MOLLY CALIFORNIAmolly.california@gmail.com

Contact molly.california@gmail.com

Work ExperienceSummer Quarter 2010/Winter Quarter 2011Paul Duesing Partners, Dallas, TXPaid 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 2009Limited Brands, Columbus, OHPaid 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 2008DiMella Shaffer Associates, Boston, MAPaid 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 SkillsAdobe Photoshop, Illustrator and InDesign, Macintosh OSX, AutoCAD, Revit, Rhino, Google SketchUp, Model Making, Hand Drafting, Hand Rendering

References available upon request

Education2006-2011University of Cincinnati, Cincinnati, OHCollege of Design, Architecture, Art and PlanningBachelor of Science: Interior Design Class of 2011 GPA: 3.61/4.0

2009 (Summer)DIS--Danish Institute for Study Abroad, CopenhagenMajor: Interior Architecture

2002-2006Dover Area High School, Dover, PAGPA: 103.4/100 Class Rank: 2/213

Activities and AchievementsOrganization of Student Interior Designers, University Honors Program, Dean’s List all quarters, Cincinnatus Century Scholarship Recipient, Pace Resources Scholarship Recipient

MOLLY CALIFORNIA

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 baseconcept: 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 pe-rimeter of the building creating an internal-ized 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 pan-els are placed between each bed as well as attached security lockers to stow belong-ings. 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 leftpanel 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

a traveling exhibition and lecture series bringing a focus on marine-based 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.

32 institutions | 11 US states | 2,500 miles | 1 FUTURE AQUATIC

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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 campus2. site specific posters provide targeted information about the tour as it arrives at each destination3. takeaway books act as tangible exhibit recaps and lunocet purchasing tools4. general tour wide poster in context on campus

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.

UNIT ASSEMBLY

disassembled unit towed to each siteunit arrives on site as a kit of parts, hinged wall and ceiling frames, perforated metal panels and basic hardwarehinged wall and ceiling assemblies erected by tour crewopposite walls and perforated panels attached using pre-anchored hardwareindustrial metal hardware is left exposed as plywood cladding is added to the exteriorscreen printed sheet rubber exhibit panels rolled onto interior surfaces and attached with grommet connections

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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.

exce

llent

good

fair

poor

n/a

BUILDING PROPERTIES1] square footage

x

smaller than programmed

2] ceiling height

x

sufficient

3] structural grid span

x

4] natural light

x

ample glazing 5] historical detail

x

pressed tin ceiling, original woodwork and floors

6] storefront presence

x

entry on two sides, corner lot, ample display windows

BUIDING CHARACTERISTICS1] condition of exterior

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well kept2] condition of interior

x

well kept, minor repairs

3] space for signage

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ample space above storefront windows

4] character of exterior

x

strong presence, distinct historical language

5] character of interior

x

strong historical elements

knitty gritty

evaluation

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knitty gritty

diagrams

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SALES FLOOR

(1500 SQ)

WORKSHOP/GATHERING

(500 SQ)

CASH WRAP(200 SQ)

STOREFRONTWINDOW(150 SQ)

STOCK ROOM

(600 SQ)

EMPLOYEE LOUNGE(200 SQ)

OWNER’S OFFICE(100 SQ)

REST-ROOMS

(100 SQ)

PUBLIC AREAS

SEMI-PUBLIC AREAS

PRIVATE AREAS (STAFF)

VISUAL ACCESS

DIRECT ACCESS

INDIRECT ACCESS

knitty gritty

design themes

�

RECLAIMED HISTORY

Given the resurgence of knitting as not only a hobby but a lifestyle in the current recession,

it is easy to draw parallels back to the era of WWII, when knitting became a statement

of frugality and patriotism in the wake of wool shortages and tightenning of resources

in general. Women of the 1940s responded to these shortages by unraveling unwearable

knitted garments, reusing the wool yarn to produce new pieces, and while most of us don’t

currently face that dire level of resourcefulness, a thoughtfulness about the reuse of building

materials that are still of good quality can strengthen that connection.

SHOWING YOUR AGE

Another way to speak to mulitple eras may be achieved through the use of materials that

take on a natural patina with age and human contact. Allowing the space itself to develop

in this way, simply through day to day use, speaks to the natural evolution of knitting

over the years--its triumphs and lulls, as well as the subtle changes it takes on with each

person’s approach to a pair of needles. It will not only add visual interest that is continually

developing along with the craft, but will also hold a sort of built in record of how elements

of the space have been used, and visual patterns of this use as a result. What may begin as

a clean, modern interior language will continue to develop layers of significance in rather

unpredictable and interesting ways, taking on a new character gradually and keeping the

space from feeling stagnant.

A SINGLE STRAND

One of the most interesting facets of knitting that has allowed it to be sustained for so long,

is the seemingly endless possiblities for combining simple materials with simple tools and

simple tecnhiques into vastly different end products. Returing to the basest idea of knitting

as a single strand manipulated into another form, it seems a natural progression for the space

itself and the elements contained within to be composed in a similar way, with one form that

has a pre-specified proportional language established, that is manipulated, turned on itself

and composed into a sort of spatially graphic composition. These simple geometries may

come in the form of physical boundaries in the space, the display of products, manipulation

of applied textiles and lighting elements, and in the smallest of details, creating distinct

guides for how the space is constructed--something that can continually be referenced when

moving forward in the design process.

INTERTWINING

Another element of the process that would be interesting to explore spatially is the inherent

intertwining of the yarn in a knitted piece, looped upon itself to bind it into a larger textile.

The idea of creating spaces within the larger retail environment that themselves intertwine,

penetrating each other and overlapping to blur the lines between them while keeping

a level of distinction between each different function could prove to be a viable way to

approach organization and hierarchy. Because the concept behind the shop is based as much

in the products as in the process of using them, the dialogue between the areas housing

these functions must speak to one another conversationally, with a give and take from both

sides that would benefit from spatial or visual overlaps that create and encourage such a

dialogue.

knitty gritty

precedents

10

knitty gritty

users/clients

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KNIT DIVA (client)

A self-confessed knit diva, Alice learned the basics at a young age and has broken all the

rules since then. Uninterested in the tame patterns available to her in her youth, she’s spent

years developing her own way of doing things, and has been sharing her breed of knitty

gritty craft with the world via online blog for the past two years. While she’s cultivated

quite the following of like-minded knitting subversives in the virtual world, she’d like to

establish a retail space where face to face interaction can take place. She and her minions

may buy most of their supplies online while they’re sharing ideas, but it’s no substitute for

touchy-feely fiber fondling and personal interaction--and they all know it. By creating an

atmosphere as much about the culture of youthful knitting as about the products sold, she

hopes to expand her empire beyond the virtual and into the tangible.

devoted follower

Bloggers who’ve been on the bandwagon from the beginning, these guys know what’s up

and they look forward to a shop that carries the high quality materials they’ve been seeking

out online in an atmosphere that doesn’t remind them of granny’s knitting circle. They’re

interested in elevating the craft of knitting to new and [as of yet] unimagined heights, and

will be instrumental in establishing the culture of this new environment.

I’M HERE FOR THE CHICKS

These guys reluctantly happened upon the craft of knitting [hey, the girlfriends made them

do it], and though they may not admit it to their guy friends, they actually get a kick out of

crafting things for themselves. They’re as far from the tea cozy crowd as you can get, and

they want a guy-friendly haven to [secretly] hone their craft that doesn’t make them feel

even more out of place than they probably already do in a traditionally girl-centric field.

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.

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

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 technologybottom: axonometric felt partition detailat right: cashwrap perspective (facing north)

a. industrial felt pliesb. inner metal armaturec. floor connection with reveald. wire mesh product shelf

a. b.

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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 hand-drawn 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 TIMEmolly california | molly.california@gmail.com