Portfolio 2019

DESIGN PORTFOLIO

CC

1

2019

Clemency Cartwright

Clemency Cartwright DESIGNER

DESIGN PORTFOLIO

2

New York, NY

Phone _ +1 917 515 4445 Email _ clemency.cartwright@gmail.com Web _ clemencycartwright.com

EDUCATION

EXPERIENCE

PARSONS SCHOOL OF DESIGN | 2017-2019

MATTER PRACTICE | FABRICATOR | SUMMER 2018

Master of Fiwne Arts in Interior Design

Pre-fabrication at MATTER practice in the Navy Yard, designers of the

CLEMENCY CART WRIGHT

Intro

Cooper Hewitt’s Face Values installation in the US Pavilion for the 2018

AWARDS

London Design Biennale.

Provost Scholarship 2017-2019 PARSONS SCHOOL OF DESIGN | DESIGN ASSISTANT | SUMMER 2018

Fall 2017 Research Grant

Research and fabrication for the Disaster Preparedness Exhibition, a design intensive, in collaboration with Hirokazu Nagata, creator of the

UNIVERSITY OF LEEDS | 2011-2014

Earth Manual Project exhibit, the Japan Foundation and Zolberg Center.

Bachelor of Arts in History of Art PARSONS SCHOOL OF DESIGN | TEACHING ASSISTANT | FALL 2018

First Class Degree 1:1

Teaching assistant for the MFA interior design survey class in architectural history and theories of the interior.

SOFT WARE Adobe Creative Suite

VectorWorks

BDP | COMMUNICATIONS COORDINATOR | 2016-2017 | LONDON I managed internal and external communications including reporting on latest news across all of the global studios’ professions including architecture, interior design, lighting design and acoustics.

AutoCAD

SketchUp

ECHO | BRAND STRATEGIST | 2015-2016 | LONDON Provided strategic direction for key agency brands including Unilever and

Revit

Rhinoceros

Philip Morris International. Facilitated brand positioning workshops and contributor of brand futures and trends journal Absolem ed. 2015 and 2016.

3

DESIGN PORTFOLIO

4

MATTER Practice for Cooper Hewitt London Design Biennale 2018 DESCRIPTION Research and pre-fabrication for MATTER practice, the designers of Face Values, an immersive

PROFESSIONAL WORK

01. FACE VALUES

installation that explores the pervasive but often hidden role of facial-detection technology. The exhibition, curated by Ellen Lupton, senior curator at Cooper Hewitt, features original work by designers R. Luke DuBois and Zachary Lieberman, and displayed within a digital environment designed by MATTER architectural practice codirected by Sandra Wheeler and Alfred Zollinger.

The installation was awarded the London Design Biennale 2018 Emotional States Medal for the most inspiring interpretation of the 2018 theme.

5

01. FACE VALUES MATTER Practice for Cooper Hewitt London Design Biennale 2018 DESCRIPTION The design takes its form from nature with the interactive digital installations appearing underneath a canopy of abstract synthetic reeds made up of fibreglass rods of varying lengths and dyed foam paint rollers. The ’stereocilia’ appears to grow through the aluminiumframe fiberglass structure supported by custom-made steel base plates.

A collaborative effort with Parsons alumni: Sean Barbe BFA Arch 15 Del Hoyle MFA ID 17 Ryan Logan BFA Product Design18

DESIGN PORTFOLIO

6

PROFESSIONAL WORK

7

02. DISASTER PREPAREDNESS Parsons School of Design Aronson Gallery Fall 2018

DESCRIPTION A three-week exhibition showcasing work from a week-long intensive taken by all students in the School of Constructed Environments. The exhibition, in its second year, is a collaboration between Parsons and Hirokazu Nagata, creator of the Earth Manual Project exhibit, the Japan Foundation and Zolberg Center.

8

FRONT ELEVATION

During (and subsequent to) the intensive, students developed design solutions architecture, interior design, lighting design, and product design - for surviving natural disasters.

The students utilised case studies by the Zolberg Institute on Migration and Mobility at The New School for Social Research, on Hurricane Sandy, the 1977 and 2003 blackouts in New York, and the 9/11terrorist attacks.

DESIGN PORTFOLIO

The first design proposal took cues from the existing hexagonal floor tiles of the gallery: the hexagon being a signifier of alert. This shape would become the overarching form for display tables and information panels.

PLAN

PROFESSIONAL WORK

9

02.DISASTER PREPAREDNESS Parsons School of Design Aronson Gallery Fall 2018 DESCRIPTION The exhibit targets NYC-related disaster preparedness scenarios that include infrastructure (blackouts), human-induced disaster (9/11), and climate change.

The external gallery hallway started blank for the first week and became activated during the second week’s intensive as it became filled with the 2nd annual intensive work produced.

DESIGN PORTFOLIO

10

N ELEVATION GALLERY

PROFESSIONAL WORK

11

02.DISASTER PREPAREDNESS Parsons School of Design Aronson Gallery Fall 2018 DESCRIPTION The signage continued the theme of emergency using neon coloured labels on the window display at street-level as well as for a forum-style conversation on Dibond panels mounted on the wall. Students and visitors to the gallery were invited to print their responses on a label printer and populate the panels with their solutions to the different scenarios posed.

For the final installation, we went with a pop-up

12

design of custom built oak wood and steel frame in neon yellow.

LABELS FOR CAPTIONS

Option for captions to be printed on labels using portable Epson Label Printer that can either link to com text or to mobile via bluetooth. Labels vary in size and color.

DESIGN PORTFOLIO

Examples:

Portable Label Printe

PROFESSIONAL WORK

13

DESIGN PORTFOLIO

14

Parsons School of Design Fall : 2017 DESCRIPTION

ACADEMIC WORK

01. FLOWER SHOP

When given the task of repurposing a 850 sq ft record store on Bleecker Street into a flower shop, I looked to its direct neighbour; a funeral home.

While flowers are, undoubtedly, very beautiful when alive, there is something poetic and comforting about extending their life through preservation.

Historically, flowers were presented in funeral ceremonies, so it seemed right in the given context for this flower shop to be one that sold dried flowers.

The design took its form from the Cabinets of Curiosities, or wunderkammers, of the 16th century. One of the defining features of these cabinets was their collection of objects suspended ebtween art and nature, living and dead.

15

01. FLOWER SHOP Parsons School of Design Fall : 2017 DESCRIPTION The room upon entrance is a micro-museum of flora and fauna and the reclaimed wood cabinets, on either side, describe the entire experience as opposed to a piece of furniture.

The space opens up into a bright event-space with an open terrarium as the centerpiece. The skylight is restored in its original position and floor-to-ceiling glass double doors were put in to provide access to the rose garden at the back.

16

Highly reflective surfaces contrast to the dark processional corridor of wood that preceded.

Glowing iridescent green inside the glass bulb, the terrarium is a seed of life for new plants and a second life for old representing the cyclical

DESIGN PORTFOLIO

nature of life and death.

ACADEMIC WORK

17

02. FISH TANK Parsons School of Design Fall : 2017 Collaboration with: Adrienne Kramer, Suji Lee, Sourabh Gupta DESCRIPTION A site-specific installation that totalled ten minutes including de-installing. The idea was to create a rippling effect of shimmering light on glass as if underwater, inspired by Poetic Cosmos of the Breath by Tomas Saraceno (pictured right).

This was achieved by sewing a curtain of sheer

18

polyester fabric at varying heights onto a replica of the ceiling’s grid. We installed by attaching magnets sewn into the curtain to the magnets installed on the ceiling and invited people to move through the space, pulling at strings to let each piece of fabric flow at different times

DESIGN PORTFOLIO

moving with the change of light.

ACADEMIC WORK

19

03. COMPOUND SURFACES Parsons School of Design Fall : 2017 DESCRIPTION Experiment in modeling compound surfaces from 2D geometric patterns.

Beginning with a composite tiled drawing of the Gustavino vaults of the Manhattan Municipal building and translating it on paper as a continuous surface, I constructed a volume as a continuity of inter-related parts.

DESIGN PORTFOLIO

20

ACADEMIC WORK

21

04. ‘A ROOM OF ONE’S OWN’ Parsons School of Design Spring : 2018 DESCRIPTION The looking-glass is common to Woolf’s work as in my own, in particular, the exhibitionist nature of staging our interiors not for ourselves but because we know we can be seen.

Her exploration of it in her Lady in the Looking-

Glass prose questions whether the self is constant and knowable, or fragmented and unstable ; whether the self is merged with other people, and constructed from interactions within the

22

world; there is no fixed self-image. The self is not constant - it is fragmented.

The design for my room is based on a Joni Mitchell song A Case of You in which she proposes living in a box of paints - my room is an adaptable assemblage of coloured paint and glass mirrorings to create an interior as seen by the self through the seasons, through the years, through the decades. My room adapts with these

DESIGN PORTFOLIO

changing states allowing the self to be fun and free.

ACADEMIC WORK

23

DESIGN PORTFOLIO

24

Parsons School of Design Spring : 2018

ACADEMIC WORK

05. CIT Y OF PLAY

DESCRIPTION This design-research studio explored new play space typologies in today’s urban context seeking to re-evaluate the social value and critical role of play spaces within the realm of the urban interior.

The studio collecgively reimagined a “City of Play’ to create a new vision of a distributed network of public interior spaces across the city.

(Pictured left: Reimagined City of Play as a collective of student work).

25

05. INSIDE THE LANDING Parsons School of Design Spring : 2018 DESCRIPTION Through the process of drifting and a critical observation of the city, I looked to youth culture, subcultural identity and the politics of space in cities today.

A skater experiences space as intensely and consciously as an architect. They are animated and receptive to the possibility of space, not in its totality, as an architect would be, but as a collection of tactile surfaces to be jumped on,

DESIGN PORTFOLIO

26

grinded, and conquered.

ACADEMIC WORK

27

DESIGN PORTFOLIO

28

ACADEMIC WORK

05.INSIDE THE LANDING Spring : 2018

DESCRIPTION I chose the prototypical site of a landing which occurs where a bridge meets land and gradually merges with the existing grade of an area.

They are frequently massive in scale, as well as dark and confining.

These undervalued and vacant corridors beneath elevated rails can create intimate micro-environments across the city reinforcing a sense of ownership for otherwise segregated subcultures. The oftenperceived anti-social behaviour of skateboarding would be welcome here beneath the thundering subway sounds intermittently passing overhead.

29

I used the archway under Manhattan Bridge in Brooklyn as a test site for this typology. The existing steel rails in the cobbled streets surrounding the archway become a mediator between the existing typology and the grind rails on the undulating new streetscape. The scale of the site allows for multiple circulatory programs to take place simultaneously and the arch provides shelter from the elements yearround so activity is not limited to the warmer months.

COLLAGED RHINO RENDERING

MATERIAL PALETTE

DESIGN PORTFOLIO

30

3D PRINTED DETAIL MODEL

Spring : 2018

DESCRIPTION

ACADEMIC WORK

05.INSIDE THE LANDING

RichLite was used for the ground surface, a durable and highly sustainable material made from resin-infused paper. Dense and durable, yet easily tooled, it is becoming more widely used as a healthy material that has a warmer texture over concrete. A wide range of colors are available (pictured left) so each site across the city can have a unique brand identity.

Long linear strips of warm light were used on the elevated pathway, creating a dramatic cathedral-like space and pendant lights running the length of the archway help bring down the scale and create a more intimate environment.

31

06. THE CAPILLARY Parsons School of Design Fall : 2018 Collaboration with: Marie Nicol, Adrienne Kramer

DESCRIPTION This studio was an adaptive re-use project restoring life into a historic building with a landmarked exterior. Building 400, also known as Liggett Hall on Governor’s Island, has been sitting empty ever since it was decommissioned by the Coast Guard in 1995. The island, a mere 800 yards from lower Manhattan, is only accessibly via ferry

32

and almost worlds removed from the bustle of the city.

To be on the island is to be detached. The intensity of urban life is reconciled through opportunities for solitude and reflection. Our mission is to educate, engage and heal through food and agriculture with the end goal of making Governor’s Island completely self-sufficient in the growing, harvesting, consuming and disposing of

DESIGN PORTFOLIO

food.

ACADEMIC WORK

33

06. THE CAPILLARY Parsons School of Design Fall : 2018 DESCRIPTION Capillary action is the guiding principle for our design intervention. Water and nutrients are gathered from the earth, absorbed through the arteriole structure and drawn up through the heart of the building culminating in an indoor aquaponics farm.

Most of the public programming takes place on the ground floor where we opened up the outer wall of the loggia to invite day visitors in from the

34

farm. Public events are carved out of the poche, the capillary of the building, including the main restaurant, bar and lobby. Local vendors inhabit

DESIGN PORTFOLIO

the arteriole space.

ACADEMIC WORK

35

06. THE CAPILLARY Parsons School of Design Fall : 2018 DESCRIPTION Apprentices live on site in a total of 32 double height townhouses on the east and west wings of the hotel. The third floor is the private domain for guestrooms including: 28 standard rooms, 12 junior suites, 16 standard rooms with a balcony and 8 farm view suites.

DESIGN PORTFOLIO

36

28 STANDARD ROOMS

12 JUNIOR SUITES

QUEEN

6 KING 6 DOUBLE QUEEN

ACADEMIC WORK

GUEST ROOM T YPES

37 16 STANDARD BALCONY QUEEN

8 FARM VIEW SUITES 4 KING 4 DOUBLE QUEEN

DESIGN PORTFOLIO

38

Parsons School of Design Spring : 2018 DESCRIPTION

ACADEMIC WORK

06: THE CAPILLARY

On the fourth floor is the indoor aquaponics farm, demo stage and seated steps with internal storage beneath. And a bar and seating on mezzanine level.

39

DESIGN PORTFOLIO

40

Parsons School of Design Spring : 2018 DESCRIPTION

ACADEMIC WORK

06: THE CAPILLARY

The interior of the hotel is minimal but texturally rich retaining the original brick wherever possible. The muted tones of lime and venetian plaster as well as furniture upholstered in linen is offset by vibrant bursts of greenery climbing up from the roots of the hotel to the upper level farm where greenery is abundant. Artwork and ceramics made in the workshops on site are displayed across the hotel.

41

07. LOOKING-GLASS HOUSE Parsons School of Design Spring Thesis : 2019 DESCRIPTION The Looking-Glass House imagines a house museum that frames the private interiors of neighboring properties. While the speculative fantasies proposed by this typology may be unsettling, we might consider the ways in which the built environment is already actively framing our most private intimacies. For instance, the window, ideated as a viewing machine, and now perhaps one of the most ubiquitous looking devices, is able to transmit images and data

42

from the home to the outside world which, in turn, can be captured on our countless screens monitoring endless invisible flows. Even the most well-furnished of windows can be permeated via different media; Zillow being one example.

At once, the seemingly private domain becomes

DESIGN PORTFOLIO

distinctly un-private.

ACADEMIC WORK

43

07. LOOKING-GLASS HOUSE Parsons School of Design Spring Thesis : 2019

DESCRIPTION This condition of display begs the question of presentation: do we stage our interiors not for ourselves but for our audience; our guests, our voyeurs, our realtors? Is the interior the stage in which we might become objects ourselves?

DESIGN PORTFOLIO

44

ACADEMIC WORK

45

07. LOOKING-GLASS HOUSE Parsons School of Design Spring Thesis : 2019 DESCRIPTION The periscope is a portal to transport us away from ourselves in order to encourage interaction with others. It functions as the extension of a corridor outside of the house to communicate with neighbouring houses. It is capable of both framing and containing an interior in which human connections can flourish. By reproducing images of interiors on layered screens via this viewing apparatus, glass assumes the role of a representational surface, a screen on which the

46

interior, in its transition from a 2-dimensional to 3-dimensional object, becomes performative.

Looking Glass House, an inhabitable viewing machine, holds the potential to be framed as both interior space and found object via different systems of looking. Starting with the window and layering over it a series of display screens ranging in scale, transparency and reflectivity, this new typology gives new meaning and frame

DESIGN PORTFOLIO

of reference to familiar places and conditions, an unsettling assemblage of isolated and disjunct mirrorings of the interior milieu as seen by the Self and the Other.

ACADEMIC WORK

47

FINAL EXHIBITION OPENING MAY 2019

DESIGN PORTFOLIO

48

A periscope attached to an iPad was built into the back of the display panel. The idea was to recreate a domestic interior setting and invite people in to watch neighbouring interiors projected as media, alluding to the technological space depicted by the screen as another kind of architectural window.

ACADEMIC WORK

49

DESIGN PORTFOLIO

50

3D PRINTED RESIN

GLASS BOTTLE SLUMPING

EXPLORATION AND PROCESS

51

3D PRINTED RESIN

ANALOG WOODWORK

DESIGN PORTFOLIO

52

CNC MILLED FOAMCORE

CHIPBOARD WATER CONTAINER

EXPLORATION AND PROCESS

53

CNC MILLED MDF

CNC MILLED MDF PAINTED

DESIGN PORTFOLIO

CLEMENCY CART WRIGHT

CC

Clemency Cartwright

Phone _ +1 917 515 4445

New York, NY

Email _ clemency.cartwright@gmail.com Web _ clemencycartwright.com