I AM A DESIGNER At some point in my training, I realized that design is not my college major, it became who I am and how I see the world. This devotion developed through a series of high school art classes, culminating in AP art with a focus on oil painting. I pursued my interest in three-dimensional spaces by studying interior design. Studying in Florence cemented my identity as a designer. A particular interest of mine is sustainability and functionality in creative public spaces like restaurants and hotels. My work is notable for integration of drawing, media and great attention to detail. I abide by a â€œless is moreâ€? ethos. I believe my work is beautiful in its simplicity and attention to detail, and that the most important
quality of my work is my ability to hand render. As much as I love technology, it is important to me to continue hand rendering because nobody can replicate it with a click of a button. I am creative by nature, and extremely organized and diligent by temperament. I have a very consistent and schedule-oriented work ethic, though spontaneity often leads to my highest quality work. I strive for the best and am always willing to explore new concepts and rework projects to perfection. These risk decisions separate me as a designer from others, the willingness to conquer fear to push a concept to the maximum, grow with critiques, and innovate.
I AM A DESIGNER
CHERRY FOLD CHAIR
CLAIRE SALTZMAN Interior Designer and Entrepreneur
a • 119 Surrey Lane, Lake Forest, IL, 60045
p • 847.542.4123
e • email@example.com
Miami University • Oxford, OH • Class of 2012 Bachelor of Fine Arts • Interior Design Thematic Focus • Entreprenuership Current GPA • 3.63
Sporting Kansas City Marketing Development • 2011 Developed marketing merchandise and 3 step marketing plan for the professional soccer team that reached over 1,000 college students in Kansas alone within 6 weeks.
Kent State University • Florence, Italy Study Abroad • Fall 2010
Advanced Placement Art Portfolio • 2007-2008
EXPERIENCE USS Summer Scholarship Project Summer 2010 The Sustainability of Studio Gang investigated the work of Jeanne Gang by analyzing her sustainable designs composing a written document, photos and project paralleling her design principles with a Miami University Architecture faculty member, John Humphries. Kravet Fabrics and Home Furnishings Summer 2009, Summer 2010 Offered assistance to design clients; provided design knowledge with furnishing and fabric. worked with design specialists within the showroom, back room, sales and management departments to enhance the company with professionalism and knowledge. Vernon Township Camp, Lifeguard Summer 2007, 2008, 2009 Worked at a summer day camp for ages 4-8. Banana Republic, Sales Assistant Winter 2007 - Spring 2008 Responsible for visual merchandising, customer service and organizational skills.
VOLUNTEER WORK Adopt-A-School • 2009, 2010 Maot Chitim/Congregation or Shalom • 2005-present Puerto Vallarta, Mexico • Spiring 2007 Peacework, Orange Walk, Belize • Spring 2006
CAMPUS LEADERSHIP & INVOLVEMENT Nominated for Donghia Scholarship • 2011 USS Summer Scholarship for Interior Design • 2010-11 Kappa Alpha Theta, Gamma Upsulon Chapter • 2008- present Student Advisory Council Representative Interior Design • 2009 Alpha Lambda Delta Honor Society 2008-present IIDA Member
SOFTWARE AND SKILLS AutoCad • Bonzai • Photoshop • Illustrator • inDesign • Google Sketchup iMovie • Oil Painting • Microsoft & Macintosh • Woodshop Certified • Watercolor
References Upon Request
USS PROJECT This University Summer Scholar project was an extensive research opportunity into the work of architect Jeanne Gang, which culminated in a design project implementing this research. I proposed to ask “Does an analysis of Jeanne Gang’s body of work at Studio Gang from 1997 to the present support her reputation as a young architect with a rapid ascent from an astute student of contemporary architecture to a leading voice in the future of American architecture, especially in respect to sustainability, collaboration and research.” I studied five structures (IIT McCormick Tribune Center, Starlight Theatre, SOS Building, Colombia Media Center and the Aqua Tower) in regard to site, material, sustainability, function and overall aesthetic.
After my research, I applied the principles of Studio Gang to redesign a vacant retail space, preserving as much of the structural frame as possible to conserve time and money. The makeup brand Origins was designated to occupy this space because it is an eco-friendly brand that would choose a sustainably designed store, and to implement the frequent Studio Gang goal of redesigning a pre-existing space to accommodate a community in a better, more practical way. My main focus was the specificity of materials to explore Jeanne Gang’s focus on sustainability. Like the Colombia Media Center, I made the roof a growing one. A living roof absorbs sound, requires less concrete, and also filters airborne toxins. I took further inspiration from the Colombia Media Center by changing a common material like glass; with color and texture. The glass ceiling that sheds natural light into my space is made of recycled glass; specifically recycled Origins bottles.
Front Entrance/Lobby Face Area Brushes & Body Area Check Out Area Tutorial Space Private Party & Tutorial Space Restroom Office Break Out Room Storage
A B C D E F G H I J
I wanted to make my space multifunctional; an element of every Studio Gang design. The Origins brand teams up with fashion designers for runway shows, so I created a space that was a makeup store during the day, but could transform into a runway at night. Natural light is critical for makeup design, and also saves electrical costs. The installation of large and numerous windows in the McCormick center inspired me to rely on natural light. Also, I installed raised floors to enhance airflow for the client and make potential redesign of the space easier and less costly in the long run. Stripping the previous painted walls, I exposed the original wall made of brick and concrete. Playing with the properties of materials, I applied Lita-Con, which is screened concrete, for the private party area which lets in natural light but is made of concrete, so it is durable and not too transparent. Although my design is a simplified version of a Studio Gang structure, I appreciated the effort it takes to go green with style.
NOVOLI While studying abroad in Florence, I had the opportunity to design a renovation of an old Fiat factory in Novoli, Italy, converting the existing factory into an urban center, while preserving the architectural framework inside and out. Preserving the space, rather than destroying it, left the community with a sense of familiarity in a new structure that was inviting, modern, on budget, and Florentine.
up up up
BTO This self-created proposal, BTO [By The Ounce] is a concept for an existing frozen yogurt franchise in a university town. Renovating the interior, and branding, were proposed to increase sales. Elements of layering created a more inviting environment for college students to spend a night out. The subdued tones and lighting that highlight the wayfinding and focal points in the space were subtle, but vital to achieve the look and feel of a trendy ice cream store catering not only college women but men as well.
Working for weeks on paper and small-scale models, I wanted to design a chair that was simple and clean. I took inspiration from the tree itself, appreciating the simplicity and length of the tree trunk. I envisioned a chair that was comfortable, elegant, and easy to analyze. Aesthetically, the chair is made to look like it has been a long slab of cherry wood simply folded to create a seat. The actual process took a significant amount of layering to create such a simple aesthetic. The lighter line one fourth of the way across is there to visually emphasize the fold. The strip, made of oak, is light enough to contrast but not take away from the natural color variation of solid cherry. This chair was made to be one of six surrounding a dining room table.
CHERRY FOLD CHAIR
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This project required graphic designers, architects and interior designers to divide into teams and collaborate to work on an actual proposal for a government-funded environmental education center located in the Hueston Woods State Park in Ohio. The project gave me confidence in my ability to work with others, taking responsibility as the interior designer on the team. The teamwork led to an extremely satisfying design, utilizing refurbished wood found within the park for the exterior facade, as well as a green wall that spanning the entire facility. Large, open windows let in the maximum amount of light to conserve electricity. Some of the most important aspects of the design were consideration of functions during the daytime, as well as the evening. Large glass facades were employed for daytime energy conservation, and as an illuminating feature at night when the facility
is closed. Guests can still peer into the facility and read etched glass informative panels that are displayed onto the window. A vestibule at the entrance provides handouts that are accessible any time; guiding the guests around the park even when a ranger is not available. Targeted for the public, scientists, and students, the facility needed to meet many needs. The government granted 750,000 dollars to construct the facility, so it was essential to manage the cost of the materials as well as consider practicality and aging of the structure. Dividing the project into three stages gave my team leverage over other competitors, allowing the state park to build in stages due to budget limitations. Each stage stood alone beautifully, but when complete, trellises joined the building embracing nature and making the building a part of the preserve.
ITALIA This collection of photos taken while living in Italy are some of the sweetest moments captured with camera in hand, reflections of the transfomative experience of living abroad.
From studying various Gettys hotels, I began to appreciate everything down to the small details the firm places within spaces. With beautiful moldings, intricate textiles and a talent for effortless chic design, I tried to integrate the inspiration into the corporate office. I used the concept â€œto threadâ€? to create a flow between the textiles, people and light. It was important that the space, horizontally and vertically, interacted. I wanted the client to not only be impressed by the interior architecture, but experience the actual workplace and see how
the designers worked together. I made the materials library a focal point of the space; letting it float between the 6th and 7th floor to create a fluid transition between the floors. Keeping the space as a white canvas and painting it with beautiful textiles really focused on the details and the purpose of the space- exactly what Gettys does through their interior architecture spaces.