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ASHTYN MENDENHALL (CHIPMAN)FROM: Boston, Massachusetts
DESIRED CAREER FOCUS: High-End Residential CERTIFICATIONS/AWARDS: Undergraduate Teaching Fellow of the Year Award for the Caine College of the Arts, Caine College of the Arts Organization of the Year - The Interior Design Student Association (IDSA), IIDA Design Remix - Best runway Presence and Peoples Choice Award ASSOCIATIONS: ASID Intermountain Chapter Student Representative, IIDA, USGBC Ashtyn loves design—interior, architecture, fashion, graphics—all forms. She knew she wanted to make a difference; however, she did not know how her deep-rooted design passions could help individuals. When she started her undergraduate degree in Nutritional Science, she naively believed the medical route was the only way to help. Luckily, she read “Design for Good” by John Cary in one of her academic classes. This book shaped the trajectory of her life. Cary writes, “Design Dignifies. [Design] exists not for itself but for those whom it serves. It honors its users—who they are, where they are coming from, what they want to achieve. It proves that their preferences are important and that their voices have been heard” (11). She knew after reading this book, her love for design could be a career. As an Interior designer, she wants to be an advocate for individuals. Her goal in the design community is to create environments for people to feel empowered and inspired to live up to their potential. Through her education, she has become equipped to know the Americans with Disabilities Act (ADA), the meaning of Universal Design, the impact design selections have on the body, and more. She seeks to be a part of a firm that values people by striving to create an environment for everyone regardless of age, gender, size, or ability.
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We are in the design business, but more importantly, we are in the people business, and when you recognize that people are at the center you are going to be successful.”
-Entry 8.10
Queeny: Defined an Era
Queeny is a fabric line designed as a tribute to Ashtyn's grandmother Maccine. A woman who is personally a dear queen, mother, and grandmother to her family. She is a woman whom we all admire for her great example of love, wisdom, kindness, and iconic style.
Reign Fabric: In 2022 the Queen celebrated her 96th birthday at the Trooping of Colour event. Her ornate wardrobe consisted of a pale blue coat dress trimmed with a variety of jewel patterns. In abstracting this wardrobe I formed a seven-jewel pattern and layered them on a pale blue backdrop signifying the seven-decade reign as Queen and layering wealth of devotion to her people.
Verdant Fabric: “When I was 21, I pledged my life to the service of our people and I asked for God’s help to make good that vow. Although that vow was made in my salad days, when I was green in judgment, I do not regret, or retract, one word of it”. The queen’s humor is meant to read through the two contrasting hues of green as well as portray her monochromatic style. The detail shown is a combination of sketches from two important veils in the queen’s life, her wedding in 1947 and her coronation in 1953.
Rose Fabric: Flowers symbolize proximity, a feeling many had toward the Queen. They are given during all phases of life; grief, sorrow, joy, new beginnings, and celebrations. The consistency of flowers pays homage to her consistent presence of peace and unity in elevating the cause of liberty.
Monarch Fabric: When the queen passed individuals of the commonwealth were given the chance to say their goodbyes. Thousands waited for 8 to 10 even 24 hours to say one last goodbye. The queue consisted of individuals from different races, countries, ages, and disabilities. It noticeably marked the inclusive monarch she had been and will always be. This pattern entitled Monarch symbolizes a fluttering heart indicating her great power and example of love and grace.
Lilibet Fabric: Lilibet (the Queen’s childhood nickname) articulates Elizabeth’s coming of age. At the age of 25, she began her reign, and through her 71 years, she quickly lost her childhood innocence but led with great wisdom and devotion till the day she died. It is also meant to playfully display the many hats she wore as queen.
Reign Fabric: In 2022 the Queen celebrated her 96th birthday at the Trooping of Colour event. Her ornate wardrobe consisted of a pale blue coat dress trimmed with a variety of jewel patterns. In abstracting this wardrobe I formed a seven-jewel pattern and layered them on a pale blue backdrop signifying the seven-decade reign as Queen and layering wealth of devotion to her people.
Verdant Fabric: “When I was 21, I pledged my life to the service of our people and I asked for God’s help to make good that vow. Although that vow was made in my salad days, when I was green in judgment, I do not regret, or retract, one word of it”. The queen’s humor is meant to read through the two contrasting hues of green as well as portray her monochromatic style. The detail shown is a combination of sketches from two important veils in the queen’s life, her wedding in 1947 and her coronation in 1953.
Rose Fabric: Flowers symbolize proximity, a feeling many had toward the Queen. They are given during all phases of life; grief, sorrow, joy, new beginnings, and celebrations. The consistency of flowers pays homage to her consistent presence of peace and unity in elevating the cause of liberty.
Monarch Fabric: When the queen passed individuals of the commonwealth were given the chance to say their goodbyes. Thousands waited for 8 to 10 even 24 hours to say one last goodbye. The queue consisted of individuals from different races, countries, ages, and disabilities. It noticeably marked the inclusive monarch she had been and will always be. This pattern entitled Monarch symbolizes a fluttering heart indicating her great power and example of love and grace.
Lilibet Fabric: Lilibet (the Queen’s childhood nickname) articulates Elizabeth’s coming of age. At the age of 25, she began her reign, and through her 71 years, she quickly lost her childhood innocence but led with great wisdom and devotion till the day she died. It is also meant to playfully display the many hats she wore as queen.
NO. 2
The fashion industry is constantly changing, however, “what goes around comes around”. This is the motto for No.2. It is designed with the purpose of creating a high-end thrift store.
Considering the industry, the floor plan was designed to feel and look like a runway. The perimeter walls contain display cases for unique pieces of clothing, shoes, and accessories. Whereas the center contains a 33-foot table supporting mannequins dressed with the finest apparel.
As a shopper, you will take your items backstage behind the focal drape to the cash wrap, seating area, and changing rooms. This experience is intended to make shoppers feel as if they themselves are models walking backstage. The design of the space was focused on accommodating all types of shoppers, the wandering shopaholic or the patron needing to be in and out within 5 minutes. The cash wrap and seating area in the middle of the space break up the shopper’s journey allowing for a quick exit or rest.
The interior architecture and design of the space were equally considered when designing the floor plan. Ceiling heights play an important role in a shopper’s journey. When you enter No.2. the ceiling area is 8 feet and quickly transitions to a shopping space highlighted by a 26-foot ceiling. This transition of ceiling heights occurs throughout the retail space. This shift in height subtly separates rooms as well as glides eyes throughout the room allowing no detail to be forgotten.
Textures, tones, glosses, moldings, and material selections were all chosen to artfully highlight the unique merchandise ready for purchase.
Considering the industry, the floor plan was designed to feel and look like a runway. The perimeter walls contain display cases for unique pieces of clothing, shoes, and accessories. Whereas the center contains a 33-foot table supporting mannequins dressed with the finest apparel.
As a shopper, you will take your items backstage behind the focal drape to the cash wrap, seating area, and changing rooms. This experience is intended to make shoppers feel as if they themselves are models walking backstage. The design of the space was focused on accommodating all types of shoppers, the wandering shopaholic or the patron needing to be in and out within 5 minutes. The cash wrap and seating area in the middle of the space break up the shopper’s journey allowing for a quick exit or rest.
The interior architecture and design of the space were equally considered when designing the floor plan. Ceiling heights play an important role in a shopper’s journey. When you enter No.2. the ceiling area is 8 feet and quickly transitions to a shopping space highlighted by a 26-foot ceiling. This transition of ceiling heights occurs throughout the retail space. This shift in height subtly separates rooms as well as glides eyes throughout the room allowing no detail to be forgotten.
Textures, tones, glosses, moldings, and material selections were all chosen to artfully highlight the unique merchandise ready for purchase.
LONDON FLAT
Ezzy and Jack Jones had a dream of having a second home closer to their daughter's University. A Flat in the Craven Hill Gardens was purchased as soon as they found this wonderful location in downtown London. They loved the character of the building, however, it needed a desperate remodel. They wished to transform the flat to fit more of their needs. These needs included an entertaining room with a large kitchen, a more elegant principal bath, and lastly a private office. Through client discussions, it was determined that only two bedrooms were needed, one Principal suite and a Guest room.
The Joneses' Principal bedroom was designed to feel like their own private suite. A hallway leads them to their spacious room. The bed was positioned to allow them to wake up and see the beautiful view out of their windows. The Cravens Flat was purchased as a place to relax. Reading is one of their favorite hobbies so the room was also designed to include a small corner library and a lounge chaise.
The existing Principal bath was far from luxurious, nor was it functional for two. Double vanities and a separate tub and shower were essential for the Jones. In conversation, Ezzy emphasized her love for taking long baths. A beautiful tub sits at the end of the symmetrical vanities for her. The symmetry of the vanities draws one's eye to the back room where the tub lies. The tub itself is enclosed by walls which are covered by a beautiful wall covering. Lastly, a large mirror was placed to allow the space overall to feel larger.
English Kitchen design is often open and airy. They prefer minimal decoration and noble materials like wood and natural stone to add texture to the space. The Jones felt the current kitchen was too cramped and closed off in the corner of the flat. By moving the kitchen into the living room and creating a U-shaped design both the kitchen and living room are able to breathe well together.
The Joneses' Principal bedroom was designed to feel like their own private suite. A hallway leads them to their spacious room. The bed was positioned to allow them to wake up and see the beautiful view out of their windows. The Cravens Flat was purchased as a place to relax. Reading is one of their favorite hobbies so the room was also designed to include a small corner library and a lounge chaise.
The existing Principal bath was far from luxurious, nor was it functional for two. Double vanities and a separate tub and shower were essential for the Jones. In conversation, Ezzy emphasized her love for taking long baths. A beautiful tub sits at the end of the symmetrical vanities for her. The symmetry of the vanities draws one's eye to the back room where the tub lies. The tub itself is enclosed by walls which are covered by a beautiful wall covering. Lastly, a large mirror was placed to allow the space overall to feel larger.
English Kitchen design is often open and airy. They prefer minimal decoration and noble materials like wood and natural stone to add texture to the space. The Jones felt the current kitchen was too cramped and closed off in the corner of the flat. By moving the kitchen into the living room and creating a U-shaped design both the kitchen and living room are able to breathe well together.