CARLI M. WERTHMANN

2892 St. Rt. 235 Xenia, OH 45385(937) 245-2296werthmcm@mail.uc.edu

Bachelors of Science in Interior DesignStudent seeking a Co-op

ACADEMICS

University of Cincinnati

Bellbrook High School Bellbrook, Ohio

DAAP

Bachelor of Science in Interior Design 2014GPA: 3.58/4.0, Dean’s List

Class of 2009GPA: 3.67/4.0

WORK EXPERIENCE

Was an integral member in small store design team; Designed store layouts according to Chicos company standards and local building codes; Saw projects from schematic design to construction; Was a contact for tenant coordinators and consultants. Co-op two quarters, total of six months.

Fort Myers, FL March-December 2011

*

Worked as part of a design team on a sizeable hospitality project. Built and rendered models using Autodesk Revit and Rhinoceros for numerous design proposals. Utilized Adobe Photoshop and Autodesk Revit to produce realistic renderings. Aided in the completion of construction document sets in Autocad. Co-op one quarter, total of three months.

Chicago, IL June-August 2012

*

HONORS and INVOLVEMENT

One of six chosen in class for Study Abroad Program in Paris, France in fall 2012Thomas A. Persons Scholarship RecipientUniversity of Cincinnati Dean’s List seven quartersBellbrook High School Award of MeritNational Honor Society MemberBellbrook Highschool Honors DiplomaHonor Roll four yearsStudents for Ecological Design (SED)International Interior Design Association (IIDA)Voices of America (VOA)Camp Dovetail Volunteer (2 years)Habitat for HumanitySPCA Volunteer

Autodesk Revit Architecture 2012, AutoCAD 2012, Adobe Creative Suite 4, Illustrator, Photoshop, InDesign, Google Sketchup Pro, Rhinoceros, Ecotect Environmental Analysis, Microsoft Office Products

SKILLS

*References available upon request.**Sample artwork available upon request

Independent Artist

Licensed vendor and self-employed artist; Painter of various reclaimed media, such as windows and shutters; Sold at Inlight Studio, Beans ‘n Cream Coffee, Second Saturday Street Fair.

Dayton, OH April 2010- Present

Tavernier ’s Salon Primary mediator between client and stylist; Scheduled appointments and handled money.

Beavercreek, OH September 2007- June 2008

**

PERSONAL WORK

HAVENHOSPITALITY STUDIO

Concept: Create a live-in artist space in Leh, India which frees the dissident

artist from their oppressive, inhibitive environment

Strategy: Provide a simplistic dwellng which is able to be manipulated by the

inhabitant for ultimate artistic freedom

Outcome: Allow artist the opportunity to openly express themselves as

individuals and as a movement without negative reprecussion

THE DISSIDENT ARIST

“We are living in a society which freedom of speech is not allowed.” -Ai Wei Wei

The community space would serve not only as a place of artistic collaboration, but also as a gallery for all artists who have come to work in the past. This will give the current artists an opportunity to learn from those who have come before them, furthering the sense of fellowship and community.

DECONSTRUCTING THE MODULE

DECONSTRUCTING THE MODULE

After conducting extensive research and developing a profile for my user group, I allowed their underlying

philosophy to inform the overall form, as well as the details. These artists are striving to implement

change in societal tradition in order to reform and improve the societies in which they live. I took this

cue to begin looking at the definition of a ‘module’ in it’s purest, most tradional form. I then began to shift

the six planes of the module, using the resultant positive/negative relationships to enhance both form and

function for the user.

In furthering the idea of creating a manipulatable environment for these artists, I found that fixed views of the town and landscape

beyond would not be suitable. Instead, I created a wall system comprised off varying blocks, differing in both size and material. These

blocks are moveable on a simple track system and allow the inhabitant to alter their view based on preference or activity. This in turn

serves as a metaphor, allowing each artist to develop their own point of view. While the view out is made to be altered, it is limited

and purposefully does not give way to the entirity of the landscape.

In contrast to the limited, manipulated view of the individual artist module, the community collaboration space has a

vast view of the surrounding mountain range. Metaphorically speaking, the artists will learn from one another in working

alongside their fellow artists. and gain a more vast, well-rounded perspective of society and its context.

LITERARY CENTER IMMERSION STUDIO

The initial inspiration to work with progression was derived from various site studies performed to explore the wind

patterns through the site. The form of the building articulates the dominant wind pattern found from this research.

Emulate the writing process through the establishment of visual progression

strategy:

concept:

outcome:

[ [

Establish a gradient through hierarchy with the manipulation of three

modules as well as create a constant to connect them together

A series of interconnected spaces; though each is different in nature, there is

a clear relationship and succession between the spaces

IDEATION P R O C E S S

W I N D P A T T E R N S L I F T P R O G R E S S I O N M O D U L A R I T Y

T R A N S I T I O N T H R O U G H T H E M O D U L E :

E S TA B L I S H V I S I B L E P R O G R E S S I O N

[ [

W H A T D E N OT E S P R O G R E S S I O N ?

A C O N S T A N T .[ [

PRIVATE

PUBLIC

SEMI-PUBLIC

CIRCULATION

One first enters the center module with the choice of

progressing up to the private spaces or down to the semi-

public module by utlilizing the ramping systems between each

module.. Regulating strip windows and a uniform circulation

strategy create a constant through the three modules.[[

Meeting rooms and author living spaces

Library and computer lab

Film viewing area and reading area

The relationship between the three modules is illustrated in this axonometric drawing.

To the left, visitors utiitize the reading room and film viewing area.

[ [

Create an identity for a concert venue owned by a young

and innovative non-profit organization within a historically

significant sanctuary.

A juxtaposition of existing compression with imposed tension in

order to create a visual dialog between the old and the new.

A reinterpretation and simplification of the classical language

within the existing space.

Concept:

Objective

Outcome:

The Sanctuary is a local adaptive reuse project involving the preservation of a historically significant church in downtown Cincinnati. The program for the Freeman Church includes

the combination of a concert venue, a casual restaurant, and a non-proft music school of underpriviledged children. My objective was to embody the nature of the existing

architecture, as well as it ’s new function by reinterpreting the classical elements. One way I achieve this is through the reinterpretation of the original stained glass windows through

colored acrylic benches that serve a dual funciton as a suspended installation, allowing light to pass through them, casting brilliant colors onto the whitewashed existing shell.

A dining experience that facilitates community interaction,

attracting those around to engage in the organization’s

activities.

To create a striking visual form which acts as a gesture to pull

people in from the sidewalk.

An undulating ceiling structure which moves from inside the

restaurant into the courtyard, extending a grand gesture to the

community.

Concept:

Objective

Outcome:

MCAPLIN LOFTSRESIDENTIAL STUDIO

Concept: Create a dramatic imposition on the existing shell in order to break

the rigidity of the space

Strategy: Establish spatial separation with the penetration of an opposing

form and material

Outcome: Employ a living dialog between the original longitudinal form and

the imposed spaces, blurring the line by creating a material gradient.

A series of spaces are created with the dramatic imposition of curvilinear

forms; The impact of the imposing form is articulated with the ‘spilling’ of the

material onto that of the original.

Instead of solid, imobline walls, spaces such as the guest bedroom and office have

retractable screens with a rolling tambour system in order to give the inhabitant the

option to gain privacy or to allow the space to interact with the rest of the apartment.

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ALLSAINTS SPITALFIELDSCORPORATE STUDIO

Create a series of interrelated collaborative work spaces for a

creative retail design firm

To create a visual ‘thread‘ between the indivual work stations

and the collaborative design areas

A cohesive work environment with a dialog between

programmaticly different work spaces

Concept:

Strategy:

Outcome:

Sample views are highlighted in order to show the significance of each view given from different vantage points. As one initially progresses through the traditional work space, one will attain no view of the adjacent collaboration spaces. When walking back in the opposite direction, the inhabitant will then experience the collaborative environment through a series of strategically selected views to the other side.

The view to the right illustrates the initial view of the tradional work environment., as well as the wall concealing the opposite area from this vantage point.

The view to the left shows the same space shown as on the previous spread from the oppsite end. The strategically placed breaks in the curvalinear wall now reveal the adjacent spaces meant for creative collaboration.

Below, controlled views are illustrated with a simple diagram. It is apparent that the existing building form lends itself to the strategy employed to both hide and present views.

The building is broken up in order to serve different programatic functions in a cohesive and interrelated way.

Working with several designers at Gary Lee

Partners, I was given the opportunity to work on a

hospitality project for the Chicago Club. During the

schematic design development, I was given the task

of modeling various canopy design iterations using

Autocad Revit and Rhinoceros. This experience

allowed me to sharpen my three dimensional

modeling skills, as well as strengthen my ability to

render in Photoshop CS5.

ARCHITECT / ENGINEER:

PROJECT LOCATION:

OWNER:

DATE ISSUED:

PROJECT NO:

DRAWING NO:

DRAWING TITLE:

REVISIONS:

STORE NO:

REQUIRED BY: DATE

* INDICATES NO REVISION TO THIS SHEET

DESIGN TYPE:

0085

TWENTY NINTH STREET1600 29TH ST.SPACE: 1124

BOULDER, CO 80301

'A'

2/11/2011

10607

THE ARCHITECT ASSUMES NO RESPONSIBILITY ORLIABILITY FOR THE USE OF THESE PLANS FOR ANYPROJECT OTHER THAN SPECIFICALLY AUTHORIZEDBY THEM AND SIGNED AND SEALED FOR SUCHSPECIFIC LOCATION IN THE STATE SHOWN ON THESEAL. THIS BUILDING USE IS ONLY APPLICABLE INAREAS MEETING THE STATED DESIGN CRITERIA.

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11215 METRO PARKWAYFT. MYERS, FL. 33966

STOREFRONT PLAN -1/2" = 1'-0" A

STOREFRONT ELEVATION -1/2" = 1'-0" B

A8.1

STOREFRONTPLAN ANDELEVATION

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03/18/2011

A 1.1

FIXTURE PLAN

NSLD

FIXTURE PLAN A1/8" = 1'-0"-

MERCHANDISE FIXTURE LEGEND SQUARE FOOTAGESB C

WALL LEGEND

EXISTING WALL

NEW WALL

GROSS SALES

GROSS NON-SALES

GROSS AREA (CALCULATED)

PRELIMINARY FORWARD SALES 2,136 sf.

858 sf.(23%)

3,671 sf.

2,711 sf.(77%)

1.14.11

(1) ENTRY TABLE

(2) TABLE & OTTOMANS

(30) STRAIGHT RACK

(3) JEWELRY CASE

(3) ARMOIRE

(2) BELT/SCARF FIXTURE

(2) LOUNGE CHAIR

(0) TABLE

(1) DENIM BAR

(1) MARKET TABLE

(1) PALM

(1) MOMENT SCREEN

(7) MANNEQUIN

NEW

TWENTY NINTH ST.1600 29th St.

SPACE NO. 1124BOULDER, CO 80301

0085PROJECT LOCATION:

OWNER AND

DATE ISSUED:

DRAWING NO:

DRAWING TITLE:

REVISIONS:

STORE NO:

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REQUIRED BY: DATE

* INDICATES NO REVISION TO THIS SHEET

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Working at Chico’s FAS, I was given the opportunity to

work with a small team of store designers, directly under

the Brand Director of Store Design for both Chico’s and

White House Black Market boutiques. During this time, I was

given the responsibility of designing several stores for both

brands. I was responsible for carrying each project from the

beginning of schematic design to finalizing and sending

out construction documents. Each store was designed

in accordance to a set of tentant requirements specific

to each boutique and shopping center. I attended all

interdisciplinary design meetings and was responsible for

bringing a number of designs to the table each time.

1124 Aspen Place at the Sawmill

0057 Chesnut Hill

0085 Twenty Ninth Street

Opening Date: Oct. 3, 2011

Opening Date: April 7, 2011

Opening Date: June 20, 2011

Carli WerthmannPlease contact me at werthmcm@mail.uc.edu