knitty grittyan urban yarn boutique and knit studio

Senior Project Program _June 2011

University of CincinnatiCollege of Design, Architecture Art and Planning

School of Architecture and Interior DesignInterior Design Program

Molly California

knitty gritty

abstract

knitty grittyAN URBAN YARN BOUTIQUE AND KNIT STUDIO

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 will embrace 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 will provide 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.

SENIOR PROJECT PROGRAM

UNIVERSITY OF CINCINNATI | COLLEGE OF DAAP

SCHOOL OF ARCHITECTURE AND INT DESIGN

MOLLY CALIFORNIA

JUNE 2011

knitty gritty

contents

design

introduction

design themes

precedents

project goals

design issues

users/clients

site

description

evaluation

diagrams

drawings

images

space

summary

diagrams

descriptions

requirements

sustainability

code analysis

bibliography

1

4

6

12

13

17

22

24

26

-

28

32

33

34

44

49

51

knitty gritty

contents

PROCESS

sketches

reviews

54

60

designthis isn’t your grandmother’s knitting

knitty gritty

introduction

1

Nearly everyone in modern society has been exposed to the finished products of the knitting process. While knitting has been historically utilitarian, its purpose and relevance has changed dramatically with social and economic differences over the centuries as the craft continues to reinvent itself. Essentially the result of combining a piece of thread or strand with two or more needles into fabric, knitting has evolved out of the basic human need for protection from the elements into an expression of individual craft and art.

Because of the ephemeral nature of fibers and textiles, the earliest origins of knitting are difficult to determine, though most will agree that some of the earliest examples of knitted fabrics and garments can be associated with Middle Eastern cultures beginning in the third to fifth centuries BC, and spreading from there to Europe through Mediterranean trade routes, and to America with colonization (Strawn 12). The process of the craft lent itself well to nomadic peoples, due to its simplicity of tools (which could be made from virtually any slender pointed object) and freedom from need for any type of machinery. With time however, knitted products became the utmost mark of wealth and power--a symbol of the ability to afford the finest of silks and to hire the most talented of craftspeople, where those of a lower status needed to make the most of their own abilities. While some knitted out of personal necessity, knitting also became a viable trade, with schools designed to teach knit-ting as a source of income for those most in need. In some cultures it even became a defin-ing trade, lending an identity to areas--especially in the British Isles--now known for their techniques and patterns such as Fair Isle, cables, and Aran stitches (Rutt 15).

The Industrial Revolution inevitably brought mechanical technology into the mix, allowing for mass production of fibers, textiles, and garments of consistent quality, bringing the craft out of the realm of individual one-off pieces and into the realm of a consumer-driven industry (Strawn 76). Such a deviation from the nomadic origins of the craft could have meant the downfall of hand-knitted garments, but the individualized artisanal craft’s roots instead remained dormant until the correct mix of economic and cultural conditions presented itself once again to foster its return. With the advent of WWII and wool shortages that came with it, a need for individual resourcefulness to conserve resources led to a resurgence of hand-knitting. Taking up the hobby not only became a statment of frugality in the repurposement of old knitted wool garments unraveled and re-knitted into useable garments, but also a statement of ultimate patriotism in the enlistment of women and children on the homefront to knit items for their soldiers at war (Strawn 137-9).

While its use in the years since WWII have largely been relegated to a hobby activity, the craft has experienced periodic resurgences, notably in the 1950s and 60s with the introduction of the twinset cardigan, and emphasis on knitting as a useful skill for any homemaking woman; at this time, it also became more of a fashion statement to be made, with newer, brightly colored synthetic yarns introduced, as well as increasingly complex patterns that expanded beyond the utiltarian (Strawn 180).

Remaining a dormant underground activity, in the decades that followed, knitting has finally re-emerged in full force in recent years with the introduction of novelty yarns, a much wider variety of yarns of different weights and fiber makeup, and an encouragement to expand the craft beyond its traditional roots and into an arena of personal expression and luxury. Not only just a vehicle for sweaters and afghans, the craft has been elevated in ways previously unimaginable, adopted by an increasingly younger audience looking to make updated--and sometimes subversive--originals that are as much an expression of the craft as of the individual performing it. The current recession has only reinforced its popularity in the pursuit of a way of life divorced from the mindless consumerism that has contributed to our present circumstances--one that emphasizes the satisfaction of making a greater contribution to the products we utilize every day, and a sense of return to basics in a society ever more stripped of the luxury in which we all took comfort (Brooks). The development of internet communties centered around knitting--teaching, sharing, and selling--and ideas such as knit-bombing grafiti movements that take on more public arenas suggest the need for a retail environment that reflects this modern youthful outlook, freed from the craft store corners and traditional needle craft stores to which it is currently relegated.

As knitting has become a more mainstream, modernized element of our culture, the retail spaces that support it have been lagging behind. While younger and less traditional audiences have become increasingly more interested in knitting and crocheting as hobbies, their forums for sharing their craft have shifted to the internet, removing physical personal reaction and replacing it with virtual interaction. The importance of a tactile experience is lost in doing so however, and in order to recapture this essential element of the craft of knitting, the pursuit of a retail environment geared toward this emerging audience is a compelling one.

knitty gritty

introduction

3

knitty gritty

design themes

4

knitty gritty

design themes

5

RECLAIMED HISTORYGiven 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 AGEAnother 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 STRANDOne 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.

INTERTWININGAnother 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

6

knitty gritty

precedents

7

SHOP AND SHOW [Tracey Neuls, London]

Designed to coincide with London Fashion week in February of 2009, Tracey Neuls’ Shop and Show acted as a a temporary exhibit and retail space designed to sell the designer’s then current line of avant garde shoe designs, while providing a retrospective of her design development over the past 10 years. The space remained installed for three weeks, and featured a diverse collection of both Neuls’ work and the objects which inspired it, all displayed artfully using unconventional materials and methods that subvert our expectations of what a retail environment can be.

Ms. Neuls has established herself over the past decade as a vital force in contemporary design, drawing inspiration for her footwear collections from a wide range of resources large and small, each leaving its mark with impeccable detailing and craft while eschewing consumer-driven trendiness.

Shop and Show incorporates a number of compelling design features that incorporate the use of unconventional materials and displays that speak to a new language of retail environment. The shoes themselves are not merely placed on shelves, but rather removed from their expected meeting with a ground plane in favor of being suspended from the ceiling at different levels throughout the space. Display fixtures themselves were created using discarded drawers arranged, stacked and in some cases C-clamped together as needed creating an ecclectic patchwork feel that speaks to Tracey’s own inspiration process. The juxtaposition of historic elements against an otherwise starkly minimal space gives clues to the ideas that gave birth to these signature designs without taking away from their prominence in the space.

The importance of using outside influences to tell a story about the products being sold is a compelling component of the Tracy Neuls brand, and one that is expressed supremely well, even in such a limited space with such a limited time frame. Its impact is meaningful without being showy, and could easily be adapted to a new application with reclaimed materials and objects that keep the storytelling alive as Tracey continues to develop her identity as a designer.

knitty gritty

precedents

8

knitty gritty

precedents

9

CAST AWAY YARNS [Santa Rosa, CA]

A decidedly quirky yarn shop taking up residence in Santa Rosa, California, Cast Away Yarns appeals to knitters looking for projects and materials with more personality than those offered at your average quilt and needle shop. Taking on a nautical theme and incorporating homey vintage elements, the small shop exudes as much personality as its customers do, encouraging all who enter to linger and explore everything the store has to offer.

While the use of a nautical theme is a questionable one (knitting on the high seas seems a bit far fetched) the use of a reclaimed sail boat as a featured display piece in the center of the store allows a welcome contrast to the yarn contained within. Its rough, peeling paint and chipped structure only helps to enhance the touchability of the yarns on display, allowing each to shine like a piece of sunken treasure full of potential. The other display areas remain understated, relegated to a squared grid of dark wood shelves lining each wall; they are useful enough and allow the focus to remain on the yarn arranged by type and color, but lack the personality that other areas of the store so easily embody.

Cast Away certainly appeals to a certain modern breed of knitter with its whimsy and seeming willingness to try anything once, though it appears to come at the expense of a sense of organization and hierarchy of the products being offered. Light levels also appear to be a concern; with products on varied levels throughout the shop some products remain well lit while others are left in the shadows. This shop represents a step in the right direction for this retail genre, but is still lacking in focus in several ways.

knitty gritty

precedents

10

knitty gritty

precedents

11

COVEN [Marcelo Alvarenga, Belo Horizonte, Brazil]

An established knitwear brand in Brazil, Coven opened it’s first physical retail store in Belo Horizonte, Brazil in 2009. The store, designed by Marcelo Alvarenga, embodies the spirit of adaptive reuse by utilizing what was once a two-story house, transforming it into an abstract representation of the process of knitting, elevated to an artform. The exterior of the building is wrapped with a woven metal screen, allowing the building’s former identity to shine through slightly, while interior installations by artists Susana Bastos and Ana Vaz establish the origins of knitwear solidly within.

Coven is as much an exhibit as it is a retail environment, utilizing quietly focused lighting, minimalist linear display features, targeted splashes of color, and large scale installation artwork to define its identity. Products are allowed to speak for themselves, all displayed equally on architectural fixtures that disappear into the depths of an already minimally designed space. The installation piece itself is set apart beneath a filtered light well to one side of the space as a composition of light neutrals knitted, woven, braided, and suspended from beams above like a textile chandelier. Each braid was created using material and thread leftover from the manufacturing process.

The strengths of this store in particular lie in the representation of the process and pattern of knitwear, rather than just a glorification of the final product on display for purchase. From the exterior language established by the woven metal facade to the installation representing the raw products that go into the garments, Coven embodies the roots of knitwear without distracting from the main purpose of the space; the product can speak for itself, but for the shopper in search of a deeper understanding, the opportunity to do so is not wasted.

IN WITH THE NEWThis isn’t your grandmother’s knitting anymore, and with new and younger audiences emerging, a physical environment that caters to a modern expressive audience is a must. With an updated aesthetic that plays into the social culture of knitting and the touchy-feely yarn mongers it creates, this shop needs to address a band of knit fiends out to elevate the craft to new heights of artistry and fun.

GETTING EVERYONE INVOLVEDSo much of knitting is learned through sharing and experiencing, and a retail environment to house it must reflect that. Sure a big goal is to make money, but relationships aren’t built on the exchange of goods alone. The creation of a welcoming space that encourages lingering and conversation must also be of top priority. With free and open communication between shoppers and staff--and between knitters--the shop can become more than just a place to house merchandise, and as relationships build, so will a customer base.

A WINK AND A NOD TO THE PASTFor as far as the craft of knitting has come in recent years, the progression of the craft as a whole has been a vastly longer process. It may be easy to ignore the history that got us to this point, but doing so would be a disservice. In order to anticipate where the craft is going, knitters must understand its richly layered history, and while it’s not intended to specifically address historical timelines, the space can and should feel free to reference the past in material and motif--so long as it remains mindful of and faithful to its more youthful audience.

knitty gritty

project goals

12

knitty gritty

design issues

13

Organizational efficiency is one of the most important aspects of retail design when looking at the potential for a space to generate and sustain business. The most efficient spaces are set up in a way that moves the maximum amount of product in a minimum amount of space and time, while fostering an environment of trust for customers that keeps them coming back for more. In looking at the best way to maximize efficiency in this type of retail environment, it is important to look not only at the physical logistical elements, but also the organization of salespeople and an overall sense of hierarchy.

Because the intent of this boutique is as much geared toward selling products as it is toward selling a lifestyle that supports it (thereby continually building in a network of customers), the logistical relationship between areas that foster each is quite important. While there may be an instinct to embrace a relaxed atmosphere that reflects a more casual hobby attitude, any neglect of the importance of hierarchy and order of the service elements of the space will be highly detrimental to its overall success. Salespeople should be free to assist customers with product questions, devoting full attention to their needs in product display area. They may perhaps be grouped into floor members that assist customers directly and maintain stock and display appearance, and one or two check out members who hold down a more permanent post and are able to quickly meet the needs of customers who may not need assistance, and act as a sort of information concierge to field quick questions. In such a small shop, it might be feasible to combine these roles, but it is important to ensure that no customer is ignored at the expense of helping another in the process--a real concern to consider in defining these roles. While these roles encompass the product angle, additional consideration needs to be given to the process. In addition to the sales staff, accommodations need to be made for instructional members that act as sounding boards for questions about the physical process of knitting. These staff members should be able to devote more individual time to customers, and may be available during certain times of the day or week if it becomes less feasible to employ them during all hours of operation. These employees have the greatest potential for retaining a solid customer base because they build a base of solid knowledge and understanding, physically guiding the customer through a process and addressing physical concerns in real time. In building a more intimate relationship with the customer, they create a level of trust and openness that encourages a continued personal connection to the shop.

SPACE PLANNINGPhysical placement of elements in the space is also of great concern, especially in a small shop. Because of the potential tightness of the space, the cash wrap area will inevitably become a defining element, and the decision to embrace or deemphasize it as a result becomes an important decision. Certainly the aim of any retail application is the sale of product, but articulating this visually in the space by playing up the register area can be off-putting in an environment that is as much about sharing an action as it is purchasing. The register should naturally be easy to access--preferably in a way that forces the customer to interact with product before reaching it--and still be a strong element in the space, but avoid becoming a focal point that discourages meandering and lingering. The cash wrap has the potential to become a more distinctly separated element in the overall space, but the relationship between product and process is admittedly a fuzzier one. There is a dilemma in encouraging the use of materials in-store that can create difficulties in the act of purchasing before use. Some customers may arrive with specific needs in mind, purchase the materials they need, and be out the door rather quickly. Still others though, may need more assistance

in selecting materials and using them, and may not want to make multiple trips to the shop to do so. These customers must be attended to in a way that allows them to seamlessly select, purchase and use materials in a social, collaborative atmosphere without creating a feeling of regimented movement throughout the shop. Obviously materials need to be purchased before use, but there is potential for an awkward exchange in transit between purchase and use in the same environment, and this grey area can create problems if not handled tactfully. One solution to this situation may come at the hands of the floating floor sales team, who are able to assist more directly, perhaps gently directing customers through the store as needed, showing them to the checkout area personally when the time comes, and being on hand in the minutes that follow to introduce customers to instructors or highly experienced knitters who can then take the reins. This arrangement runs the risk of creating too ordered a routine though, and will become cumbersome for returning customers. Another solution might be to make the instructional group meeting area the more segregated space, allowing a sense of supervision shoppers and their movement to the meeting space and the opportunity for floor members to intervene personally if necessary. This method seems more in keeping with an informal, fluid attitude --certainly one that fosters and is fostered by the intended use of the space--and may be a more feasible solution in this situation.

CIRCULATIONThe importance of flow between all areas should not be underestimated in addressing the concerns established, however. In such a small environment, it may not be advantageous to further break down areas with heavy partitioning devices. Utilizing personal relationship building as a tool for attracting and retaining customers discourages this, and it can be argued that the spatial relationship between all areas should interact as conversationally as the people using the space. Embracing partions that serve a function other than separating areas--whether through product display or other means--and still allow a visual connection seems a natural course of action to take, but still runs the risk of condensing an already small space. Opting for minimal use of partitioning elements, and utilizing only the orientation of furnishings within the space might alleviate these concerns, but also runs the risk of eliminating any sense of hierarchy within the space that adds interest and dynamism.

Moving beyond looking at just the logistical concerns of the space, we must continue to delve further into how these different groups of people will be using these areas, and what needs must be accommodated for each. Typically a retail environment is designed first and foremost with the customer in mind; he/she is the one spending money and the target of appeal in all areas. No single customer, however, will be spending as much time in the shop as the permanent staff of salespeople and instructors, who must be accommodated for just as well as the customer for smooth transactions day after day.

One concern regarding the different types of salespeople in the store might be how the space serves them during lulls in the day. With some salepeople relegated to the product display areas, it would seem that some sort of accommodation needs to be made for them to migrate to other tasks during down time, whether restocking products, or contributing to some sort of standing shop-wide knitting project--perhaps an established committment to knit hats and mittens for a local homeless shelter or something of the sort. The same can be said of instructors, who may face the same lulls. They may be able to contribute such an effort to these types of projects, as well as their own, developing new techniques and creating examples that display the potential for the craft to established knitters and beginners alike.

knitty gritty

design issues

14

Physical accommodations also need to be made for this group that facilitate their roles as mentors to those who need the assistance, including appropriate seating and work surfaces that are arranged in such a way that fosters a more individualized conversation without sealing them off entirely from the rest of the shop. Smaller groupings of tables and chairs may be appropriate for beginning knitters who have not yet mastered tension and control of the yarn and need a surface to spread out and organize materials, while a larger informal lounge setting would be appropriate for open knit meetings that become more of a casual gathering point. Consideration should also be made to yarn placement in this setting, whether it is simply relegated to the lap of the knitter, or the floor where it has the potential to unravel, especially with people moving about the space. Providing baskets or some sort of receptacle to contain this might be a good solution, but should be consiered thoughtfully with regards to the overall theme of the space, as well as foot traffic and potential cluttering of the floor area. It is clear that organization will in many respects will be a defining element in the success of such a shop, and the organization of the product itself should be no exception when meeting the needs of the customer.

Consideration should be made to the hierarchy of grouping of yarns--looking at weight, color, fiber, and application--and consistently so throughout the product display areas for easy navigation and understanding; any signage and swatch samples should support this arrangement, with clear indication of what is to be found within. Needles and additional notions, as well as pattern books and magazines must also be arranged with some sort of grounding hierarchy involved, contributing to cohesive store planning overall. How these materials are displayed will ultimately help to inform this organziation system. Because most knitters are not just in need of a single skein of yarn, a larger quantity needs to be accessible on the sales floor, whether in open bins that recall a sort of marketplace display method, or in a more reserved way that perhaps keeps only a few skeins of each in view and tucks the others in an adjacent drawer out of sight. It will be clear as branding and identity become better defined which direction is most appropriate to take, but attention to clutter control with these quantities and appropriate representation of true color and texture should be considered at all times.

Organization of resources and accommodations for those using the space is only one area of concern when looking at the shop’s technical and functional success. As mentioned earlier, representation of color and texture is of great importance for such a tactile craft, and will depend on a well orchestrated lighting system to be sucessful. Overall natural lighting would be an ideal solution, though not an entirely feasible one depending on the shop’s location and proximity to other buildings. A largely open storefront will allow a decent amount of light to penetrate, but will not illuminate the entire space sufficiently, therefore electric lighting must be employed thoughtfully for consistent rendering of color and materiality throughout the entire space. Focusing instructional and open knit areas in the most daylit parts of the space would be beneficial in providing sufficient light during the day for these tasks, and would also allow the salesfloor--and the products--to be lit more consistently with predominantly electric light, regardless of the time of day or outdoor light quality. Whether or not focused light should be applied to certain areas of interest in this area is also something to consider; retail spaces typically employ at least some level of contrast between light and dark to highlight products and create visual interest, and some degree of shadow will help texture perception in the products. If any sort of ‘installation’ pieces or displayed works are utilized, this focused light will become very beneficial in order to highlight their importance.

knitty gritty

design issues

15

Task lighting will come into play in the instructional/workshop areas where a more focused light is necessary to knit comfortably, and will need to be considered regardless of the potential daylight flooding the area. It may be employed with the help of more signature fixtures that reinforce an established design aesthetic and help to visually define these areas if physical partitioning of space is kept to a minimum.

Thoughtful use of color is just as important as light in helping to define space and identity. Difficulties arise, however, in applications of color to surfaces that may interfere with peripheral color perception of the yarns, which in themselves will embody a wide spectrum of hues. A bold design palette would certainly contribute to creating a more youthful brand identity, but could adversely impact how customers perceive the products--something to be avoided in a retail environment designed to make the product as appealing as posssible. This is not to say a bold color palette is to be avoided entirely (if appropriate to the brand), however, but placement of this color throughout the shop should be carefully considered for maximum impact on the space overall with a more neutral, if not enhancing, impact on the products themselves, which will undoubtedly impose their own color identity.

Additional concerns for overall success in the space include issues of thermal comfort and the physical act of spatial navigation. In a small shop, presumably with direct access to the outdoors, temperature control is important to consider as the act of entering and leaving the shop will quickly impact comfort. A sort of buffer zone near the entry might help to alleviate some of this, as might established zones with thermostats and the capacity for minor adjustments in temperature as necessary. Most view the activity of knitting as sort of a cozy one, and a level of consistency and to a degree warmth, will help to enhance this attitude of comfort. Navigating the shop should be comfortable as well, regardless of one’s physical abilities, and obvious concerns for ADA need to be addressed in all areas ranging from entry, product display placement, designated activity areas, and access to registers to staff concerns including back of house. Another issue unique to the specific products offered comes into play in the inherently ball-like shape of the skeins of yarn which can easily roll off one another into paths of transit if not properly stowed to avoid doing so. The display and storage of these skeins should address and alleviate these concerns as much as possible.

Each of the areas discussed above with regards to the functioning of this type of retail environment are of equal importance in creating a successful model. Although they have been discussed abstractly up until this point, with little concern made for more site specific issues, their employment in the space will become more focused and developed as the design process gets to be well under way, each being adapted to the established brand identity and spatial qualities on site. Some issues may be deemed more important to address than others in this process, but it is important to broadly consider all of these concerns, especially in relation to one another, before that process begins in order to better inform the direction of design from a realistically functional angle, rather than just a visually aesthetic one.

knitty gritty

design issues

16

knitty gritty

users/clients

17

KNIT DIVA (client)

A self-confessed knit diva, this chick 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.

MOB MENTALITY

Social knitters through and through, these knit pickers always seem to have a project in hand and revel as much in the company of others as they do in the knits and purls in their hands. They may stick to small, mindless projects that don’t require their full attention, but that doesn’t mean they want a pile of potholders to show for it. These prolific knitters need variety to pique their interest and a shop that strives to be more than your average skein and pattern shop.

NOVICE KNITTER

They may not know where to start, but these [soon to be] knitters want to know what all the fuss is about. Attracted to the bright colors and endless possibilites, they’d prefer to learn from people their own age, and if they meet some fun creative types along the way it’s just icing on the cake. These kids will need a good deal of guidance though, in the form of a staff that knows its stuff and can teach it well.

TEACH ME YOUR WAYS

Expert knitters in their own right, these staffers may have been breaking the rules all along, but they know their fibers and tools, and they’re eager to impart their wisdom on impressionable young knitters everywhere. Characterized by patience and a genuine desire to bring knitting to the masses, these guys know how to build trust and keep customers coming back for more.

knitty gritty

users/clients

18

SITE301 LUDLOW ave, CLIFTON

knitty gritty

23

description

the neighborhood

CLIFTON, CINCINNATIKnitty Gritty makes its home in the Clifton neighborhood of Cincinnati. Once an independent village located three miles north of downtown, Clifton developed steadily with the streetcar system of the late nineteenth century. Sprawling estates built along Lafayette Avenue provided serious street presence for Clifton residents, who came to nickname the street “Avenue of the Barons”, while denser settlements popped up with a growing business district along Ludlow Avenue. Officially annexed by the city in 1896, Clifton as we know it today may be a little less flashy but no less vibrant, and its personality peeks through layer upon layer of local history. Now home to a growing crop of college students and young professionals, Clifton’s business district mixes old and new structures with niche boutiques and restaurants not found elsewhere in the city, relying on a pedestrian-heavy attitude that’s eager to explore.

Knitty Gritty implants itself in one such historic structure, taking root on 301 Ludlow Avenue, in the first floor of an existing firehouse built in 1906. With well articulated architectural details, a converted garage door storefront, and the all-important corner lot, this boutique takes on a serious street presence of its own, drawing in hardcore knitters and curious passersby alike. Knitty Gritty encourages all who enter to go ahead and get elbow deep in yarn, grab some needles, and knit something.

knitty gritty

evaluation

24

exce

llent

good

fair

poor

n/a

SITE CHARACTER

1] neighboring context xvaried historical languages, strong presence 2] views x views to other retail areas, intersection 3] noise x predominantly street traffic 4] traffic_pedestrian x easy sidewalk access 5] traffic_auto x street access, metered street parking, nearby lots 6] urban landscapevaried historical languages, strong cultural identity x

LOCATION

1] proximity to other amenities xlocated in retail-heavy area 2] proximity to parking x metered street parking, nearby lots 3] adjacent structural character xvaried historical languages 4] street presence x corner lot 5] pedestrian accessibility x sidewalk access 6] neighborhood demographics xyoung creative class, strong diversity

exce

llent

good

fair

poor

n/a

BUILDING PROPERTIES

1] square footage x larger than programmed 2] ceiling height x excellent 3] structural grid span x 4] natural light x ample glazing 5] historical detail x exterior mainly 6] storefront presence x entry on two sides, corner lot, ample display windows

BUIDING CHARACTERISTICS

1] condition of exterior x well kept2] condition of interior x well kept, minor repairs 3] space for signage x ample space above storefront windows 4] character of exterior xstrong presence, distinct historical language 5] character of interior x clean slate

knitty gritty

evaluation

25

knitty gritty

diagrams

27

STREET ACCESSpotential entry points

on North and East facades

knitty gritty

interior images

28

knitty gritty

exterior images

29

space

knitty gritty

summary

32

RETAIL SPACESales floorStorefront windowWorkshop / gathering space Cash wrap

Subtotal

BACK OF HOUSEExcess stock roomEmployee loungeOwner’s officeRestroom

Subtotal

Net Area

Grossing Increment (30% of gross area)

Gross Area

1500 sf150 sf 500 sf200 sf

2350 sf

600 sf200 sf100 sf100 sf

1100 sf

3450 sf

1478 sf

4928 sf

knitty gritty

diagrams

33

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

descriptions

34

SALES FLOOR (1500 sf)

1.0 Occupants 1-2 Salespeople Up to 10 Customers 1-2 Instructors Maxiumum 14 users

2.0 Activities Customer browsing/purchasing Customer assistance from salespeople Restocking, maintenance Transition between other areas of shop

3.0 Occupant needs 3.1 Health / Safety / Security ADA compliance, 5’ aisles for turnaround as needed 3.2 Functional requirements Display of products Clear system of organization of these products Circulation Lighting sufficient to convey correct color and texture

4.0 Ambient 4.1 Heating and cooling 65-75 degrees F, user controlled 4.2 Ventilation 3 air changes / hour 4.3 Lighting 20-30 footccandles, consistent throughout product display

5.0 Spatial adjacencies Direct access to cash wrap Partial access to workshop / gathering space Direct access to back of house

6.0 Equipment and furniture Display fixtures, wall mounted and freestanding

7.0 Materials Non-abrasive, fire resistant, possible use of reclaimed items

knitty gritty

descriptions

35

STOREFRONT WINDOW (150 sf)

1.0 Occupants No occupants; occupied only during display changes

2.0 Activities Product merchandising Construction of window displays

3.0 Occupant needs3.1 Health / Safety / Security N/A3.2 Functional requirements Raised, from sales floor Product and process displays Strong graphic identity that communicates the brand to passersby

4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled Additional ventilation as needed if fully enclosed4.2 Ventilation 1-2 air changes / hour4.3 Lighting Focused display lighting Daylighting

5.0 Spatial adjacencies Direct access to sales floor Direct access to entry Partial adjacency to workshop / gathering space

6.0 Equipment and furniture Display fixtures as needed Mounting hardware as needed for installation displays

7.0 Materials Non-abrasive, fire resistant Possible use of reclaimed items Low maintenance, resistance to fading / sun damage

8.0 Additional Considerations Security provisions made as needed

WORKSHOP / GATHERING SPACE (500 sf)

1.0 Occupants 1-3 Instructors Up to 20 knitters Maximum 23 Occupants

2.0 Activities Knitting instruction from staff Open knitting by staff and customers Social function within the shop

3.0 Occupant needs3.1 Health / Safety / Security ADA accessiblilty, sufficient spacing of furnishings3.2 Functional requirements Function centered around process of needlecraft

4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled4.2 Ventilation 3 air changes / hour4.3 Lighting Ambient task lighting Daylighting where possible Should reflect a more intimate, casual atmosphere

5.0 Spatial adjacencies Direct access to sales floor Partial access to entry Partial access to cashwrap

6.0 Equipment and furniture Lounge and side chairs with accompanying tables Round tables and chairs for small group instructions Baskets / Bins for stowing of yarn skeins while knitting 7.0 Materials Upholstered seating 50,000+ double rubs Fire retardant materials

knitty gritty

descriptions

36

knitty gritty

descriptions

37

CASH WRAP (200 sf)

1.0 Occupants 1-2 Salespeople Up to 5 customers Maximum 7 Occupants

2.0 Activities Purchasing transactions Store surveillance Customer assistance

3.0 Occupant needs3.1 Health / Safety / Security ADA accessiblilty 5’ circulation aisle3.2 Functional requirements Ample space behind for employee circulation Adequate storage of supplies 4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled4.2 Ventilation 3 air changes / hour4.3 Lighting 20-30 footcandles, ambient lighting

5.0 Spatial adjacencies Located on sales floor Direct access to back of house Visibility from entry

6.0 Equipment and furniture Service counter with contained storage and register Small waste receptacles 7.0 Materials Non-abrasive, fire resistant Possible use of reclaimed items

8.0 Additional Considerations Security provisions made as needed

EXCESS STOCK ROOM (600 sf)

1.0 Occupants 1-2 Employees

2.0 Activities Stocking goods Replenishing displays on salesfloor

3.0 Occupant needs3.1 Health / Safety / Security ADA accessiblilty 5’ circulation aisle3.2 Functional requirements Clear organization of goods and supplies Ample circulation space

4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled4.2 Ventilation 3 air changes / hour4.3 Lighting 20 footcandles, sensor controlled5.0 Spatial adjacencies Direct access from cash wrap Direct access to other back of house functions

6.0 Equipment and furniture Shelving 7.0 Materials Low maintenance materials

8.0 Additional Considerations Security provisions made as needed No customer access

knitty gritty

descriptions

38

knitty gritty

descriptions

39

EMPLOYEE LOUNGE (200 sf)

1.0 Occupants All staff Up to 5 employees

2.0 Activities Breaks for staff Light meals Some socialization

3.0 Occupant needs3.1 Health / Safety / Security ADA accessiblilty 5’ circulation aisle3.2 Functional requirements Area to relax during break times Space to store personal items4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled4.2 Ventilation 3 air changes / hour4.3 Lighting 20-30 footcandles, sensor controlled5.0 Spatial adjacencies Direct access from cash wrap Direct access to other back of house functions Visibility from owner’s office

6.0 Equipment and furniture Some lounge seating Lockable storage for personal items Kitchenette (refrigerator, microwave, sink, coffee maker) Small dining table and chairs 7.0 Materials Upholstered seats 50,000+ double rubs Fire retardant materials

8.0 Additional Considerations Security provisions made as needed No customer access

OWNER’S OFFICE (100 sf)

1.0 Occupants 1 Manager 0-1 Employees

2.0 Activities Office tasks Record keeping Website maintenance Monitoring store activities

3.0 Occupant needs3.1 Health / Safety / Security Limited access to non-managers3.2 Functional requirements Ample room for management tasks Sufficient space for office related tasks

4.0 Ambient4.1 Heating and cooling 65-75 degrees F, user controlled4.2 Ventilation 3 air changes / hour4.3 Lighting 20-30 footcandles, ambient lighting Direct access from cash wrap Direct access to other back of house functions

6.0 Equipment and furniture Desk Task chair 1-2 Guest chairs Task lighting Waste receptacles Filing cabinets Computer and printer 7.0 Materials Upholstered seats 50,000+ double rubs Fire retardant materials

8.0 Additional Considerations Security provisions made as needed No customer access, limited non-management staff access

knitty gritty

descriptions

40

requirements

knitty gritty

sustainable materials

44

LOW VOC AND RECYCLED LATEX PAINTDunn-Edwards Recover® (recycled latex)Benjamin Moore Natura® (zero VOC paint)

As with any painting project, latex paint is often purchased in greater quantities than needed. Rather than dispose of the leftover paint, it can be reused or reprocessed to make a high-quality, economical, recycled paint for use in place of standard latex paint. What was once a one-color, limited-use product is now available in numerous grades, colors, and percentages of postconsumer content. Recycled latex paint can now meet a wide variety of specifications and can contain additives such as anti-mildew fungicides and color pigments that can be matched between batches. It is also available for metal surfaces and as primer. It can be sprayed, rolled, or brushed on, just as any other paint.

Benjamin Moore’s Natura® line provides a durable, washable, fade resistance surface that can be recoated after one hour, and releases zero VOCs. It is also virtually odorless, and is zero-VOC in both colorant and base so it can be tinted to any color.

knitty gritty

sustainble materials

45

RECLAIMED WOOD AND ARCHITECTURAL SALVAGEQueen City Green [Springfield, MO] Wooden Nickel Antiques [Cincinnati, OH]

By utilizing previously used or salvaged materials, usable wood is diverted from landfills, repurposed as finished products through direct reclaim services such as Wooden Nickel Antiques (architectural salvage in Cincinnati), or through collection services such as Queen City Green, which salvages wood left behind by logging processes or destructive weather coniditons. FSC certification is easily achieved by using such products, as no new wood is harvested from forests to produce new building materials. This goes above and beyond using materials made from recycled content because they embody less production energy and continue to utilize resources in their current state to full potential, while lending historical character to a space.

knitty gritty

sustainable materials

46

CARPET TILESFlor Lamb Cord

Flor’s Lamb Cord tiles are plush tiles made from 100% natural, dye free wool and 40% post consumer recycled products, providing cushion and sustainability. Tiles are adhered using FlorDots which require no glue or padding and can be easily repositioned or replaced as needed. The natural fibers speak to the roots of yarn products, and are an appropriate application in the workshop/gathering areas of the store.

knitty gritty

sustainable materials

47

VCT ALTERNATIVE FLOOR TILESArmstrong BioBased Migrations Tile

Armstrong’s BioBased Migrations series of floor tiles is made with rapidly renewable resources. Migrations transforms what’s possible in resilient flooring by providing additional environmental attributes and combining them with enhanced performance over composition tile. This type of tile would be suitable for back of house areas including stock rooms and break rooms.

knitty gritty

codes

49

RELEVANT CODE:

International Building Code (IBC)

CLASSIFICATION

M - mercantile

CONSTRUCTION TYPE

TypeNon-combustible, unprotected, sprinklered

EGRESS

Maximum travel distance to exit 200’ (unsprinklered) 250’ (sprinklered)Maxinum common path of travel 75’Largest room occupancy with only 1 egress 50 occupantsMaximum length dead end corridor 20’Mininum door width 32” net clearMaximum door width 48” net clearMinimum clear corridor width 36”Minimum stair width 44” (for occupancy above 50) 36” (for occupancy 50 and below)

PLUMBING REQUIREMENTS

Occupancy under 50 1 men’s lavatory 1 men’s water closet / urinal 1 women’s lavatory 1 women’s water closet

OR 1 accessible unisex restroom

knitty gritty

bibliography

51

Allen, Edward, and Joseph Iano. The Architect’s Studio Companion: Rules of Thumb for Preliminary Design. Hoboken, N.J.: Wiley, 2007. Print.

Brooks, Libby. “Amid the Economic Rubble, a Revolution Is Being Knitted.” Guardian.co.uk. 9 July 2009. Web. <http://www.guardian.co.uk/commentisfree/2009/jul/09/william-morris-arts-craft-knitting>.

“Cast Away Yarn Shop + Portrait Day.” Web Log post. Design Sponge. 20 Apr. 2009. Web. <http://www.designspongeonline.com/2009/04/cast-away-yarn-shop-portrait-day.html>.

Crisman, Phoebe, and Mark L. Gillem. The Value of Design: Design Is at the Core of What We Teach and Practice. Washington, D.C.: ACSA, 2009. Print.

Davis, Glynn. “Toughest times Requires Understanding of Consumer Psychology.” TPP News. 7 May 2009. Web. <http://www.thepeoplepod.co.uk/industry%20news/retail/toughest%20times%20requires%20understanding%20of%20consumer%20psychology.htm>

Kryzkowski, Matylda. “Magma Art Bookshop by Blustin Heath Design.” Web Log post. Dezeen.com. 30 Nov. 2008. Web. <http://www.dezeen.com/2008/11/30/magma-art-bookshop-by-blustin-heath-design/>.

McGowan, Maryrose, and Kelsey Kruse. Interior Graphic Standards. Hoboken, N.J.: J. Wiley, 2004. Print.

McMenamin, Mark. “Walk the Walk.” Interior Design Magazine. 1 June 2009. Web. <http://www.interiordesign.net/article/CA6666724.html?industryid=48740>.

Rachael, Sykes. “Shop&Show by Tracey Neuls.” Web Log post. Dezeen.com. 16 Feb. 2009. Web. <http://www.dezeen.com/2009/02/16/shopshow-by-tracey-neuls/>.

Rutt, Richard. A History of Hand Knitting. Loveland, Colo.: Interweave, 1987. Print.

Sorensen, Herb. Inside the Mind of the Shopper: the Science of Retailing. Upper Saddle River, N.J.: Wharton School Pub., 2009. Print.

Strawn, Susan. Knitting America: a Glorious Heritage from Warm Socks to High Art. St Paul, MN: Voyageur, 2007. Print.

Turner, Brad. “Coven by Marcelo Alvarenga.” Web Log post. Dezeen.com. 23 June 2009. Web. <http://www.dezeen.com/2009/06/23/coven-by-marcelo-alvarenga/#more-33108>.

PROCESS

knitty gritty

sketches

54

stitch explorations

knitty gritty

sketches

55

form explorations

knitty gritty

sketches

56

early design development

knitty gritty

sketches

57

early design development

knitty gritty

sketches

58

perpsective development

knitty gritty

sketches

59

fixture and detail exploration

knitty gritty

reviews

60

concept design review

knitty gritty

reviews

61

schematic design review

knitty gritty

reviews

62

fall midterm design review

knitty gritty

reviews

63

fall final design review

knitty gritty

reviews

64

fall final design review

knitty gritty

reviews

65

spring 7wk design review

knitty gritty

reviews

66

DAAPWORKS design review

knitty gritty

reviews

67

DAAPWORKS design review

knitty gritty

reviews

68

DAAPWORKS design review

knitty gritty

reviews

69

DAAPWORKS design review