afor space set This aside ating aanew itself. atingliterally newaidentity identity itself.

Thisfrom the ‘common’ fabric of as the world.

It establishes building isisdesigned building designed asan anabsoabsolute from fablutebreak break fromthe thecommon common faban elementary distinction between inside and ric the ItItthe isisdesigned ricofof theworld. world. designedas as outside, between spell-bound character of aa heterotopia; heterotopia; an an opportunity opportunity toto the game. Entering the game… requires some transition transition into into an an inner inner world world ofof sortappearances. of initiation into thebuilding rules of the game. hidden The hidden appearances.

The building Play, therefore, hasthe the capacity to establish isis intersected with adjacent intersected with the adjacent a sense building, ofbuilding, community.”

The space of play; abandoned ininaaparasitic abandoned parasitic interaction between past interaction between the past and toward a generalthe theory of and heterotopia the Interconthevitality vitality ofthe thepresent. present.

Intercon— of Lieven De Cauter and Michiel nected typical nectedspaces spacesdefy defy typicalroom room Dehaene conditions conditionswithin withinthe thebuilding buildingby by creating creating spaces spaces that that bleed bleed and and unfold unfoldinto intoand andout outofofeach eachother, other, intentionally intentionallycreating creatingan anopen, open,culculturally-shared turally-sharedand andfree freecollection collection ofof spaces spaces for for wild wild experimentaexperimentation. tion.City CityUnconscious Unconsciousisisaarefuge refuge from fromthe theover-articulated over-articulatedpatterns patterns and andcultural culturalfabrics fabricsofofthe thecomcommon monworld. world.ItItisisaaculture cultureofofpospossibility, sibility,blooming bloomingwith withlife lifeand andtrantranquility quilityfilled filledwith withaacommunity communityofof alternative alternativedreamers dreamersand andexplorers explorers within within“alternative “alternativespaces, spaces,altered altered spaces, spaces, and and often often alternating alternating spaces— spaces—two twodifferent differenttime timespacspaces esthat thatcome cometogether togetherand andswitch switch from fromone oneinto intothe theother.” other.”The Thespace space ofofplay; play;toward towardaageneral generaltheory theoryofof heterotopia—Lieven heterotopia—LievenDe DeCauter Cauterand and Michiel MichielDehaene Dehaene

City Unconscious is situated on the precarious threshold of a city in transition; an area of a city momentarily paused, abandoned and perhaps on the discovery of creating a new identity for itself. This building is designed as an absolute break from the common fabric of the world. It is designed as a heterotopia; an opportunity to transition into an inner world of hidden appearances. The building is intersected with the adjacent abandoned building, in a parasitic interaction between the past and the vitality of the present. Interconnected spaces defy typical room conditions within the building by creating spaces that bleed

and unfold into and out of each other, intentionally creating an open, culturally-shared and free collection of spaces for wild experimentation. City Unconscious is a refuge from the overarticulated patterns and cultural fabrics of the common world. It is a culture of possibility, blooming with life and tranquility filled with a community of alternative dreamers and explorers within “alternative spaces, altered spaces, and often alternating spaces— two different time spaces that come together and switch from one into the other.” The space of play; toward a general theory of heterotopia —Lieven De Cauter and Michiel Dehaene

12 13

Top Left: Transitional diagrams exploring the context and atmosphere between City Unconscious and the adjacent topography Bottom Left: Perspective Render of entry

Above: Experiential section-perspective exploring activity within varrying sizes of spaces and the overlapping nature of these spaces

02 WU

WU - WEI WAY

AN ARTIST’S STUDIO PERIOD 4A Design Studio PROFESSOR Lorenzo Pignatti DATE Fall 2015 LOCATION Rome, along the Aurelian Wall

UNDERGRADUATE B.ARCH

This artist studio designed for Lao Tzu is a retreat from the chaotic lifestyles that are supported behind the Aurelian walls of Rome. This studio encompasses the basic virtues of Taoism, especially the notion of wu-wei; keeping man in harmony with nature so that the world follows its natural evolution. The trees act as a harmonizing quality to marry the building and the wall.

The pathway to the building weaves under and around the building, presenting the notion that you are meshing with nature and the building. Upon entering the building, you are presented with an intermediate space, which offer a series of options in which to take; a quiet space curtain-walled around an uprooted tree and a larger space that is enclosed by a solid wall. This space leads once again into a smaller space that releases one into nature. From the intermediate space, the last option is to cross the bridge into the Aurelian wall, where one has the amenities needed to retreat for a weekend or a lifetime.

14 15

LEFT: East Section exposing private amenities RIGHT: East Elevation

02 WU

UNDERGRADUATE B.ARCH

LEFT (Above): South Section exposing private amenities LEFT (Below): Site Photos of building context

16 17

RIGHT (Inner): Exploded Axonometric of building elements broken down RIGHT (Outer): Series of Perspective Renders

JARDIN

A RETREAT, A LODGE, A SPA PERIOD 4B Design Studio PROFESSOR Andrew Levitt DATE Summer 2016 LOCATION Patagonia, South America

02 JAR

UNDERGRADUATE B.ARCH

20 21

Spa Courtyard

LEFT COLUMN: Notable site consideration Site Diagrams: 1- The building is located on the flat portion of the site to avoid excavation, disruption of the landscape and to harmonize the adjacent river, celebrating the natural extents of the site.

2- The building takes full advantage of the north light 3- Mount Fitz Roy and Cerro Torre are celebrated by strategically punching views in the common spaces 4- The building is protected from the prevailing winds with thermal walls that step out to further act as a barrier LEFT (Above): Floor Plan LEFT (Center): Extensive Porch Vignette through to the Greenhouse LEFT (Below): Structural diagrams of porch screen ABOVE 1: Longitudinal Section ABOVE 2: East Elevation ABOVE 3: West Elevation RIGHT: Transverse Section

Guest Courtyard

Great Room Private Courtyard

02 JAR

UNDERGRADUATE B.ARCH

Mount Fitz Roy was the initial contextual inspiration for this lodge, as its extensive beauty cascades throughout the site and those coming to stay in the lodge would undoubtedly have some connection to this mountain, labeled as one of the most technically difficult mountains to climb. The lodge is secured on the flat region of the site. The intent behind this is to have as minimal of an impact to the earth on which it lies as possible. This holds true for the materiality choices of the building as well; predominantly using Ipe wood, a native

South American Wood as well as maximizing the use of stone from the site. The lodge is placed close to the river so at times when the water level raises, portions of the building dip into the river to create a united feeling with the topography.

The lodge spans horizontally, oriented to effectively take advantage of both the north sun and mountain views. On the northeast wall lies an extensive porch with a manually moving screen system. The screen orchestrates lighting, heat gain and even acts as a second skin from wind and high temperatures.

22 23

LEFT (Above): Great room and Guesthouse Courtyard persepctives, respectively LEFT: Private staff courtyard RIGHT: Spa Courtyard

On the opposite wall, the building steps out to provide protection from the prevailing southwest winds. A large window is punched out in the Great room to frame the mountain views. Other than this window, the courtyard spaces are the only moments when the mountain views are framed. The program is organized around these courtyardgarden spaces. This is to create contrast between the interior and exterior spaces and continue this notion of celebration when in unity with the other guests at the lodge.

03

PROFESSIONAL WORK

If you can’t do it right, do it big and do it red.

– My dad

03 PRINT

PROFESSIONAL WORK B.ARCH

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adjacent house

EXISTING ADJACENT RESIDENCE

side door stoop

LOT 7 TAX PARCEL

S7310-00-06007-0 8034.9 SF

CIP conc patio

00

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0”

W

PROPOSED 2-STORY RESIDENCE

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EXISTING ADJACENT RESIDENCE

’

LOT 5

nt

ph

alt

roof overhang

(e) septic drainfield area

BUILDING AREAS Garage:

342 sf

Lot area: 8035 square feet

Main Level Floor Area: 1383 sf Upper Level Floor Area: 1062 sf Subtotal: 2445 sf Upper Level Deck:

Legal Description: LAGOON PT LOT 7 BLK 6 INCL ADJ TIDES

144 sf

Total: 2931 sf (total area does not include any exterior slabs on grade)

1

Site Plan

N

1/8” = 1’ - 0”

SEASHORE RESIDENCE

Wangen Architects

POSITION Architectural and Design Contractor CLIENT Michael Wangen DATE Summer 2018- present LOCATION Bainbridge Island, WA, services provided remotely

Working for Wangen Architects has been a unique experience in diving into all phases of a project at varying stages and delivering drawings and models in a timely fashion. In this residential design firm, my role as a remote contractor for Wangen Architects includes continuous development of construction drawings, plans, elevations, sections and details. I’ve constructed 3-D models from As-built drawings, photos or sketches as well as design developed projects at varying stages.

Preparing permit and construction administration packages, drawing and annotating are all part of my role with this architectural office as well. SketchUp, Layout and Photoshop are the main software tools I’ve used with Wangen Architects.

A

26 27

03 PRINT

PROFESSIONAL WORK B.ARCH

Mich

4 3

5 4

6 5

9' 10"

1 A3.4

Adjacent Building

10' 0"

1 A3.2

10"

sink

pantry pullouts

F

13

Laundry

12

Kitchen

closet

7' 0"

steel post line of floor above

Entry

1' 0" min

CL

1' 0"

2x8 wall

Up

1' 0"

3' 0"

6" 3' 0"

2' 6"

N

8' 3"

3' 6"

2

Powder

SA

CO

South G

1 A3.3

CL B

2 A3.4

Bdrm 2

Study curbless shower closet r&s

G

4

5"

3' 0"

3' 11"

F

8' 0"

Bath 2 50 cfm min

PLLC

A

2' 4"

17' 9"

14' 10"

3' 0"

2' 4"

R.O

5"

CL 36' 0"

Main Lev

1' 2"

2’-0” X 5’-0” hinged glass shower panel

1' 2"

5' 0"

A

E

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property line

Sea

12' 0"

roof overhang above

I

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9

5

C

5' 2"

6" R.O

8' 0"

3

SA

3' 7"

12' 0"

12' 0"

12' 0"

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6

1' 6"

5' 0"

5' 9"

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5' 0"

4' 0" 1' 0"

DS w/c

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steel post

3' 6"

3 A3.4

2 A3.3

8' 0"

DS

2 A3.4

26' 0"

1' 0"

4' 4"

handrail @ 34”

edge of deck above

4' 0"

22' 0"

folding doors

B

1 A3.1

12' 9"

line of floor above 16 R @ 6.75” & 15 T @ 11”

12' 0"

R.O

20' 0"

50' 0"

26' 0"

12' 0" 7' 0"

1 A3.3

14

E

4' 0"

top of conc EL 13.0’

CIP conc

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DS

CL

wood deck

FF EL 13.125’

6' 0"

CL

4R @ 6” & 5T @ 12”

Dn

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2 A3.1 C

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Living & Dining

slope down and away from building at 1/8” per foot

Patio

Porch

L

Wood Stove

2 A3.3

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top of decking EL 13.0’

1

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4' 0"

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26' 0"

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steel post

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6' 0"

100 cfm cooktop

4' 0"

F

8' 0"

1' 0"4' 4"

6' 1"

F

6' 0"

refrigerator

12' 0"

C

DS

wall cabs (above) washer dryer

4' 3"

1' 0"

3' 11"

Nook

TOC EL 14.0’

stoop

11 sink

3' 0"

4' 7"

5"

11' 1"

edge of deck above

12' 0"

12' 0"

DW

22' 0"

6' 0"

Dn

M pantry

11' 0" 7' 4"

steps as required

Dn D

F

10"

2' 0"

1' 6"

2' 0"

1' 2"

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10"

8' 0"

5' 0"

10' 0" 10"

11' 1" 3' 0"

outdoor shower & hose bib

3 A3.4

3' 6"

CL

10' 6"

R.O

6"

3' 0"

5"

310 Ma Bainbridg

22' 0"

Adjacent Building

36' 0" property line

7

6

8' 0"

12' 0"

12' 2"

7' 0"

3 2

6' 0"

10' 5"

2 1

2 A3.2

32' 0"

1 A3.4

15

68' 0"

Adjacent Building 2 1

3 2

4 3

5 4

6 5

7

6

1

0’

Main Level Floor Plan

PLLC

4

Interior View from Kitchen to Living

2

Not to scale

4’

N

8’

1/4” = 1’ - 0”

PLLC

Interior View from Entry Not to scale

Weinberg Residence 3528 S Seashore Ave Greenbank, WA 98253

ABOVE: Annotated and developed floor plan BELOW: Screenshot Vignettes of model

Revisions

Sheet Name Perspective Views

Issue DDR5 Coordination

Date 15 March 2019

Sheet Number

3

View from Beach Not to scale

4

Interior View from Kitchen to Living Not to scale

4

Interior View from Kitchen to Living View from Street

1Not toNotscale to scale

2

Interior View from Entry Not to scale

A0.2

2

Interior View from Entry Not to scale

Weinberg Residence 3528 S Seashore Ave Greenbank, WA 98253

Weinberg Residence 3528 S Seashore Ave Greenbank, WA 98253

Revisions

Revisions

A

28 29 E E

C C

D D

B B

A A

BB

F F

continuous ridge vent continuous ridge vent metal roofing metal roofing

E

C

D

B

A

B

F

continuous ridge vent

9'9'0"0"

siding-1, typ metal roofing siding-1, typ

F F

adjacent building adjacent building

A A

36” SS guard 36” SS guard

F F

DS DS

DS DS

9' 0"

F

1'1'0"0"

adjacent building

A

siding-1, typ

siding-2, typ siding-2, typ light fixture light fixture

light fixture light fixture F

36” SS guard

adjacent building adjacent building DS

DS

siding-2, typ

light fixture

light fixture 10 10

6 6

adjacent building mtl flashed joist ends mtl flashed joist ends

1' 0"

9'9'0"0"

C C

9' 0"

C 10

6 mtl flashed joist ends

0’ 0’

4’ 4’

8’ 8’

West West Elevation Elevation

2 2 0’ A A

C C

BB

B B

E E

D D

1/4” = 1’ - 0” 1/4” = 1’ - 0”

4’

8’

F F

West Elevation

2

1/4” = 1’ - 0”

ASSEMBLIES ASSEMBLIES ROOF ASSEMBLY (UNVENTED) TYPTYP ROOF ASSEMBLY (UNVENTED)

A

METAL ROOFING METAL ROOFING PEEL STICK GRACE & WATER SHIELD PEEL ANDAND STICK GRACE ICEICE & WATER SHIELD STRUCTURAL SHEATHING PLAN STRUCTURAL SHEATHING PERPER PLAN PREFABRICATED WOOD TRUSSES FRAMING PLANS PREFABRICATED WOOD TRUSSES PERPER FRAMING PLANS R-28 BATT INSULATION MINMIN R-28 BATT INSULATION CEILING PLANS: CEILING PERPER PLANS: PAINTED GWB 5/8”5/8” PAINTED GWB OR OR CEDAR INTERIOR CEILING 1X41X4 T&GT&G CEDAR INTERIOR CEILING OR OR CEDAR SOFFIT (EXTERIOR) 1X41X4 T&GT&G CEDAR SOFFIT (EXTERIOR)

I I

SUBFLOOR SUBFLOOR TOW TOW

adjacent building

F4 F4

TYPICAL SLAB GRADE - EXTERIOR TYPICAL SLAB ON ON GRADE - EXTERIOR

R1 R1

continuous ridge vent

siding-1, typ siding-1, typ metal roofing

gutter contcont gutter

3 3

12 12

F

12 12

siding-1, typ adjacent building adjacent building

3 3

siding-2, typ CIP conc steps CIP conc steps gutter and downspout

F1 F1

1 1

3

12 F1 F1 3

12

adjacent building

W1W1

23.125’ FFEFFE 23.125’

N

L

K K

14 14

SOG SOG concconc floorfloor

9' 0" 9' 0"

1

9' 0" 9' 0"

TOC TOC

6” KEBONY DECKING 5/4”5/4” X 6”XKEBONY DECKING WOOD FRAMING FRAMING PLANS WOOD FRAMING PERPER FRAMING PLANS TYPICAL SLAB GRADE (HEATED) TYPICAL SLAB ON ON GRADE (HEATED)

K K

L L

E E

I

TYPICAL DECK TYPICAL DECK

F3 F3

2 1 2 metal 1 roofing metal roofing

CIP conc steps

G

FINISH FLOORING FINISH FLOOR PLANS FINISH FLOORING PERPER FINISH FLOOR PLANS CEMENT BACKER BOARD AT TILE LOCATIONS CEMENT BACKER BOARD AT TILE LOCATIONS SUBFLOOR STRUCTURAL WDWD SUBFLOOR PERPER STRUCTURAL WOOD FRAMING PLANS WOOD FRAMING PERPER PLANS PAINTED GWB CEILING 5/8”5/8” PAINTED GWB CEILING F2 F2

12 12 3 3

F F

B

N N

6' 0" 6' 0"

TYPICAL UPPER FLOOR TYPICAL UPPER FLOOR

3 2

1' 0" 1' 0"

E E

G G

9' 0"

F1 F1

3 2

12 12 3 3

I

DS

GWB 1/2”1/2” PTDPTD GWB (UNO) WOOD STUDS PLAN 2X42X4 (UNO) WOOD STUDS PERPER PLAN MINERAL WOOL ACOUSTIC INSULATION MINERAL WOOL ACOUSTIC INSULATION BACKER BOARD 1/2”1/2” TILETILE BACKER BOARD GROUTED GROUTED TILETILE

4 3

4 3

1' 0" 1' 0"

TYPICAL INTERIOR WET WALL TYPICAL INTERIOR WET WALL

5 4

siding-2, typ siding-2, typ DS gutter and downspout gutter and downspout

F adjacent building adjacent building

3' 0" 3' 0"

W3 W3

5 4

continuous ridge vent continuous ridge vent

F

9' 0" 9' 0" 8' 0" 8' 0"

GWB EA SIDE 1/2”1/2” PTDPTD GWB EA SIDE (UNO) WOOD STUDS PLAN 2X42X4 (UNO) WOOD STUDS PERPER PLAN

TOW TOW

9'9'0"0"

TYPICAL INTERIOR WALL TYPICAL INTERIOR WALL

1' 0"

W2 W2

6 5

B B

I I

DS DS

1'1'0"0"

SIDING-1: STAINED CEDAR SHINGLES SIDING-1: STAINED CEDAR SHINGLES SIDING-2: PAINTED 6” CEDAR SHIPLAP SIDING SIDING-2: PAINTED 6” CEDAR SHIPLAP SIDING SIDING-3: STAINED CEDAR PANEL SIDING-3: STAINED 1/2”1/2” CEDAR PANEL WATER-RESISTIVE BARRIER WATER-RESISTIVE BARRIER STRUCTURAL SHEATHING PLANS STRUCTURAL SHEATHING PERPER PLANS WOOD FRAMING PLANS WOOD FRAMING PERPER PLANS R-21 BATT INSULATION R-21 BATT INSULATION GWB (VAPOR BARRIER) PTDPTD GWB (VAPOR BARRIER)

E

D

DS DS

F F

9'9'0"0"

TYPICAL EXTERIOR WALL TYPICAL EXTERIOR WALL

6 5

9' 0"

W1 W1

C

B

B

R1 R1

14

F3 F3

W1W1

F3 F3

SOG patio SOG concconc patio

F4 F4

13.125’ FFEFFE 13.125’

4” REINFORCED SLAB PLANS, GROUND POLISHED FINISH 4” REINFORCED SLAB PERPER PLANS, GROUND ANDAND POLISHED FINISH R-10 RIGID INSULATION AT ENTIRE INTERIOR SLAB R-10 RIGID INSULATION AT ENTIRE INTERIOR SLAB GRAVEL SUBSTRATE STRUCTURAL GRAVEL SUBSTRATE PERPER STRUCTURAL

1 1

22

4” REINFORCED SLAB PLANS, BROOM FINISH 4” REINFORCED SLAB PERPER PLANS, BROOM FINISH GRAVEL SUBSTRATE STRUCTURAL GRAVEL SUBSTRATE PERPER STRUCTURAL

East Elevation Elevation East

C C

B

B B

A A

F

B

F

wood stove wood stove flue flue

E E

D D

4’ 4’

8’ 8’

1/4”1/4” = 1’=-1’ 0”- 0”

East Elevation

1

E E

0’ 0’

1/4” = 1’ - 0” 1/4” = 1’ - 0”

Section at Bedrooms Section at Bedrooms 0’

4’

4’ 4’

8’ 8’

1/4” = 1’ - 0”

F

F

R1 R1

TOW TOW 20 20

W1W1

F

12 12 3 3

12 12 3 3

F

F1 F1

SUBFLOOR SUBFLOOR TOW TOW

F1 F1

23.125’ FFEFFE 23.125’

23.125’ FFEFFE 23.125’

TOW TOW

9' 0" 9' 0"

W1W1

15 15

33

Section at Garage Section at Garage 1/4”1/4” = 1’=-1’ 0”- 0”

4

5

F3 F3

TOC TOC

TOC TOC

4

5

10 10

9' 0" 9' 0"

10 10

7' 6" 7' 6"

RIGHT (Upper): Annotated Elevations RIGHT (Lower): Section through house and garage

F

8' 4" 8' 4"

F

1' 0" 1' 0"

A A

13.125’ FFEFFE 13.125’

F3 F3 13.125’ FFEFFE 13.125’

11

Section at Stair Section at Stair 1/4”1/4” = 1’=-1’ 0”- 0”

0’ 0’

8’

03 PRINT

PROFESSIONAL WORK B.ARCH

IMPRINT

ARCHITECTURE AND DESIGN POSITION Architectural and Design Contractor CLIENT Sara Imhoff DATE Summer 2018- present LOCATION Stillwater, MN, services provided remotely

Working with Imprint Architecture and Design has presented a range of design opportunities, usually working under tight deadlines and often providing 3D-models and sketch vignettes of schematic and design development designs.

Working remotely for Imprint Architecture and design has been a wonderful experience in effectively communicating via phone and email, meeting deadlines in another timezone and producing a product that was requested efficiently. AutoCad, Kerythea, SketchUp and Photoshop are utilized.

30 31

SHOWN: Sketch Vignettes of 5 unique modern barnhouse designs that were developed and modeled alongside Imprint Architecture and Design

DRIFTWOOD HOUSEBOAT

COMMISSION DESIGN

DESIGNER Emko Architecture and Design DATE Fall 2017- Winter 2018 LOCATION Lake Union in Seattle, WA, USA

02 DRIFT

PROFESSIONAL WORK B.ARCH

Driftwood is a commissioned houseboat design. This first phase design has an intent to create as much of a relationship with the water as possible and allow plenty of light to filter through while allowing for privacy where needed. With only 634sf, the common areas such as the kitchen and living area extend onto an extensive second floor deck, taking advantage of deck space to overlap with the allowable program square footage. Having the main program on the second floor allows for maximized water views in the program of

the house where it matters most. Each of the lower floor bedrooms have private decks, allowing for water access while maintaining privacy when desired. Entry can be had on all 4 sides of the boat to consider all possible docking situations.

This design allows for flexibility to define a habitat that offers both a place of gathering or a private recluse. The houseboat couples modern design elements with expansive views while drawing in some quarky and unique characteristics that are akin to the houseboat community in Seattle.

LEFT (Above): Interior Vignettes of houseboat LEFT (Below): Exterior Vignette RIGHT: First and Second Floor Plan, respectively

34 35

CLOSET 02

DECK 02

WASH/ DRY

ENTRY 01

BDRM 02

6’-10”X14’-5”

OFFICE NOOK

7’-4”X10’-0”

BATH

MSTR BDRM

DECK 01

7’-4”X10’-0”

6’-7”X14’-5”

CLOSET 02

BENCH/STORAGE

ENTRY 02

6’-2”X5’-4”

PLANTER BED

DRIFTWOOD HOUSEBOAT: first floor plan

DECK 03

12’-6”X13’-5”

TOTAL AREA: 634sf living 354sf deck

DIMENSIONS: loa : 41’-6” beam: 14’-5”

TOTAL AREA: 634sf living

DIMENSIONS: loa : 41’-6”

LIVING

8’-2”X12’-6”

DINING

4’-0”X9’-10”

KITCHEN

6’-0”X12’-6”

ROOST: A DEVELOPMENT

INDIGO Architecture and Interiors POSITION Intern Architect SUPERVISOR Belinda + Jeremy Thornburg DATE Fall 2016- Winter 2018 LOCATION Bainbridge Island, WA, USA

03 ROO

PROFESSIONAL WORK B.ARCH

Roost is a 3-phase community that is designed to create a right-sized enviornment that is comforting and private, while at the same time able to create open and inviting spaces set in the quaint and warm city of Bainbridge Island. They are designed to be thoughtful and authentic spaces that accomodate individuals and families of all types. Phase 1A is the first portion of the neighbourhood that consists of 5 large (2150sf) single family homes and 5 small (900sf) single family homes. This phase is now complete and the process of construction and complettion of the homes are shown on this spread.

During my time at Indigo, I saw Phase 1A through to the end, contributing most of my time on construction drawings, site visits and developing marketing materials, such as the vignettes presented in this section.

At the center of the community, Phase 1B consits of 4 3-unit townhomes. My efforts have largely been with the collaboration of permit and construction drawings. I also created marketing materials for this phase. These homes consist of a commercial unit on the first floor to be used as a home studio or small commercial space. The intent for this phase is to create a live-work dynamic to further enhance community creation. This phase is currently under construction.

38 39

RIGHT: Completed Phase 1A single family homes ABOVE ROW: Phase 1A highlights LEFT: Phase 1A construction

03 ROO

PROFESSIONAL WORK B.ARCH

The southernmost end of the site fronts the village mainstreet and intends to connect the neighbourhood retail streetscape toward the beach across the street.

Phase 2 is anchored with a camp that will invite guests to stay in “bunkhouses” among northwest landscaping.

This phase will also incorporate the revitalization of a

historic brickhouse on site, as well as the “greenhouse” restaurant which will reveal itself fully with large curtain walls. The “shed” building will serve as the center for camp life and will be stocked with outdoor and beach supplies as well as an outdoor firepit and climbing wall to further enhance the camp experience.

40 41

SHOWN: Vignettes of both Phase 1B and 2 presenting the life and community offered by Roost.

03 DAR

PROFESSIONAL WORK B.ARCH

F

E

D

1 A4.01

C

2 A4.01

B

A

67'-5 1/2" 5'-11 1/2"

6'-5"

25'-6"

14'-1"

PLANTING BED

PANTRY

36"REFER

7'-6"

PANTRY

PANTRY

CLOSET/WARDROBE

BBQ

42" RANGE

ENTRY PORCH

15'-0"

UP

108

W108A W108B

100 +28"

+52"

W108G

W108D

W108E

104

W108F DW

ENTRY

DINING

UP

105

SUN PORCH

D106D

110

101

W101A

+30"

PLANTING BED

+24"

+18"

+12"

DN

PLANTING BED

-2"

+6" +0" D101C

28'-6"

DN D102A

COVERED PORCH

PARTIAL HT STOR CAB/ OPEN SHLVS

W102B

W103A

F22A

BDRM 2

1'-6"

W103C

PLANTING BED

W103D

CLOSET

QUEEN 60W X 80L

FP FLUE

W103B

W102C

LIVING 106

D103B

103

ROOF RUNOFF/ RAIN GARDEN/ STORM INFILTRATOR

107

-2"

STEEL TRELLIS

MIN 50 CFM FAN

W102A

D106B SD

TV/SHELVES

PLANTING BED

12'-0" 1 A4.02

102

FIREPLACE

D101B

BATH 2

FIREPIT

D106C

D103A SD

13'-0 1/2"

2 A4.00

W108C

KITCHEN 15'-5 1/2"

1 A4.00

GARDEN

D101A

8'-0"

DN

PLANTING BED D106A

CONCRETE WALK

DN

CONCRETE WALK DN

STEEL TRELLIS SLIDING SCREEN (2x) 10'L

6'-5"

5'-6"

DARLING RESIDENCE

INDIGO Architecture and Interiors POSITION Intern Architect SUPERVISOR Belinda + Jeremy Thornburg DATE Fall 2016- Winter 2018 LOCATION Bainbridge Island, WA, USA RESIDENCE: FIRST FLOOR PLAN 1/4"=1'-0" (1/8"@HALF SIZED SHEET 11"x17")

14'-6 1/2"

16'-6 1/2"

8'-11 1/2"

RAISED PLANTING BED

Darling Residence is a single family home located on Bainbridge Island, WA, USA. Located on the water’s edge on a narrow site, the design is grounded with a long concrete wall that guides the house towards the water, creating a path that draws you closer and reveals itself to the water by maintaining transparency throughout the house. The house negates rigidity by inviting small gardens to intersect the main design and create opportunities for the owners to individualize these spaces.

During my time with Indigo, I was asked to “plant the seed of design,” so to speak; to create an initial schematic design which was brought forward to the clients. Aferward, my supervisor N Jeb Thornburg and I worked together to push the design further and ultimately create an environment to excite and inspire the clients. I was also involved in the creation of permit drawings for this residence. The house is still underway.

42 43

LEFT: Initial sketch for Schematic design floor plan and final floor plan RIGHT: Vignettes of completed design

OFF THE EJ

A SUSTAINABLE JEWELLERY DESIGN COMPANY, START-UP FOUNDER DESIGNER FABRICATOR

03 OFF

PROFESSIONAL WORK B.ARCH

Off the ej is a jewellery design company whose motive is to reinvent items and materials that are worn and exhausted. As the creator and founder of Off the ej, my intent is to challenge the notion of new always being better and render a philosophy whereby creations are formed out of these materials that are still trendy and sought after. This project was started in hopes to challenge, inspire and reinvent the world of fashion and the way we think about, manipulate and explore materiality. My responsibilities include managing, marketing, sales, design and production.

ABOVE: ‘License To..’ - A collection of designs exploring the extent of exhausted license plates.

RIGHT: ‘Cuting Ej’ - A collection of designs laser cut and etched from baltic birch plywood. Pieces are soaked in rich coffee to create a collection grounded in nature. Pieces are then sprayed in a fixative solution for long lasting protection.

Photography by Wesley Chu Modelled by Natalie Krakovsky

46 47

03 OFF

PROFESSIONAL WORK B.ARCH

‘Music to my Body’ - This collection is inspired by exploring the materials of found vinyl records and Cd’s. The Cd pieces are created by melting and combining various textures and colours of the Cd to create organic, rich forms and hues. The authentic vinyl records are hand-cut and filed down for a smooth finish.

Photography by Wesley Chu Modelled by Natalie Krakovsky

48 49

04

BUILT PROJECTS

“When we dream alone it is only a dream, but when many dream together it is the beginning of a new reality.�

-Friedensreich Hundertwasser

04 IFAC

INT. FESTIVAL FOR ART AND CONSTRUCTION

A VILLAGE REVITALIZATION PROJECT PERIOD 1B DATE Summer 2012 LOCATION Villarino de los Aires, Spain

BUILT PROJECTS B.ARCH

The 2012 International Festival of Art and Construction focused on the revitalization of a small town in the north of Spain. The focus was to recreate this empty town to attract new residents and inspire current ones. This installation was created in a local park to attract interest and further stimulate the imagination of residents. The material use was limited to clear tape and plastic wrap; testing the boundaries of space and durability.

52 53

04 IFAC

INT. FESTIVAL FOR ART AND CONSTRUCTION

A VILLAGE REVITALIZATION PROJECT PERIOD 3B DATE Summer 2015 LOCATION Bergen, the Netherlands

BUILT PROJECTS B.ARCH

The 2015 International Festival of Art and Construction focused on the revitalization of a small eco-village in Bergen, Netherlands. Throughout the festival, I partook in the creation of various installations that were meant to reinspire the village and assist in its take off before receiving rezoning from the city. I mainly worked on this straw house because I was excited to experience hands on eco-design and building.

I attended lectures about building eco houses and learned about the benefits of straw-houses as well as participated in the construction of the walls and applying various “body coats� to both the interior and exterior walls.

54 55

RAVEN

A CHAIR FOR EDGAR ALLEN POE PERIOD 3B Structural Design Build Workshop PROFESSOR Christian Bellini and David Bowick COLLABORATION Christopher Chan DATE Fall 2014 LOCATION Cambridge, ON, Canada

04 RAV

BUILT PROJECTS B.ARCH

With me poetry has not been a purpose, but a passion... Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before. Edgar Allan Poe was an American author and poet, a master at his craft and an influential figure in writing at his time. This chair was designed to emanate his dark and sophistacted writing style, as well as incorporating Poe’s belief that the quality of work should be brief and focus on a single effect. This chair reflects his fearlessness and raw passion seen during his time as a literary critic. It was important in this collaboration for us to create a chair that is modest, with a heavy focus on the themes of insanity, passion, macabre and sorrow. This chair is an entity on its own, and strongest when left in its whole state. However, it has the ability to be split into two, thus “spreading its wings” and allowing for this chair to become suitable for conversation. Comfort wasn’t a consideration in the design of this chair, as we felt that Poe’s demeanor and writing could easily leave one feeling uncomfortable and perhaps disatisfied. During Poe’s lifetime, he worked as a literary critic and was known to be the most discriminating, philosophical and fearless critic.

We ventured to design a chair to obtain a brutalist quality, sturdy, but with passion and fearlessness.

58 59

04 CON

BUILT PROJECTS B.ARCH

60 61

SEEMLESS CONNECTION AN INTERACTICE INSTALLATION PERIOD 2B Design Studio PROFESSOR Anne Bordeleau COLLABORATION Heather Cunningham, Helena Dini, Natalie Krakovsky, Isabella Cina DATE Summer 2013 LOCATION Cambridge, ON, Canada

As you first enter the site and veer right you really cannot miss the striking elegance of this tree that cascades parallel to the riverbank, almost as if to frame the rivers edge. This installation is designed not only to capture the rivers view, but also functions as a place of repose at its edge.

The permeable walls of rope are an extension of the large protruding branch and are angled to allow up to four people to sit, each angled to create varried experiences. From a distance, the wall of rope appears continuous but is actually separated to create various walls or ‘hammocks.’ The connections are delicate and are not an immediate disturbance to the nature of the site but rather an enhancement, adding layers of transparancies and depth to the natural appeal of the site. The result is simple and sleek; the ropes seemlessly connecting the ground to the sky.

04 ERU

BUILT PROJECTS B.ARCH

62 63

ERUBUS AND TERROR

A PLAY- Costume Director

PERIOD 2B Iconography PROFESSOR Tracey Eve Winton DATE Summer 2013 LOCATION Cambridge, ON, Canada

The year my class produced the play, I was voted to direct and manage the costume set. The play was a retelling of Mary Shelley’s Frankenstein through the eyes of sir John Franklin on his doomed voyage for the Northwest passage. My role was to co-ordinate all costumes for the play as well as design and produce pieces. The final product of the play was truly poetic and unforgettably beautiful. From the music, to the set itself, everything was created and designed by us. Everyone put themselves as a designer, an artist and craftsman onto the stage and produced a remarkable show.

06

PERSONAL PROJECTS

I prefer drawing to talking. Drawing is faster, and leaves less room for lies. – Le Corbusier

06 PER

PERSONAL PROJECTS B.ARCH

66 64 67 65

SHOWN: Stills of experimental film photography

06 PER

PERSONAL PROJECTS B.ARCH

68 69

SHOWN: Self designed and fabricated dresses; most recent highlighted

06 PER

PERSONAL PROJECTS B.ARCH

70 71

SHOWN: Select sketches from my study term in Rome and throughout Italy

06 PER

PERSONAL PROJECTS B.ARCH

72 73

SHOWN: Select sketches from my study term in Rome and throughout Italy

THANK YOU

1109 N Northlake Way, Seattle, WA

206.601.5801

emmahalenko@gmail.com