MOLLY CALIFORNIA molly.california@gmail.com
MOLLY CALIFORNIA Contact molly.california@gmail.com
Education 2006-2011 University of Cincinnati, Cincinnati, OH College of Design, Architecture, Art and Planning Bachelor of Science: Interior Design Class of 2011 GPA: 3.61/4.0 2009 (Summer) DIS--Danish Institute for Study Abroad, Copenhagen Major: Interior Architecture 2002-2006 Dover Area High School, Dover, PA GPA: 103.4/100 Class Rank: 2/213 Activities and Achievements Organization of Student Interior Designers, University Honors Program, Dean’s List all quarters, Cincinnatus Century Scholarship Recipient, Pace Resources Scholarship Recipient
Work Experience Summer Quarter 2010/Winter Quarter 2011 Paul Duesing Partners, Dallas, TX Paid co-op position. Participation on project team, preparing documents for schematic design and design installation phases. Responsibilities included creating and revising finish and fixture schedules and legends, making corrections to existing drawings in AutoCAD, hand rendering floor plans, making and coordinating FF&E selections, and sketching schematic designs for custom millwork installations. [Design Focus: High end residential and international hospitality projects] Fall Quarter 2009 Limited Brands, Columbus, OH Paid co-op position. Participation on Victoria’s Secret Store Design and Construction team. Responsibilities included developing early store planning layouts, making corrections to existing drawings, drafting and rendering storefront elevations, designing custom store fixtures, and preparing presentation materials. [Design Focus: In-house retail design for a national brand] Spring Quarter 2008/Fall Quarter 2008 DiMella Shaffer Associates, Boston, MA Paid co-op position. Participation on project team and involvement in design ideation, material selections, presentation preparation and furniture and finish legends. Responsibilities also included making corrections to existing drawings using AutoCAD, attending client meetings, and aiding in materials library management and administrative tasks. [Design Focus: Corporate office rebranding, higher education, and senior living projects] Technical Skills Adobe Photoshop, Illustrator and InDesign, Macintosh OSX, AutoCAD, Revit, Rhino, Google SketchUp, Model Making, Hand Drafting, Hand Rendering References available upon request
CHAMPLIN HAUPT ARCHITECTS, cincinnati oh [summer 2008] objective: design the interior of a second floor expansion for an existing cincinnati architecture firm looking to increase workspace and attract a wider range of international clients
CHAMPLIN HAUPT open workspaces with lowered partitions encourage more open communication, while sleek use of simple materials like reclaimed wood and mdf surfaces bring the firm’s work to the forefront in this updated office environment floor and ceiling plans above, workspace perspective opposite
INVERSE LOUNGE, wingate hotel, westchester oh [winter 2009] objective: redesign existing restaurant for the wingate hotel--a location with a strong traveling businessperson customer base concept: an updated spin on a classic 1950s cocktail lounge drawing inspiration from graphics of the era
Table Abstract
INVERSE LOUNGE taking cues from graphic patterns of the mid 20th century, strong patterns of mass and void emerged, especially in the works of designer and artist bruno munari. munari’s ‘negative positive’ compositions (above) explored strong relationships between figure and ground, an idea explored spatially in this restaurant. inspiration imagery and graphics
INVERSE LOUNGE an updated spin on a classic 1950s cocktail lounge drawing inspiration from graphics of the era and strong mass-void relationships, utilizing strong massing elements to denote fixed eating areas juxtaposed against voids that denote areas of circulation perspective renderings, marker and colored pencil
DANISH INSTITUTE FOR STUDY ABROAD, copenhagen dk [summer 2009] two part summer session focusing on immersive observation and analysis of Scandinavian architecture, and the individual design of a youth hostel located in a converted ferry terminal along Copenhagen’s canal waterfront
TRAVEL SKETCHES analytical sketches with a focus on spatial sequence and detail connections western denmark, finland, italy
HOUSE OF CULTURAL COEXISTENCE, copenhagen dk [summer 2009] objective: design a youth hostel that acts as a cultural gathering point for travelers of all backgrounds located in a converted ferry terminal along copenhagen’s iconic waterfront landscape challenges: maximizing daylight and views out while meeting the spatial needs of travelers constantly on the go
HOUSE OF CULTURAL COEXISTENCE as the desire to maximize views and daylight became apparent, the placement of public spaces (reception, computer stations, bar/ lounge area, and kitchentte) along the perimeter of the building creating an internalized continuous circulation path seemed most appropriate. bedroom blocks of up to 12 bunk beds each remain anchored to the center, lit from above by existing skylights, but given no direct views out. privacy panels are placed between each bed as well as attached security lockers to stow belongings. shower and toilet facilities are also contained within these blocks. site plan and floor plan shown at right
HOUSE OF CULTURAL COEXISTENCE each bedroom block is constructed using a glass wall base structure fitted with translucent, colored sliding panels that can be repositioned by the hostel’s tenants, allowing glimpses of light and views to the public spaces as desired, while also allowing for customized privacy. hallway perspective facing east at left panel position variations above
victoria’s secret: store design and construction, columbus oh [fall 2009] Fall quarter co-op at Limited Brands, participating on the Victoria’s Secret Store Design and Construction team, developing early store planning layouts, making corrections to existing drawings, drafting and rendering storefront elevations, designing custom store fixtures, and preparing presentation materials.
custom platform structure to be placed beneath open monumental stair designed to maximize merchandising space while fulfilling code requirements ideation renderings and final dimensioned drawings
storefront elevation studies photoshop presentation renderings
FUTURE AQUATIC [winter 2010, small team effort] objective: develop a retail model and environment to market Ciamillo Components’ lunocet monofin, an innovative biomimentic product that allows the user to swim as a dolphin would. the lunocet is currently marketed only online.
WELCOME TO FUTURE AQUATIC
32 institutions | 11 US states | 2,500 miles | 1 FUTURE AQUATIC
a traveling exhibition and lecture series bringing a focus on marinebased biomimetic technologies and conservation to 32 universities and institutions across the nation. a Ciamillo Components’ initiative, the tour features temporary exhibition installations and opportunities for seminars with prominent names in the marine biology field, encompassing exposure to the infinite resources afforded by marine life, the potential to harness their tools for survival in the development of technologies to solve human problems sustainably, and the need to conserve these resources for the benefit of all. Ciamillo Components’ lunocet fin is featured throughout the exhibition, both as a biomimietic product and as a tool for exploring and conserving these varied resources through its low environmental impact in use--culminating in a raised awareness for further exploration and conservation of marine life, and the opportunity to continue the adventure by purchasing a fin of one’s own.
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PROMOTIONAL MATERALS AND TAKEAWAYS 1. pre-tour teaser postcards introduce FUTURE AQUATIC and offer an interactive glimpse of the unit’s form before it shows up on campus 2. site specific posters provide targeted information about the tour as it arrives at each destination 3. takeaway books act as tangible exhibit recaps and lunocet purchasing tools 4. general tour wide poster in context on campus
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FORMAL EXPLORATION to best embody the transfomative energy of the lunocet fin, we explored a variety of formal languages--bearing in mind issues of portability and the desire to assemble the unit easily without use of heavy machinery. our final proposed form is constructed of flat-pack wood framed panels juxtaposed with perforated metal panels that shift and warp along the six unit portals, referencing the fluid movement of the marine world and allowing textural light to play dynamically on the interior surfaces as the sun moves along its path throughout the day. branded exhibit panels take precedence on the interior, while a radial placement of the unit portals creates the backdrop for an outdoor lecture space.
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1. disassembled unit towed to each site 2. unit arrives on site as a kit of parts, hinged wall and ceiling frames, perforated metal panels and basic hardware 3. hinged wall and ceiling assemblies erected by tour crew 4. opposite walls and perforated panels attached using pre-anchored hardware 5. industrial metal hardware is left exposed as plywood cladding is added to the exterior 6. screen printed sheet rubber exhibit panels rolled onto interior surfaces and attached with grommet connections
EXHIBIT INTERIOR panels focus on three main areas: marine biomimicry, conservation efforts, and the lunocet as the ultimate synthesis of the two. the development of the lunocet fin is also showcased, raising interest in a young audience that will invest in lunocet in the future.
KNITTY GRITTY: AN URBAN YARN BOUTIQUE AND KNIT STUDIO cincinnati oh [senior studio 2011] KNITTY GRITTY is the modern knitter’s answer to big box craft retailers and grandma’s quilt shop. Nestled in the heart of Clifton, Cincinnati, the urban yarn boutique appeals to a rising generation of knit fanatics in search of quality materials and subversive techniques that break away from the afghans and cardigans that have defined the craft for so long. This new approach to a retail space for knitters embraces an environment of youth and collaboration with a wink and a nudge to the past, building on knitting’s rich history while breaking all the rules along the way. Part boutique, part studio, and part installation art piece, KNITTY GRITTY provides a physical environment for an audience relegated to knit blogs and online forums, while moving to redefine the craft of knitting for knitters and non-knitters alike.
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kn STOREFRONT WINDOW (150 SQ)
RESTROOMS
WORKSHOP/ GATHERING (500 SQ)
SALES FLOOR (1500 SQ)
(100 SQ)
OWNER’S OFFICE (100 SQ)
EMPLOYEE LOUNGE (200 SQ)
CASH WRAP (200 SQ)
STOCK ROOM
(600 SQ)
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PUBLIC AREAS SEMI-PUBLIC AREAS
BUILD ING P ROPER TIES 1] squa small re footage 2] ceilier than pr og suffici ng height rammed 3] stru ent ctural grid sp an 4] na tu ampl ral light e 5] hist glazing presse orical deta il 6] stor d tin ceilin entry efront pres g, origina en on tw l woo o sides ce dwork , corn and fl BUIDIN er lot, oors G CHA ampl RACT e displ ERIST 1] cond ay win ICS dows well ke ition of ex terior 2] cond pt well ke ition of in te 3] spac pt, minor rior ampl e for signag repairs e 4] char space abo e strong acter of ex ve storefro nt win 5] char presence, terior dows ac strong ter of in distinct h istori histori terior cal la cal el ngua emen ge ts
PRIVATE AREAS (STAFF)
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VISUAL ACCESS 17
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DIRECT ACCESS INDIRECT ACCESS
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PROGRAMMING AND ANALYSIS a strong foundation of research related to the project and its site was built through the development of a comprehensive program document. a well defined intent and goals for the project were outlined early on, supplemented by in depth study of the history of knitting, possible design themes, precedents, and client and user profiles. site selections were then made and examined for appropriateness of size, location, code and character, while spatial adjacency requirements were outlined in both diagram and written form.
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KNITTY GRITTY utilizing an existing firehouse structure in cincinnati’s clifton neighborhood provided a clear, open interior to work with and great storefront potential in its converted street front garage doors. the shop’s design elements allow the building shell to remain relatively untouched--a symbolic nod to a respect for kntting’s rich historical roots. space is delineated by a warping thread of laminated felt partition displays that define small seating areas for group knitting, while displaying yarn artfully along the perimeter. these looped partitions further warp onto the ceiling plane, suggesting an interior that is itself, a dynamic textile piece.
KNITTY GRITTY the layout of knitty gritty is based on qualities of knitted objects--the idea of a single strand looped upon itself to create a textile, and the masses and voids left behind in doing so. strands of felt partitions warp throughout the sales floor to display yarn and to create small seating areas where customers can come together to knit informally or as part of an organized group lesson. these partitions meet the ceiling plane at varying heights throughout the space, warping into cutouts that house lighting coves that serve to highlight the product and to cast dynamic shadows of the forms onto the static walls beyond. centrally anchored display tables house notions (needles, stitch counters, etc.) and pattern books organized by yarn weight and pattern type. ceiling plan, floor plan, and longitudinal section at right, seating area perspective (facing southwest) above
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industrial felt plies inner metal armature floor connection with reveal wire mesh product shelf
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DETAILS AND SYNTHESIS top: central merchandise tables. open slots and drawers contain pattern books and notions respectively. center: physical model produced using digital model data and 3d powder-printing technology bottom: axonometric felt partition detail at right: cashwrap perspective (facing north)
EVOLUTION OF A DESIGN development of these dynamic and irregular forms took place in a variety of mediums throughout the design process--from rough concept sketches to formal handdrawn perspectives and photoshop collage renderings. as the complex curves developed further and became more precise, a digital rhino model allowed me to fine-tune the forms themselves and to explore lighting, materiality, and overall spatial quality. this digital model also allowed the opportunity to produce an accurate physical model using rapid prototyping technology (see previous). design development at left, final digital rendering opposite
THANK YOU FOR YOUR TIME molly california | molly.california@gmail.com