INTERIOR DESIGN

PORTFOLIO
V I C TOR IA WU L F
ABOUT ME
 PROFILE
VIC TORI A
W ULF Highly detailed and organized design student wanting to take charge
of exciting and challenging projects. Eager to learn and able to preform
complex tasks in a timely manner with limited supervision. Experience
LEED Green Associate
in multi-family and hospitality projects. Interested in sustainable
design, achieving LEED Green Associate accreditation January 2019.

victorialwulf@gmail.com
(402) 660-5269

SKILLS WORK EXPERIENCE

Rendering Revit Rhino Harwood International
SketchUp AutoCAD Intern June - August 2018
- Developed conceptual designs with thoughtful narratives through deep
Adobe Suite Photoshop analysis and cultural understanding, responsive to feedback and changes
Lightroom InDesign in design directions
Illustrator Acrobat - Specified furnishings and finishes along with preparation of finish
Dreamweaver schedules
- Sourced and selected fabrics and finishes to create material boards and
Microsoft Office Word actualize design concepts
Excel Publisher PowerPoint - Produced detailed elevations
- Drove project coordination through communication with vendors, GCs,
Other Fluent in Java and clients

Healthy Beginnings Montessori Mural

Project Manager April-June 2017
AWARDS - Assigned roles to team members to execute a multi-stage design plan
SCAD Dean’s List 2017-18 - Translated client research into a strong composition with an inspiring
Academic Honors message
Scholarship 2017 - Worked efficiently to meet time sensitive deadlines
SCAD Achievement
Scholarship 2017 National Art Honors Society
International President August 2015 - June 2017
Baccalaureate 2017 - Publicized club to student body in order to triple meeting attendance
- Established a rapport with local companies for increased community
engagement
LINKS - Analyzed small, critical details when creating timelines and organizing
teams for multiple on-campus and local projects
Portfolio
LinkedIn
Blog EDUCATION
Savannah College of Art and Design (SCAD)
Bachelor of Fine Arts in Interior Design, Business Minor
2017- 2020
GPA 3.81
TABLE OF CONTENTS

6 10
GRAPHICS FOR THE RENDERING FOR THE
BUILDING ARTS INTERIOR
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INTERIOR ELECTRONIC CHLOE POP-UP
MATERIALS DESIGN STORE

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GRAPHICS
FOR THE
BUILDING The course Graphics for the Building Arts helped to de-

ARTS velop my precise hand-drafting skills. Though the use of

hand-drafting as a primary design tool is less common
in modern design, it is still an important skill to master.
Hand-drafting causes a designer to form a more physical
connection to the space while focusing on minute details.
 CLARENCE THOMAS
CENTER

After extensive on-site measuring, I compiled my data to produce a set of

drawings of the Clarence Thomas Center, located on 439 East Broad Street,
Savannah, Georgia. These drawings were produced using pen and ink on heavy
weight vellum.
RENDERING
FOR THE
INTERIOR
Rendering for the Interior was an introductory course to the
art of hand rendering interior spaces and materials. Multi-
ple approaches and techniques were taught in order to help
craft our own style as designers. The following projects were
produced throughout the duration of the course, applying my
knowledge of varied brushstrokes and color blending to accu-
rately render unique textures and under applied lighting.
 FLOOR PLAN
RENDERING

Given a pre-made floorplan, I selected my own materials to produce a residential floor

plan. The rendering was done on marker paper with prismacolor markers, pen and
ink, and colored pencil.
MATERIAL RENDERING
After selecting a palette of varied materials, I applied different rendering tech-
niques to find a style that would best display each material accurate to my physical
sample. I have included the most successful renderings to scale on the right, along
with photographs of my material references below for comparison. All materials
were rendered on marker paper using a combination of prismacolor markers, pen
and ink, and colored pencil.
 COMPOSITE
PHOTOGRAPH
Using a photograph of an existing commercial space, I rendered a small
section of the interior to create a composite work of art. This exercise was
a test of craftsmanship, technique, and the abilitiy to seamlessly match ex-
isting materials and lighting conditions. The rendered slice was produced
on marker paper with prismacolor markers, pen and ink, and colored
pencil.
 MARKER VIGNETTES

This marker vignette exercise focused on

rendering interiors in a consistent style and
level of detail across multiple photographs.
Each vignette was produced on marker paper
with prismacolor markers, pen and ink, and
colored pencil.
 INTERIOR
MATERIALS
Interior Materials dedicated the course to the study of how
materiality affects an overall design. We investigated the
inherent properties of each material in terms of composition,
physical attributes, and aesthetic qualities. By understanding
each material and its application, we may see how each mate-
rial can be used to satisfy a design requirement while express-
ing the overall story.
ICELAND BOUTIQUE HOTEL:
A COLOR STORY
The largest project of the course was a lengthy investigation on a city of our choice for
the ultimate goal of a material selection for a commercial space. For my study, I chose to
investigate the city of Reykjavik, Iceland for the design of a boutique hotel lobby. Through
precedent analysis and in depth cultural research, I did my best to understand daily life in
Reykjavik and how their unique cultural history has influence art and design. Using my
findings, I then produced a set of conceptual images that led to an overall color story for
the design of a boutique hotel lobby.
Iceland has been a sanctuary for old norse traditions for hundreds of years. Remnants of old viking folklore are
hidden throughout the continent. These viking traits are still alive within the people, and maybe it can explain why
iceland is filled with fierce individuals unafraid of change and willing to take risks in order to express their individ-
uality.

Icelanders are strong forces that have held up against some of the harshest conditions. These conditions have creat-
ing a national unity forming strong ties with one another as well as added to that sense of fearlessness.
From the built environment, I am inspired by the strength in material selection due to structural demands for buildings of the
area. The dominance of glass, metal and concrete in Icelandic architecture have sprung a very industrial feel. It is within this
style that I can acknowledge old customs while nodding to the past by breaking up the space with a contemporary approach
to old wood carvings. I also would like to concentrate on the connection between norse kin groups by implementing extro-
verted seating only in hopes of sparking communication amongst local and international visitors alike.

The energy of my boutique hotel space can be best categorized as bold contrasts of textures in materiality
as well as bright colorization. As taken from my inspiration, I will focus on modern industrial materials
such as metal, while accenting the space with color trends pulled from the environment.
ELECTRONIC
DESIGN
Electronic Design I was an introductory course to the dom-
inant programs of the building arts; including Revit, Rhino
and AutoCAD. During this course I produced elementary
exercises to familarize myself with the various tools of each
program.
DESIGN A HOUSE
In this final project, I put my knowledge of Revit tools to the test through the task of building a
house on an imported site file, complete with a living room, kitchen, bedrooms and bathrooms
spread across multiple stories. After completing this project, we practiced our ability to produce
floor plans, elevations, sections, and basic renderings. Lighting design was not an aspect of this
project, so the interior was generally only lit by exterior natural light.

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CHLOE
POP-UP
STORE The Chloe Pop-Up Store was a collaboration with
former Fashion Marketing and Management student,
Brooke Lindstrom, for her senior capstone project.
For her capstone, she sought to market a pop-up store
for the fashion company Chloe, that is true to their
unique brand. Ms. Lindstrom invited myself to collab-
orate as an extension of this project. I contributed to
her capstone project through the sole production of a
pop-up store design from concept to final renderings.
This challenge included not only creating a space true
to the Chloe brand, but one that also made innova-
tive steps in sustainability. The concious design of a
sustainable space was important to the project due to
the large amounts of waste produced in fashion as a
whole, but also more specifically in the occurance of
these temporary pop-up stores.
Floor Plans
Renderings
 The stand-alone pop-up store works hard to capture the essence of Chloe in as few
pieces possible in order to reduce waste produced in an otherwise rather disposable
setting. The mood is created through an emphasis on feature accent lighting and
gold hardware which help draw the eye to key elements while elevating the pre-ex-
isting space. The layout of the store begins with an open floor plan to accommodate
the incoming traffic from the main products in demand- the purses and clothing
items. From here, we move to the back of the store which begins to become more
intimate. The loveseat provides accommodations when trying on shoes, but also
creates a barrier from the traffic in the rest of the store, forming a more exclusive
treatment with one-on-one interactions with the stylists. It is here that shoppers
may find a single dressing room tucked in the back corner for a sense of privacy
and to highlight the limited availability of it all. This dressing room utilizes natural
wool drapery with 100% cotton backing that is not only a sustainable source, but
is much more durable; lasting in high-traffic applications for up to 20 years. The
space is illuminated with track spot lighting from an honest company like Cerno,
who uses only energy-efficient LED technology and responsibly sourced materials.
The entirety of the layout is united by a seamless installation of an eco-friendly,
non-toxic wood flooring. This floating floor is made of recycled wood and uses a
special interlocking system that doesn’t require toxic adhesives that could release
harmful VOC’s into the air. Additionally, the floating system is perfect for a tem-
porary setting because it can be removed and reused over and over again for shops
around the world.
 Stand-alone
In-store Display