P O R T F O L I O P PO OR R TT F FO OL L II O O EMILY HARTIG
2020
INTERIOR DESIGN hartigen@mail.uc.edu (C) 859.462.5848
EXPERIENCE
The Rosengarden Company Portland, OR / 2020 Small, newly founded music label. Worked with four different artists creating graphics and content per each artists’ needs. Designed six covers for music ready to be released. Developed the brand and aethetic for artist Heather Whitty, which required presentations and meetings until arriving at a successful concept. Head of fashion and art direction for all photoshoots. Created a photography book to be published for the label to communicate brand and utilize when taking investor meetings Hacker Architects Portland, OR / 2019 Architecture an interior design firm committed to sustainability and creating spaces that make people feel connected to the landscape. Worked on five projects in a four month period that required 3D modeling skills in SketchUp, Rhino, and Revit. Responsible for creating presentations, modeling designs, producing renderings through Enscape and Lumion, and supporting designs in a documentation format. Spear-headed research group with a coworker focusing primarily on cross laminated timber in multi-family housing projects. ZGF Architects Portland, OR / 2019 Architecture and interior design firm with a diverse portfolio, and emphasis on sustainability. In the duration of four months working here, I worked on a large scale transportation project. Responsible for creating content and finalizing client presentations, space planning, producing renderings, 3-D modeling, and working in the model shop to develop concepts. FRCH Design Worldwide Cincinnati, OH / 2018 Co-oped over the summer at FRCH in the department stores studio, and was given the opportunity to field survey in California and Cleveland. Selected materials for various projectes, put specification books together, helped model projects in SketchUp, created mood and concept boards, and produced renderings in V-Ray.
STUDENT EDUCATION University of Cincinnati College of Design, Architecture, Art, and Planning BS in Interior Design Class of 2022 University of Louisville Major Interior Design
HONORS / ACTIVITIES Dean’s List 2015 - 2020 Sigma Kappa 2016 - 2017 IIDA 2016 - Present Event Coordinator Future Business Leaders of America 2011 - 2015
SKILLS Photoshop Illustrator InDesign Autocad Rhino
Revit V-Ray Enscape 3-D Printing Laser Cutting
INTERESTS Furniture Design Graphic Design Photography Sustainability
DESIGN PHILOSOPHY I believe the most important factor of design, is empathy. Designers and architects have the ability to improve our level of comfort, environment, energy consumption, economic crisis, and the longevity of our planet. Since there will always be Starchitects, large developments, and a degree of divide amongst designers, we can only analyze the way in which we choose projects, materials, and focus on sustainable design. Simultaneously I wonder, if we're qualified in the creation of spaces for people, why not provide more experiences intended to "accumulate" empathy with hope to improve awareness of our societys' state and Earth itself?
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CHILDREN’S HOSPITAL
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GUITAR COMPANY
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3 - PART SPACIAL STUDY
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POETRY FOUNDATION
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GROVE
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KALABASH ACADEMY
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BERETTA
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HEATHER WHITTY PROJECT
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CHILDREN'S HOSPITAL A
D R E A M S C A P E gbbn / daap / children’s hospital int. studio 3001
Some children spend their entire lives in a hospital, never getting the opportunity to experience reality outside a singular set of floors and walls. This space is their world. So in a perfect world, why can’t the environment feel like an escape from itself? To implement a fluid concept within an institutional space, I researched the relationship between dreams and reality. Dreams are a space that bridge the existence of static and dream objects produced by our psyche. The feelings produced by actions that occur in our dreams provide us with a sense of duration and time sequence. Dreams are complex and specific to the individual, but the psychology of how we all experience them is quite similar. Through use of light, material, color, and sequential experience, each space will resemble a specific moment in one dream. The awareness of subtleties will increase as the user spends more time in the space. As for users passing through, this sensation will balance emotions and alter the mental association with the environment. The form progression allows visitors to discover and explore these moments however they desire. As the design shifts in scale, each interaction engages a specific sense of touch, sight, or sound in order to further immerse the visitor in a dream state.
Programs Rhino SketchUp Photoshop Illustrator
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UNIVERSITY OF CINCINNATI MEDICAL CENTER
Mercy Health Good Samaritan Hospital (Tri Health) The Christ Hospital 10
Shriners Hospital for Children
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PROJECT SCOPE CIRCULTATION EXPERIENCE
WAITING AREA ENCLOSED
RECEPTION WAITING AREA OPEN KIDS WAITING AREA
ELEVATOR RECEPTION WAITING AREA (LIGHT + DARK SPACE)
CORRIDOR (INTERSTITIAL SPACE)
MAIN ENTRANCE
STUDIO
ARRIVAL FROM PARKING
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The collages above are pieces from a session of free flow thinking using working drawings, magazines, and mixed media. The axon to the left, calls out each area in my selected scope of the building, while showing a path of circulation. At this point, I began to develop a specific program, make adjustments to the exterior walls, and imply design language with soft forms.
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INITIAL CONCEPT DIAGRAMS
LATTICE CEILING 14
COLUMNS
THRESHOLD
SAME DAY SURGERY WAITING ROOM Exploring abstract manipulation of existing structure within the building to begin to uncover an ethereal language. The first column of diagrams focuses on a lattice ceiling in the atrium, the second looks at columns, and the third looks at threshold. The axonometric drawing and rendering provide a closer look at the programmatic development and dream-like characteristics in the early design stages.
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SYSTEM PRODUCING SYSTEM
DERIVED FORM
INTERSTITIAL SPACE
SOLITARY POCKETS
GUIDING LIGHTS
TRANSMOGRIFY
CONCOURSE B Concpet: Boundless Space
CONCOURSE B CORRIDOR Concpet: Interstitial Space
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LEVEL ONE / CONCOURSE C FORM: TOUCH
Scope: Entrance, Atrium, Ryan Seacrest Studio, Corridor.
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Based on the sequential qualities of this particular renovation, I applied a “dream narrative” to the existing reality of Children’s Hospital. The dream is seeping into the corners and manipulating existing structure within the atrium and studio. It begins to change the material of the corridor, creating additional layers and pockets that have peeled away from the existing space. The dimension diminishes at the end of the corridor...
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PAINT (FORM ON COLUMNS)
TILE (LOWER DESK)
STONE TILES (DESK)
LAMINATE (COUNTER)
TILE FLOORING
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LEVEL ONE / CONCOURSE B FORM: SIGHT Scope: Waiting Rooms, Lobby.
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As the narrative continues, the way in which visitors interact with the “dream form” chages. In this space, some boundaries begin to feel blurred, resulting in an “interlude” within the dream. The form has morphed into an imposing object affixed on the arch. Only accessible through sight, the form also serves as a wayfinding device to arrive at the reception desk from the entrance.
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STONE TILES (WALLS)
PAINT (ARCHES)
METAL MESH
LAMINATE (RECEPTION DESK)
TILE FLOORING
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CROSS SECTION
CONCOURSE B / LOBBY CONCOURSE B / SAME DAY SURGERY This section shows the relationship between the first and second level in Concourse B of the hospital. From this view, you can see the waiting rooms and the form that leads you to the reception desk (first floor). Each concourse has a three dimensional letter with its own material and color so the visitor can easily identify their location. The second floor shows the immersive form that disrupts the manipulated structure.
CONCOURSE B WAITING ROOMS
The concept for the waiting rooms in the main lobby was inspired by the flashes of light and darkness when lucid dreaming. Two different atmospheric rooms were designed to provide vistitors with a calming experience of their choice. The darker room has central seating and a bench along the wall, which both face a light/video projection. The lighter room encourages visitors to explore the space by circulating around the layers of suspended lights. This space is larger in order for people to have moment to themselves, whether it’s sitting or standing.
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LEVEL TWO / CONCOURSE C FORM: IMMERSION (SOUND)
Scope: Waiting Area, Kids Area, Reception.
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The last destination has become absorbed by the dream, and you are now inside the forms themselves. There are two main tunnels; one leads visitors from the elevator to the kids play area, with hidden seating along the way and the other leads visitors from the elevator to reception, and then to the waiting area. When inside one of the two tunnels, a series of calming sounds play on a loop, and the walls disrupt manipulated columns raising awareness of the visitors’ peculiar surroundings.
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WALLCOVERING
LAMINATE (DOORWAY)
LAMINATE (RECEPTION DESK)
FAUX LEATHER (BENCHES)
TILE FLOORING
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DREAM VS. REALITY DIAGRAM
SAME DAY SURGERY PLAN 26
IMMERSIVE FORM DIAGRAM / HIGHLIGHTING OPENINGS
SAME DAY SURGERY PLAN 27
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GUITAR PRODUCTION COMPANY A
S O U N D
S T U D Y
daap / gold top dairy bar summer 2019 / professor priyanka sen
The focus of this project was creating an environment for a specific type of work. I’ve been teaching myself guitar for a few years, and was interested in applying this interest to the dynamics of acoustics in design. After studying the relationship between music and architecture, I came to a realization that the two elements envelop and consume the body in space. To translate this concept, I initiated the conversation of sound as space versus space representing sound.
Programs Rhino/Grasshopper SketchUp Photoshop Illustrator
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SOUND REPRESENTING SPACE
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SOUND BARRIERS
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PERFORMANCE / WORKSPACE
GOLD TOP DIARY BAR (SITE) ADDITION + EXPANSION
In order to maximize the footprint of the original structure, I concealed the portico for the wood shop to be an enclosed space. To re-establish the sense of an outdoor connection, I utilized transparency in this primary space alongside the entry sequence.
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MASSING DIAGRAM
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THE WORK The process of building a guitar informed the program and design of this workplace. I found that the build requires a different environment than the detailing portion, which inspired the interactive entrance and user experience of the woodshop. 34
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SHAPE + CUT BODY
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CUT VOIDS
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CUT + CARVE NECK
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PRIME + PAINT
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ASSEMBLE PARTS
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WIRE ELECTRONICS
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As you enter the tunnel-like threshold, you become immersed within reverberation as the walls are lined with guitar strings. Behind the screens, lie indistinguishable fogged spaces, peaking the occupants' curiosity. You are then met with the option of turning the corner to ascend the stair which begins to reveal the polarity of the upper level.
ISOLATED NOISE 36
SOUND AS SPACE
VS.
SPACE AS SOUND
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Section study of forms enveloping occupants in space. At this point in the project, these elements felt detached from the guitar string screen representing space through sound.
These sketches show the solution to the disconnection. Using horizontal pegs to create forms parametrically allowed for the intersection of horizontal and vertical elements. 39
SECOND FLOOR PLAN
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FIRST FLOOR PLAN
WOODSHOP
SOUND BOOTH
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PERFORMANCE
DESIGN SPACE
SOUND TESTING
WOOD SHOP
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PERFORMANCE
WORKSPACE
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THE WALL This horizontal peg wall system is intended to serve as an acoustic element as well as seating. When used as an intimate performance space, musicians inhabit the open area in front of the wall to enhance the sound and retain it within the upper level. Viewers are able to sit on the platform opposite to the stage or use moveable seating options.
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BODY PROSTHETIC P A R T
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daap /summer 2019 / professor priyanka sen
This is a three-part series including studies of bodies in individually, socially, and in space. For the first part of this assignment, our studio was directed to consider the body as the site to begin to challenge standard notions through a three dimensional study. After identifying a body part, this prosthetic was required to challenge your perception of space, and movement of the body. My approach was to investigate what the effect of impacting half of the entire body would be. I created an extension from various points on the body, with an additional protective layer to test the theory of muting half of the body, and heightening the senses and experience of the opposing side. Not only does this translate to movement, but to the way you think about basic actions.
Programs Lightroom Photoshop Illustrator
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RANGE OF MOTION
PROSTHETIC DIAGRAMS
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Images of the body prosthetic in action outdoors. I found that the armature did in fact accomplish what I had intended by impacting sight, hearing, and range of motion.
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To the right, diagrams of the Social Body Armature, “Wrapping” display use of each team member’s previously used materials. This idea focused on combining two bodies with prosthetics that already partially impaired the user’s sight, to see how they would then move through space. The image to the left is from the performance art piece included in a film produced for this study. 54
Materials: Bubble wrap, nylon, and string.
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SOCIAL BODY STUDY P A R T
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daap /summer 2019 / professor priyanka sen
In this part of the series, we were placed in groups of four in order to combine the prosthetics we created in the previous project. Since each piece was focused on different parts of the body, the challenge was to design and make three objects that facilitated a new interaction or way of moving through space as units of different numbers. Our ideas included a performance art piece called Wrapped, a three person unit called Blind Leading the Blind, and a four person connector called Globe.
Programs Lightroom Photoshop Illustrator
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Above are diagrams that communicate the two other Social Body Armatures; The Head Connector (three people) and The Globe (four people). When in use, these devices manipulate movement between a group of people. While both are meant to create a connection, they each specialize in doing so differently. The Head Connector impacts sight and free motion, resulting in increased communication. The base of The Globe was filled with beads so that the group can be united through a hightened sensory experience. Materials: Panty hose, metal, electrical tape, bubble wrap, and beads.
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HEAD CONNECTOR
THE GLOBE
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SPACIAL BODY STUDY P A R T
I I I
daap /summer 2019 / professor priyanka sen
To complete the project, the spacial study allowed us the freedom to implement aspects and concepts from the previous studies into space itself. The space could be as literal or abstract as desired. I was particularly inspired by specific ideas in three different pieces, which translated to ideas of wrapping, tunneling, and the materiality of the protective layer I created. By combining these ideas, along with other elements I wanted to introduce, I was able to reach a final design.
Programs Rhino Photoshop Illustrator
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PLAN
The plan above cuts through a portion of the entrace, the upper tunnel, and the central bubble. The concept was that visitors would be able to fully circulate the space, and once reaching the end, they would be able to view new visitors entering the tunnel from above; a portion of the structure they previously experienced. The diagrams to the right demonstrate the influences from both previous assignments that led to the final spacial design.
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TUNNELING
BUBBLES
WRAPPING 61
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The image to the left is a view of the arrival in the bubble, approaching the second path. Above is a 3-D powder printed model of the spacial design. Not to scale.
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POETRY FOUNDATION O T R daap / fall 2018 / professor renee martin
In the first semester of our second year, we visited John Ronan’s Poetry Foundation in Chicago. We were provided two site options in Overthe-Rhine, and tasked with using the same program to design a Poetry Foundation for Cincinnati. The design was developed through focus on vertical circulation in the library and public to private gradient. Parallax of perspectives achieved through shifting of light boxes, various overlooks, and apertures throughout the building.
Programs Rhino V-Ray Photoshop Illustrator
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Chosen site pictured above. Site Dimensions: 40 ft. x 180 ft. To the right, are conceptual programmatic models for both sites prior to selecting one.
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Above is a zoomed in image of the figure’s location in the midterm model. Both models are 1/8 scale. The massing model is placed within the site, furthering initial model and sketch ideas; the midterm model is a study of circulation and program through use of materiality. 70
MASSING MODEL
MIDTERM MODEL
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Level Four
Level Three
Level Two
Level One
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CONFERENCE
GALLERY
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PROOFREADING ROOM CONFERENCE PERFORMANCE
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GALLERY
OPEN WORK SPACE
VERTICAL LIBRARY LOBBY
ARCHIVE
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QUIET
LOUD
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EXTERIOR CIRCULATION
OVERLOOKS + BRANCHING
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THE MODERN EXPLORER...
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GROVE PHASE II H O U S I N G hacker architects / fall 2019
Multi-family residential building in Bend, Oregon. This was the second phase of a three building development consisting of a market hall, office building, and apartment complex. I was responsible for designing the kitchen and storage options in four different unit types with varying depth and ceiling heights. I produced all of the renderings as well as the elevation drawings for two typical units, corridors, and the lobby.
Programs Sketchup Enscape Photoshop
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MORAINE LAKE
WEST SLOPE
HIGH DESERT
My team created three color palettes based on the landscape in Bend, Oregon. This apartment building will be marketed to the typical modern explorer either visiting or living in the area. It was important to create a dynamic modular system for the occupants gear in order to serve their needs and support the design intent.
CLOSED STORAGE OPTION 82
OPEN STORAGE OPTION
TYPICAL 1 BD UNIT C
TYPICAL 1 BD UNIT D 83
OPEN KITCHEN
WD INT SCREEN 2
NORTH ELEVATION 84
SOUTH ELEVATION
CLOSED KITCHEN
EAST ELEVATION 85
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KALABASH ACADEMY G U I N E A hacker architects / fall 2019
A pro-bono project for a retired professional soccer player from Conakry, Guinea. The client came to Hacker with a business plan for this academy for kids ages 8-18. There are three components; the soccer field, academy, and wellness center. The idea is that the wellness center would be partially open to the community, while simultaneousy providing a space for membership. This would in turn fund the academy where students attend school and train everyday. We were responsible for visualization to evoke the intention of this development. I created the site maps and aerial view rendering.
Contribution + Programs Site Maps: Sketchup, Photoshop, Illustrator Aerial View Rendering: Sketchup, Photoshop, Illustrator
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SITE LOCATION: CONAKRY, GUINEA
POTENTIAL SITE EXPANSION
SOCCER PITCH
ACADEMY WELLNESS CENTER
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Conakry, Ginea is in West Africa adjacent to Sierra Leone. Featured on website / Click here to see more. 89
REVITALIZATION The site is right on the coast of the North Atlantic Ocean. It is currently a public space and landfill where many people in the area gather to play soccer and enjoy the space. The concept is to revitalize the area with a business plan that will bring excitement and structure to the community.
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BERETTA C O V E R the rosengarden company / 2020
I connected with a local Portland artist while I was on coop to develop a color palette for a new album. After discussing the meaning of the songs and the overall story, I did sketches that reflected these concepts. This artist had a vision for the cover, so we worked to combine our ideas through many iterations of composition and colors before landing on a final design. The package included the color palette, three single covers, and the album cover.
Programs Photoshop Illustrator InDesign
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FEEL SINGLE COVER
Beretta: (Italian Pronounciation Fabbrica d'Armi Pietro A privately held Italian firearms manufacturing company. The artist had already titled the album Beretta, so to visually tie the title and the story, creating a colorful gun difficult for the eye to identify portrays the idea that everything is not what it seems.
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BLUE BLOCKERS SINGLE COVER
GIRL IN THE SKY SINGLE COVER 95
BERETTA
BERETTA
BERETTA
BERETTA
ERETTA
BERETTA 96
BERETTA BERETTA
BERETTA
BERETTA
BERETT
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HEATHER WHITTY PROJECT A R T
D I R E C T I O N
the rosengarden company / 2020
While working as the art director for a new music label in Portland, OR, singer/songwriter Heather Whitty was signed. She had recently released a demo, but had no visuals (photo or video) representing her music. Along with creating a color palette and aesthetic for all upcoming content, I decided to craft stories based on the meaning of each song. After shooting for six weeks, I designed a book with the photos and descriptions written by the artist herself about the songs and reasoning for our artistic choices. When looking at the book, viewers are also able to click on a link and listen to the music simultaneously to be fully immersed in her world.
Programs Photoshop Lightroom InDesign
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INSTAGRAM THEME CONCEPT
MOOD BOARD (AESTHETIC) Presentation Statement: Heather’s Instagram page will be defined by three different “styles” in order to maintain a constant theme easily and help viewers to quickly decipher the content. Studio sessions, performance shots, and personal photos will each have a designated colored border. Imagery that inspires Heather (people, places, things) will be in black and white unless the image matches one of the three colors below very well. Lastly, images of Heather herself will require editing in VSCO using the same one or two presets (TBD), unless the photo has been previously edited.
STUDIO SESSIONS 100
PERFORMANCE SHOTS
PERSONAL
CONCEPT IMPLEMENTATION
portland singer/songwriter exhausted demo out now!!!
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The following spreads include photos representing each song from the Exhausted Demo.
Song Title: Pretend (Good Dream)
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Song Title: Hung Up
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Song Title: Digging
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Song Title: Save Me
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If you’re interested in flipping through the book to see the project in its entirety, click the cover.
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THANK YOU.
hartigen@mail.uc.edu 112
(C) 859.462.5848