Kait Cartmell
SCI-ARC
|
M. ARCH II
|
2020-2021
INFORMATION LOCATION
LOS ANGELES, CALIFORNIA, USA
KAITCARTMELL@GMAIL.COM
INSTAGRAM @KAITCARTMELL
Kait C ar tmel l SCI-ARC
|
M. ARCH II
|
2020-2021
INFORMATION LOCATION
LOS ANGELES, CALIFORNIA, USA
KAITCARTMELL@GMAIL.COM
INSTAGRAM @KAITCARTMELL
STATEMENT
Kait Cartmell is a designer based in Los Angeles, CA where she is currently pursuing her Masters of Architecture at The Southern California Institute of Architecture. During her undergraduate studies, Kait received the Tao Sigma Delta Bronze Metal Nomination and NCAA Scholar Athlete Award. After receiving her Bachelors in Architecture with a minor in graphic design, she worked as a graphic designer for Anthropologie/Terrain and Urban Outfitters. Her career as a designer flourished into a successful freelancing business, where she worked while traveling the States in a self-renovated Airstream. Kait’s architectural work is grounded in the belief that design decisions influence habitual change. Her work explores the designer’s roll in how a user experiences space while integrating new methods of production.
TABLE OF CONTENTS
FALL 2021
SPRING 2021
FALL 2020
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SACRED PLACE
C O M P O S I T E C R E AT U R E
V A U LT F O R M
Vertical - Ruy
2GBX
2GAX
Exp loring the dichot o m y o f t he s cared an d p rofane.
Cr e a t ur e s o f a l l k i n d s c a n be g in t o c r e a t e g e n e r a t i o n s o f int e r la c e d t r a i l s.
L i n k i n g p a r t s r e p r e se n t t h e powers of community within a curriculum.
A N A RT I FA C T O F T E A K
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H T2 55 2
ARRANGEMENTS
PIT STOP
Map pin g th e life cyc le o f t e a k from th e S alk Institut e .
VS 4201
VS 4200
Co m po si t i o n a l r i t u a l s o f o r g a n i c a nd inor g a n i c m a t t e r.
E xp l o r i n g m i xi n g 2 D a n d 3 D, f a st a n d sl o w, d a r k a n d l i g h t.
STEAM ODYSSEY
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P. 2 1 6
A S 258 2
A CHAIR IS A CHAIR
M AT E R I A L & T E C T O N I C S
U t ilizin g Hololens a nd Unit y t o s team bend a b en c h.
AS 2582
AS 3200
Ut iliz ing H o l o l e n s t o b u i l d a c e r a m i c c h a i r.
C u r t a i n w a l l syst e m s and integration.
P H Y G I TA L M AT E R I A L I T Y
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HISTORY & THEORY
COMPANION SPECIES
Exp loring the brid g e be t we e n the p hysical and di g it a l.
HT 220 1
HT 2200
A Cy bo r g ’s P o st - A n t h r o p o c e n e
U si n g D o n n a H a r a w a y’s vo c a b u l a r y t o d e sc r i b e m y m u l t i - sp e c i e s m u d d l e .
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P. 80 DESIGN DEVELOPMENT
A S 322 2 Techn ical developm e nt o f a complicated b uild ing s y s t e m .
S acred P l ac e COURSE INSTRUCTOR
Vertical 3GBX David Ruy, Timothy Morton, Caleb Roberts (AT)
TOOLS USED
C4D, Houdini, Rhino, After Effects
Sacred Place is a short animation that explores the dichotomy of the sacred and profane. Taking visual inspiration from traditional Japanese paintings, it asks the questions: What makes somethings sacred and how would different perspectives change this? Is it human intervention that takes the profane and makes it sacred?
VIDEO LINK
The project is set up by the course description: The ambition of this studio is to construct new forms of intimacy with the non-human realm. Instead of segregating the non-human realm into modest preserves and nostalgic representations of nature from the Romantic period, we will seek to cultivate new perceptions and new aesthetic categories.
SACRED PLACE
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FPO: PLAN
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This project started as a practice of caring for three digital ‘bonsai’. A caretaker’s relationship with their bonsai sits in a world of tension that points to an uneasy coexhistence. Two entities reliant on each other but could destroy each other in an instant. An artist and their art.
SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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The evolution of this project ended in an animation that puts the bonsai’s ecosystems under display.
SACRED PLACE
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There are different ways of seeing We are watching many things at once and we see more than we think.
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SACRED PLACE
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There’s stillness in the distance. When we get closer, we see movement where there once was none.
SACRED PLACE
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Sliding through a crack in the foundation reveals another world beneath. Living things always move and our eyes move to follow.
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SACRED PLACE
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Surprised by what we’re looking at, we try to make sense of what is here. We bite our tongues as we find the words to say, breaking teeth. Finally, we put our discoveries on display.
SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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SACRED PLACE
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FPO: PLAN
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An Artif act o f Teak COURSE INSTRUCTOR PARTNER
HT 2552 Kiel Moe Camille Thai
TOOLS USED
C4D, Illustrator, Rhino, After Effects
The task of the seminar was to create a nonlinear perspective drawing that maps an existing building and all of its worldsystems relation. An Artifact of Teak maps the teak used at the Salk Institute. From the soil makeup to extraction to production
to construction to errosion and finally to restoration, All steps in the process are merged into one animation. The processes move and merge around each other while windows display detailed moments in time.
VIDEO LINK
A N A R T I FA C T O F T E A K
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FPO: PLAN
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A N A R T I FA C T O F T E A K
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FPO: PLAN
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A N A R T I FA C T O F T E A K
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A N A R T I FA C T O F T E A K
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A N A R T I FA C T O F T E A K
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A N A R T I FA C T O F T E A K
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S tea m Odys sey COURSE INSTRUCTOR TOOLS USED
AS 2582 Soomeen Hahm Hololens, Rhino, Grasshopper, Unity,
Steam Bending, Fologram
This seminar was focused around building an Augmented Reality fabrication setup. Specifically, we learned how to build steam bent hard wood structures inheriting from SteamPunk pavilion and Steam Odyssey installation project. Hololens was used as the main AR device, Unity was used to develop
custom applications and Rhino and Fologram were used to explore early stage fabrication exploration. The design of this project was focused around how a simple curve can be turned into a functional furniture piece.
VIDEO LINK
STEAM ODYSSEY
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FPO: PLAN
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STEAM ODYSSEY
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The app allows the user to draw a simple curve, which is translated into a furniture piece. It then walks the user through the building process for an at-home assembly.
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STEAM ODYSSEY
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The assembly for the prototype was done using Hololens and a Fologram interface to guide the bending process.
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STEAM ODYSSEY
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Twelve-foot boards were bent one-by-one, using the previous board as a guide. Clamps were used to hold the boards in place and onto the formwork.
The boards were finally attached to each other with a series of bolts.
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STEAM ODYSSEY
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Phygi ta l Mater i ali t y COURSE INSTRUCTOR PARTNERS
AS 2768 Peter Testa Camille Thai, Austin Lightle, Lilith Ren, Cole Masuno
TOOLS USED
C4D, Redshift, Rhino
The seminar looks at the idea of a phygital materiality – bridging the digital and analog – with a focus on textiles and composites. It poses the question: What role can materiality have in architecture, the arts and visual technology, as well as
in cultural theory and philosophy? Using digital knitting techniques, we designed a knitwear collection that is stitched between the physical and digital worlds. Ob_cession is a collection that explores the limits of the digital realm.
P H Y G I T A L M AT E R I A L I T Y
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P H Y G I T A L M AT E R I A L I T Y
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A main scene is set up that exist in the real physical world. Actors and real objects are 3D scanned using stop motion cameras that can recycle the tangible pieces into the intangible digital space to build a scene. Through this we created an altered digital environment that is a collage of the present and past through the use physical and digital assets.
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P H Y G I T A L M AT E R I A L I T Y
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In the digital version of these scenes, the platforms come to life. Swatches, fossils, and plants are stitched together to make a phygital reality.
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P H Y G I T A L M AT E R I A L I T Y
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P H Y G I T A L M AT E R I A L I T Y
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Digital swatches were created and then sewn together onto 3D scanned mannequins.
P H Y G I T A L M AT E R I A L I T Y
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P H Y G I T A L M AT E R I A L I T Y
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D es i gn D evelo pme n t COURSE INSTRUCTOR PARTNERS TOOLS USED
VIDEO LINK
AS 3222 Herwig Baumgartner, Zach Burns Camille Thai, Austin Lightle, Qihang Fang, Lilith Ren, Jure Zibret, Yuze Han, Kangxin Wu, Kate Gesing, Poppy Yang Rhino, C4D, After Effects, Grasshopper
DESIGN DEVELOPMENT
KAIT CARTMELL
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DESIGN DEVELOPMENT
M A I N S T R U C T U R A L L AY E R S
MAIN STRUCTURAL ELEMENTS
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DESIGN DEVELOPMENT
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TRUSS TO FLOOR CONNECTION
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DESIGN DEVELOPMENT
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ENVELOPE STRUCTURE
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DESIGN DEVELOPMENT
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F R P PA N E L S Y S T E M L O W E - C O AT E D G L A S S
A L U M I N U M PA N E L S Y S T E M
D E TA I L E D C H U N K 1
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CARBON FIBER SYSTEM
G L A S S C U RTA I N WA L L
DESIGN DEVELOPMENT
KAIT CARTMELL
F R P PA N E L S Y S T E M A L U M I N U M PA N E L S Y S T E M S O L A R PA N E L S Y S T E M
STEEL STRUCTURE SYSTEM
D E TA I L E D C H U N K 2
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WELDED STEEL CONNECTION
REINFORCED CONCRETE CORE
POURED CONCRETE FLOOR
DESIGN DEVELOPMENT
KAIT CARTMELL
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18” HSS PRIMARY WELDED ON SITE
NODE CONNECTION W I T H P L AT E AT T A C
T- S E C T I O N S E C O N D MULLION
B A C K FA C E M U L L I O WITH CLICK CONNE
3/8” DOUBLE GLAZ L O W E - C O AT E D
WA L K WAY C O N N E C T
I N S U L AT E D A L U M I N
PA N E L WA L L S Y S T E M
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STRUCTURE
N H M E N T S F O R T- S E C T I O N S F R P PA N E L C O N N E C T I O N P L AT E
DARY STRUCTURE
WA L K WAY F R P PA N E L
ON ECTION
ZING
T I O N P L AT E
N U M PA N E L S
F R P PA N E L C O N N E C T I O N
DESIGN DEVELOPMENT
KAIT CARTMELL
FRP CONSTRUCTION 1. 2. 3. 4. 5. 6. 7. 8.
CNC STYRENE FOAM STEEL CAPS EMBEDDED 5 - 6 L AY E R S O F R E S I N 2 L AY E R S O F F I B E R G L A S S S H E E T CORE FILLER 2 L AY E R S O F F I B E R G L A S S S H E E T 5 - 6 L AY E R S O F R E S I N E X C E S S R E S I N VA C U U M P R E S S E D O U T
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DESIGN DEVELOPMENT
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G R E E N WA L L D E TA I L
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DRIP SYSTEM
SOIL F E LT L I N I N G I R R I G AT I O N L I N E NODE CONNECTION TO PRIMARY 18” HSS PRIMARY STRUCTURE
F R P PA N E L PINNED CONNECTION TO F L AT M E T A L S U P P O R T
I R R I G AT I O N L I N E
NODE CONNECTION TO PRIMARY 18” HSS PRIMARY STRUCTURE
F R P PA N E L PINNED CONECTION T O F L AT M E T A L S U P P O RT
F E LT L I N I N G DRIP SYSTEM
DESIGN DEVELOPMENT
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FLOOR MOUNTED DISPLACEMENT DIFFUSER FLOOR BOX STEEL RISER CONCRETE SLAB
DROP CEILING I-BEAM WITH B O LT E D CONNECTION
D E TA I L B
D E TA I L A
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D E TA I L A
SEAM SEALANT 2 ” G A LV. S T E E L S T R I N G E R 2 M M A C O U S T I C A L PA D TOUNGE AND GROOVE C O N C R E T E PA N E L FLOOR FINISH
18” HOLLOW STEEL SECTION M E T A L T- F R A M E NODE CONNECTION
M E T A L T- F R A M E I N T E R I O R PA N E L CONNECTION I N S U L AT E D M E TA L PA N E L
D E TA I L B
DESIGN DEVELOPMENT
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C A R B O N F I B E R L AT T I C E S Y S T E M
ALUMINUM MULLION
S T E E L S P L I C E P L AT E W I T H S L O T T E D B O LT H O L E S
S E A L A N T I N S U L AT I O N S T E E L S P L I C E P L AT E W I T H S L O T T E D B O LT H O L E S
L AT T I C E C O M P O N E N T
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3/8” DOUBLE GLAZING
STEEL I-BEAM
ANCHOR
FA B R E E K A O R I S O K O R B T H E R M A L LY I S O L AT E D S T R U C T U R E
ALUMINUM MULLION
3/8” DOUBLE GLAZING
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DESIGN DEVELOPMENT
KAIT CARTMELL
CARBON FIBER COMPONENT
STEEL SPLICE WITH LOTTED E X P A N S I O N B O LT H O L E S S E A L A N T I N S U L AT I O N
FA B R E E K A O R I S O K O R B T H E R M A L LY I S O L AT E D S T R U C T U R E
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FA B R E E K A O R I S O K O R B T H E R M A L LY I S O L AT E D STRUCTURE
ARCHER
I-BEAM
DESIGN DEVELOPMENT
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C A R B O N F I B E R L AT T I C E SYSTEM CONSCRUCTION
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DESIGN DEVELOPMENT
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ANNUAL SOLAR EXPOSURE W I T H S H A D I N G PA N E L S
N E W FA C A D E S O L A R E X P O S U R E
S O L A R PA N E L D E TA I L JUNCTION BOX BONDING
CHARGE-COLLECTION
FRONT SIDE FILM
D I E L E C T R I C I N S U L AT I O N ENCAPSULANT F R A M E F R E E TA P E
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L O C AT I O N S F O R T H I N F I L M A D H E S I V E S O L A R PA N E L S
C o m po s i t e C re a ture COURSE INSTRUCTOR TOOLS USED
2GBX Ramiro Diaz Granados Rhino, Unreal Engine, Illustrator, Photoshop,
After Effects, Blender, Houdini
With the understanding that humans consider themselves as other or removed from nature, this studio focused on advancing a naturedesign paradigm through a call for the wild. “Nature” cannot possibly be understood without its rhetorical counterparts such as human, culture, and technology.
Our section approached the issue using the plastiglomerate as an example. Plastiglomerates are masses of plastic and organic matter that have been formed over time by the ocean. They represent a new form of nature that is a result of the human intervention.
VIDEO LINK
C O M P O S I T E C R E AT U R E
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FPO: PLAN
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Composite Creature is made up of disparate parts or species. It is an organism that aims to decentralize the human as Earth’s main actor. In the words of Donna Haraway, “humans are not in a separate compost pile.
C O M P O S I T E C R E AT U R E
KAIT CARTMELL
In response to a human-centered Anthropocene, this project looks to explore a new interaction with nature as one singular entangled network. Within the network, all species are dependent on each other and cohabit space equally.
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C O M P O S I T E C R E AT U R E
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The architecture becomes just as much a living and breathing organism as the species that inhabit it. The skin pulses with living bioluminescent organisms that run through tubes of organically grown matter. Plants inhabit and move along the same spaces as human visitors, creating smaller ecosystems of their own.
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C O M P O S I T E C R E AT U R E
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The terrain contours the flat site as an accumulation of disparate parts. The building mass is built up on the site in layers of discarded material, creating an organically stabilized compost pile. The edges of the mass are at some moments exposed to show it’s layers and other moments held in place by a retaining wall. Interior spaces are excavated from the earth. Classrooms and practice areas are nested and fused to the massing.
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C O M P O S I T E C R E AT U R E
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V A U LT F O R M
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The massing becomes a conglomerated compost pile that renders as a seemingly familiar landscape, but when sectioned the relational interactions between grid, fluid, and contour become apparent.
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Grids slide and shift into the site, retaining their structure and burrowing into others. Fluids drip and run through the grids to form irregular masses used as practice rooms, acoustical material, and gardens.
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Contours are embedded as layers in the terrain. These layers are hidden until excavated like bones and find their purpose as acoustical padding, balcony seating, and programmatic circulation.
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C O M P O S I T E C R E AT U R E
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In the main performance area, performers express their music to all organisms. The ceiling is a living and ever-changing ecosystem. The dripping structures house vegetation that regulates the acoustic atmosphere. In this space, all organisms perform to and for each other.
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Composite Creature is an architecture that aims to be multi-species oriented. It is infused and entangled with the earth. Species are allowed to inhabit the space that they are given. They live in a network that is about life lived along lines.
C O M P O S I T E C R E AT U R E
KAIT CARTMELL
C R E AT U R E S O F A L L K I N D S C A N B E G I N T O C R E AT E G E N E R AT I O N S OF INTERLACED TRAILS.
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A rra nge men ts COURSE INSTRUCTOR TOOLS USED
VS4201 Andrea Cadioli Unreal Engine, Zbrush, After Effects,
Maya, Photoshop
In french, the noun “arrangements” both defines the arrangement of objects and the agreement of parts. Spatial organizations and power structures collapse in a single instance, where one defines the other and vice versa.
spaces where organic and inorganic elements find ecological logics of distribution, symbiosis and hierarchies. Starting from the understanding that nature is created as a process of ceaseless morphogenic modulations, Arrangements explores the aesthetic of the event and of the ritual.
Arrangements focuses on the creation of Trans-Habitats: temporal and physical VIDEO LINK
ARRANGEMENTS
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FPO: PLAN
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ARRANGEMENTS
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For Midterm, the goal of the course was to become familiar with Unreal Engine by modeling a compositional object and integrating new animation methods.
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ARRANGEMENTS
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Utilizing modeling skills from the previous semester, we learned how to enhance our designs with the use of animation and real-time rendering.
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ARRANGEMENTS
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T H E F I N A L C O M P O S I T I O N WA S A C O N G L O M E R AT I O N O F B O T H O R G A N I C A N D I N O R G A N I C M AT T E R .
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ARRANGEMENTS
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ARRANGEMENTS
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FPO: PLAN
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A Ch a i r is a Ch a i r COURSE INSTRUCTORS PARTNERS TOOLS USED
AS2582 SCI-Arc (in progress) Herwig Baumgartner Garret Sutherlin Santo Peiyi Yao, Yu Shih, Lezi Li, SinChuen Cheng, Jordan Scheuermann, Hiroto Tanabe Rhino, Grasshopper, Hololens, Fologram, Ceramics, Photoshop, After Effects, Maya,
Arnold, Keyshot
This course is focused on creating a chair from multiple ceramic components while utilizing Hololens and Fologram in the
assembly and glazing process. The final result will be a full scale, functional chair.
VIDEO LINK
A CHAIR IS A CHAIR
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A CHAIR IS A CHAIR
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COMPONENTS
The ceramic chair is made up of 56 individual components. These components connect in four contunuous loops to form the overall chair design. A lot of attention was given to the design of the two components since they would need to create an interesting form while staying modular and simple enough to be molded.
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A CHAIR IS A CHAIR
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MILLING
Once semi-dry, plaster molds were formed on the CNC mill. This process guarenteed that the component shape would be precise and consistent.
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CASTING
Components were individually cast using clay slip. The molds were filled with slip and were left to sit for two hours. After this time, the excess slip was poured out. After resting for 3 more hours, the components could be removed from the mold. This process was repeated for all 56 components.
KAIT CARTMELL
KILN PLAN
Placements of all 56 elements in the kiln was planned to fit in 7 total firings. Placement in the kiln is important to the assembly timing and how pieces will be seen when fully assembled.
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A CHAIR IS A CHAIR
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ASSEMBLY
Fologram was used to create an interface that would work with Hololens. This system guided us in the assembly process. These images are taken through the view of the Hololens. BENDING
After molding and before bisque firing, some components needed to be bent at varying degrees. The Hololens worked as a guide in this process as it simulated the exact direction and distance to bend each piece.
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CONNECTION
Once all the pieces are glazed and fired, the Hololens will guide us through the assembly of the full chair. The placement of each piece is precise and the interface will allow us to switch through each grouping so that we know the exact placement.
A CHAIR IS A CHAIR
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BEFORE FINAL FIRING
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FINAL GLAZED COMPONENT
A CHAIR IS A CHAIR
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Hist o r y & Th eo r y COURSE
HT2201
INSTRUCTOR
John Cooper
This article is a Python script that writes into existence a digital assitant named Gaia. The focus of this article is to promote the Cyborg as a metaphor for how humans should interact and involve themselves with Nature. Gaia’s only funtion here is to inform about the Post-Anthropocene and she cannot perform any other funtion. The limit in Gaia’s funtionality is intentional as she is, after all, written and created by a human.
Cyborg described here isn’t just the literal one. Gaia is never clear about whether humans still exist in the Post-Anthropocene. She’s instructing humans to consider themselves as cyborgs to determine whether they will continue to exist.
Even though Gaia is alluded to be a cyborg from the future Post-Anthropocene, the
Typically, a Cyborg is associated with the enhancement of human’s physical abilities. In this article, the Cyborg decribes how humans should consider their new relationship with nature. Technology isn’t excluded, but it’s not the main focus.
A C Y B O R G ’ S P O S T- A N T H R O P O C E N E
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A C Y B O R G ’ S P O S T- A N T H R O P O C E N E
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Vau l t Fo rm COURSE INSTRUCTOR TOOLS USED
2GAX Marcelo Spina Rhino, Keyshot, Twinmotion, Photoshop,
After Effects, Maya, Arnold, Revit
This studio took a look at the changing role of the classroom amongst a pandemic and political and social unrest. Questioning the role of the classroom, we looked at alternative ways to engage with education and curriculum.
became blurred. This design focused on the aggregation of malleable surfaces and linked curves. The results of which come together as a village - a community of classrooms which produces an aggregate that is between an ambiguous landscape and a succession of varying vaulted roofs. Vault Form becomes a part of the community within it and around it. Through the variation of spaces, a rhythm of activities become the driver of its use.
Our studio section was focused on the concept of the fuzzy aggregate and creating a whole through the repetition of parts to the point that the line between them VIDEO LINK
V A U LT F O R M
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Using the ‘Powers of 10’ created by Ray and Charles Eames as a reference, the task of the studio was to create a movie that tracks the development of the project every ten feet, starting at the students desk and zooming out to the context of the city.
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The video presentation started close in on a puzzle sitting on a desk. An animation was created to show the parts linking together. The movement of linking was used as a metephor for the power of community and disparate parts coming together as one.
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The chair design continued to focus on linking parts. The chair is made up of three separate parts that link together to become something usable.
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When the full classroom comes into view, an animation shows the furniture moving into place. The classroom layout is intentionally simple and easily adaptable to encourage a fluid and community-based curriculum.
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CLASSROOMS ARE CLUSTERED INTO GROUPS A R O U N D A C E N T R A L G AT H E R I N G S PA C E A N D ARE LINKED TO AN OUTDOOR AREA.
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FPO: PLAN
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ROOFS AND GROUND PLANES LINK INTO E A C H O T H E R , C R E AT I N G B O T H L A R G E A N D I N T I M AT E G AT H E R I N G S PA C E S .
V A U LT F O R M
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The walls of the classrooms are mostly glass to encourage transparency and collaboration throughout the school. This transparency supports a curriculum focused on community and activity.
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P it S to p COURSE INSTRUCTOR TOOLS USED
VS4200 SCI-Arc Rachael McCall Maya, Arnold, ZBrush, Photoshop,
After Effects, Hand Sketching, Python
Pit Stop is an exploration of fast and slow movements. We’re always moving too fast and to take a rest allows us to see the complexity before us.
modeled in 3D. Custom textures that were developed by mixing and editing preexisting comic strips were wrapped around these 3D sketched forms. They were then flattened again with the use of halftone shaders. The result is a 2.5D world where both dimensions merge into one.
The process of this project was heavily focused on the play between 2D and 3D elements. Hand-sketched assets were then VIDEO LINK
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The video sequence is from a roadside perspective with a rushing of dark trees racing by the window. When a colorful opening in the trees is found, a pit stop is taken to enjoy the scenery.
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PIT STOP
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Components in the scene were first sketched by hand and then modeled in 3D. The components were further manipulated to create variation and interest.
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PIT STOP
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Manipulated images from an early exercise were used to create textures for the trees and rocks. These were layered with scripted halftone shaders and transparent shells.
Texture
Texture
+ Toon Shader
+ Toon Shader
+ Halftone Shader
+ Halftone Shader + Transparent Shell + Fibermesh
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Texture
Texture
+ Toon Shader
+ Toon Shader
+ Halftone Shader
+ Halftone Shader
+ Transparent Shell + Fibermesh
PIT STOP
KAIT CARTMELL
Textures were created by overlaying comic strips and printed cartoons.
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SHADERS AND TEXTURES VA R Y I N A P P E A R A N C E AT D I F F E R E N T D I S TA N C E S
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After driving through a forest, the trees pull back to find an oasis of color among the darkness.
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Taking a moment to slow down, it’s easier to zoom in on the details. While observing an island of color, slow panning is pared with quick transitions that zoom into details.
A F I N A L L O O K B KAIT E F O R ECARTMELL THE FOREST CLOSES UP AGAIN
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Mater i a l & Te c to n i c s COURSE INSTRUCTOR
AS3200 SCI-Arc Maxi Spina, Randy Jefferson
TOOLS USED
Rhino, Vray, Photoshop, InDesign
The first half of the course was focused on analyzing and modeling a curtain wall system. My group chose Novartis by Frank Gehry. The goal for the second half of the course was to merge our system with that
of another group’s. We chose to merge Kadokawa’s stone system. We kept the planar panels and basic structural system of Novatris and switched the facade from all glass to stone and glass.
M AT E R I A L & T E C T O N I C S
KAIT CARTMELL
G L A S S WA L L T Y P E 5 : S E M I - T R A N S PA R E N T P H O T O V O L AT I C M O D U L E S I N T E G R AT E D I N T O G L A Z I N G
G L A S S WA L L T Y P E 3 : BICOLORED SCREEN PRINTED GLASS
G L A S S WA L L T Y P E 3
G L A S S WA L L T Y P E 3
G L A S S WA L L T Y P E 3
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G L A S S WA L L T Y P E 5
PA I N T E D S T E E L S T R U C T U R E CONCRETE CORE COLUMN WITH WOOD VENEER
G L A S S WA L L T Y P E 3
G L A S S WA L L T Y P E 2
M AT E R I A L & T E C T O N I C S
KAIT CARTMELL
Rendered section cuts show the connections of the curtain wall to the concrete columns and floors.
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M AT E R I A L & T E C T O N I C S
KAIT CARTMELL
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A 1 - T Y P I C A L T Y P E 3 C U R TA I N WA L L S Y S T E M
G L A S S WA L L T Y P E 3
EXTERIOR
WELDED ON SITE
A U T O M AT I C W I N D O W S H A D E A1.2 PA I N T E D S T E E L S T R U C T U R E
INTERIOR
A1 A2
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A 2 - T Y P I C A L S L A B D E TA I L
WOOD RAIL
GLASS GUARDRAIL
RAISED ACCESS FLOOR WOOD VENEER ON MDF BOARD
AIR VENT FOR AC HOUSED IN FLOOR
CONCRETE SLAB I N S U L AT E D A C O U S T I C A L C E I L I N G
SUSPENDED COOLED CEILING
12.5MM TEMPERED GLASS
A 1 . 2 S T E P M U L L I O N D E TA I L EXTERIOR
T Y P E 3 G L A S S PA N E L
INTERIOR I N S U L AT E D A L U M I N U M PA N E L G L A S S F LY- B Y E S TA I N L E S S S T E E L P L AT E
PA I N T E D A L U M I N U M V E RT I C A L M U L L I O N
PA I N T E D S T E E L S T R U C T U R E
M AT E R I A L & T E C T O N I C S
KAIT CARTMELL
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B 1 - T Y P E 3 C U R TA I N WA L L C O R N E R D E TA I L S
EPDM RUBBER GASKETS
G L A S S F LY- B Y E S TA I N L E S S S T E E L P L AT E I N S U L AT E D A L U M I N U M PA N E L W I T H PA I N T E D F I N I S H
T Y P E 3 G L A S S : 3 - PA N E D G L A S S WITH BICOLORED SCREEN PRINTING
A L U M I N U M P L AT E C O V E R ALUMINUM MULLION
G L A S S WA L L T Y P E 3
V E RT I C A L M U L L I O N
PA I N T E D S T E E L S T R U C T U R E WELDED ON SITE
EXTERIOR
INTERIOR
ALUMINUM MULLION
I N S U L AT E D A L U M I N U M PA N E L W I T H PA I N T E D F I N I S H
G L A S S WA L L T Y P E 3
B3
B1 B2
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B 2 - A U T O M AT E D W I N D O W O P E N I N G F O R N AT U R A L A I R V E N T I L AT I O N
PA I N T E D A L U M I N U M
EXTERIOR
OPERABLE WINDOW
INTERIOR
G L A S S WA L L T Y P E 3
PA I N T E D A L U M I N U M
EPDM RUBBER GASKET
B 3 - C E I L I N G T O WA L L D E TA I L
EXTERIOR G L A S S WA L L T Y P E 5 EPDM GASKET ALUMINUM MULLION
S TA I N L E S S S T E E L F L A S H I N G C A P S TA I N L E S S S T E E L G U T T E R O V E R I N S U L AT E D PA N E L H E AV Y G A U G E PA I N T E D A L U M I N U M P L AT E A N D B R A C K E T S U P P O RT B E H I N D A L U M I N U M P L AT E C O V E R EPDM RUBBER GASKET G L A S S WA L L T Y P E 3
INTERIOR
M AT E R I A L & T E C T O N I C S
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G L A S S C U RTA I N WA L L : S E M I - T R A N S PA R E N T P H O T O V O L AT I C M O D U L E S I N T E G R AT E D I N T O G L A Z I N G
P R E - FA B R I C AT E D S T O N E PA N E L WA L L S Y S T E M
WINDOW
PA I N T E D S T E E L CONNECTIONS FROM WA L L T O C O L U M N
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R I G I D I N S U L AT I O N GFRC
CLIPPING SYSTEM
ALUMINUM GRID
WINDOW
COLUMN
RAISED ACCESS FLOOR GLASS GUARDRAIL CONCRETE SLAB
M AT E R I A L & T E C T O N I C S
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A 1 - WA L L S Y S T E M D E TA I L
CLIP SYSTEM
ALUMINUM GRID P R E - FA B R I C AT E D PA N E L : GFRC R I G I D I N S U L AT I O N
S T O N E PA N E L
EXTERIOR
CLIP SYSTEM
INTERIOR
3 - PA N E L G L A S S ALUMINUM MULLION
A2 A1
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A 2 - WA L L T O R O O F D E TA I L
G L A S S C U RTA I N WA L L R O O F S Y S T E M : S E M I - T R A N S PA R E N T P H O T O V O L AT I C M O D U L E S I N T E G R AT E D I N T O G L A Z I N G
PA I N T E D S T E E L P L AT E
A L U M I N U M P L AT E C O V E R
EPDM RUBBER GASKETS
I N S U L AT E D A L U M I N U M PA N E L W I T H PA I N T E D F I N I S H
ALUMINUM MULLION
STEEL H BEAM GUTTER DRAIN STEEL STRUCTURE EXTERIOR CONNECTION JOINT CLIP SYSTEM
ALUMINUM GRID R I G I D I N S U L AT I O N GFRC
INTERIOR
M AT E R I A L & T E C T O N I C S
KAIT CARTMELL
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W I N D O W D E TA I L E X T E R I O R V I E W
ALUMINUM CLIP SYSTEM
R I G I D I N S U L AT I O N GFRC
INTERIOR
P R E - FA B R I C AT E D G R A N I T E PA N E L
EPDM RUBBER GASKETS 3 - PA N E D G L A S S EPDM RUBBER GASKETS ALUMINUM MULLION
EXTERIOR
R I G I D I N S U L AT I O N GFRC ALUMINUM GRID STRUCTURE
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W I N D O W D E TA I L I N T E R I O R V I E W
ALUMINUM GRID
R I G I D I N S U L AT I O N GFRC P R E - FA B R I C AT E D G R A N I T E PA N E L
STEEL BEAM
EXTERIOR
STEEL BEAM ALUMINUM MULLION EPDM RUBBER GASKETS ALUMINUM MULLION S T O N E PA N E L CLIPPING SYSTEM
EPDM RUBBER GASKETS 3 - PA N E L G L A S S
C o m pa n i o n S pe c i es COURSE INSTRUCTOR
HT2200 SCI-Arc John Cooper
Using Donna Haraway’s vocabulary, this article describes the multi-species muddle that I live in. I depict situations that define my relationship with my companion species, how we walk into the kennel together,
metaplasms that come between us, and how we live as kin. The visuals of the article are laid out in a way that points towards Haraway’s concept of tentacular thinking.
C O M PA N I O N S P E C I E S
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Thank You
Kait Cartmell INFORMATION LOCATION
LOS ANGELES, CALIFORNIA, USA
KAITCARTMELL@GMAIL.COM
INSTAGRAM @KAITCARTMELL