Uncategorized

SPACE MATTERS

img_9878 img_7570 img_9876   img_7596 img_7581

 

Can a building perpetuate pedagogy? While many different pedagogical philosophies and theories have been developed in the last century changing drastically the way we understand teaching, learning, and playing, the design of the built environment where these activities take place has barely varied. This advanced studio aims to be an opportunity to investigate how design can shape experience and affect the subject in processes of playing and learning.

Students were asked to design a playground (pictured above), a series of open and closed recreational spaces considering them an active part of the pedagogical strategy that will lead the final design of their designed learning environments.

 

 

Students: Abdullah Balkhyour, Hamza Basurrah, Jenny Gonzalez, Yoo Bin Jung, Manasi Kshirsagar, Lilliam Navarro, Adan Rios, Tetiana Muraviova, Hao Yu, Clare Hacko, Justine Humble, Nicholas Scribner

FULL OF HOT AIR

img_7819 img_7840

img_7847 img_7832

img_7808 img_7823

img_7799 img_7794

Spring 2017 Fashion Show Experience showcased the array of talent at CCA. Full of Hot Air, taught by  Peter Anderson, is the studio that produced the setting for the show. Students did hands-on research with membrane materials and fabrication processes, with the goal of producing new prototypes for lightweight built structures.
There is a long history of experimentation with this medium by artists, architects, and engineers, from early examples of balloon and dirigible construction for air travel to tensile-membrane building components. With the rapid development of plastics and advanced composite materials since the middle of the 20th century, many new types of membranes have become available for use, only some of which have been exploited so far in architectural applications. Students explored air-supported and closed-volume membrane structures and components using materials and processes that are accessible to them within the studio and CCA back-lot setting, working at the 1-to-1 scale of human inhabitation.

POWER OF 1:1

163a3186_pier-70_arch_norrena_2016_026 163a3092_pier-70_arch_norrena_2016_052

163a3053_pier-70_arch_norrena_2016_064 163a2847_pier-70_arch_norrena_2016_137

163a2978_pier-70_arch_norrena_2016_086 163a2973_pier-70_arch_norrena_2016_088

163a2961_pier-70_arch_norrena_2016_090 163a2760_pier-70_arch_norrena_2016_162

BuildLab and Pavement to Parks join forces in an exciting exploration of mutable design and fabrication projects to be tested in the public realm. Pavement to Parks will sponsor and host the final prototypes on site at Pier 70 with the goal to temporarily activate public space within our neighborhood.

This 1:1 AIS designed and prototyped mobile unit(s) for this experimental, resourceful and unpolished waterfront area that is proud of its industrial past. These mobile prototypes provided infrastructure for outdoor learning including different combinations of shelter, stage, and seating that could host teaching, performing and gathering activities of varied size groups. Designing through physical making was the primary focus of this studio. Through an investigation in material literacy, a 1:1 structural and material system emerged for a site-specific construction. This course investigated both traditional and digital fabrication techniques and focused on the process of making, construction management, design detailing and documentation.

Project Partners & Sponsors: Robin Abad, San Francisco Planning and Pier 70

Professor: Sandra Vivanco

Students: Truong Nguyen, Victoria Wang, Hui Ching Fok, Autumn Austin, Han Zhang, Gaby Niken, Emily Blemker, Yan Zhu, De Huynh, Rajah Bose, Wut Hwe, Tiffany Yan

Tunnel Top Park

arch_tunnel-top-park_jim_norrena_2016_021  arch_tunnel-top-park_jim_norrena_2016_028

arch_tunnel-top-park_jim_norrena_2016_129  arch_tunnel-top-park_jim_norrena_2016_121

arch_tunnel-top-park_jim_norrena_2016_090  arch_tunnel-top-park_jim_norrena_2016_086

Pavement to Parks Professional Practice Interns Fernanda Bernardes and Anh Vo, under the supervision of Meghan Dorrian (CCA) and Robin Abad (SF Pavement to Parks), led the design refinement and implementation of ‘interim amenities’ at Tunnel Top Park in the Summer of 2016. The concept design, ‘Undulating Landscape’ was selected by a Jury comprised of Tunnel Top Park community members and CCA faculty from several generated during the Spring 2016 Building Technology Seminar. During the late Spring and early Summer 2016, the Tunnel Top Park Steering Committee met routinely with the CCA / Planning Department team to refine a site-wide plan and design for ‘Undulating Landscape,’ a modular prototype that incorporates seating, fencing, and lighting for deployment across the park. The summer 2016 design-build studio fabricated and installed “Undulating Landscape” at the Park in August 2016.

Design-Build Studio Students: Fernanda Bernardes, Ryan Chan, Abrar Felemban, Jonathan Frederick, Wut ‘Demi’ Htwe, Denita Irsjad, Anh Vo

Photos by: Jim Norrena

BuildLab at the 2016 Salesforce Conference

163a6239_peter-anderson_red_dreamforce_2016-norrena_083_30811986886_o  163a6259_peter-anderson_red_dreamforce_2016-norrena_074_30216615844_o

163a6366_peter-anderson_red_dreamforce_2016-norrena_037_30760877501_o  163a6356_peter-anderson_red_dreamforce_2016-norrena_040_30216620524_o

2016-10-05-13-54-43  163a6376_peter-anderson_red_dreamforce_2016-norrena_032_30216621484_o

163a6295_peter-anderson_red_dreamforce_2016-norrena_061_30216618174_o  163a6316_peter-anderson_red_dreamforce_2016-norrena_055_30216619004_o

As a way for students to create interesting collaborations outside of CCA, many seminars will offer design collaborations with outside organizations. Peter Anderson’s seminar, Assembly Required, collaborated with the RED Campaign and Salesforce to create furniture for merchandise and product displays for this year’s Dreamforce Conference held in San Francisco. Students worked in groups during the process, utilizing several tools and design strategies to achieve the final products. Keeping in mind the idea of prefabrication and modular assembly, each team had to create designs that could be movable and reconfigurable if needed. Several materials were utilized for each furniture assembly. Painted 1/4″ plywood sheets were utilized to create an indoor and outdoor shelving systems, while clear 1/8″ acrylic sheets were utilized to hang the product displays on the wings of the pavilion. Wooden panels were utilized to create the cash wrap. The collaboration was successful and taught students the importance of prefabrication and communication amongst every member involved with the project.

Instructor: Peter Anderson

Students: Jae Hyun Seo, Yoo Bin Jung, Sabari Gopakumar, Siwei Deng, Sangdae Park, Sean Cunningham, Karol Horr, Tim Stevens, Samantha Villaseñor, Joseph Chang, Gloria Kiiza, Hao Yu, Eman Barnawi, Bella Mang

Project Support by: David Meighan and Juliet Ragusa of the George P. Johnson Company; SalesForce; and IATSE Local 16 (International Alliance of Theatrical Stage Employees.

Photo courtesy of California College of the Arts
Photo: Jim Norrena, CCA

BuildLab at Market Street Prototyping Festival

20161007_115206  20161007_113104

20161007_115220  img_9215

img_9394  img_9222

Market Street Prototyping Festival is a three-day festival where local artists and designers create interactive prototypes that engage and educate the public. The collaboration between the Yerba Buena Center for the Arts and the San Francisco Planning Department envisioned Market Street as the epicenter for cultivating the sense of community. Market Street was divided into three districts. Three Design Captains were designated to each district. This year, the BuildLab was honored to be the Retail District’s Design Captain. As Design Captain, we overlooked other prototypes within the district.

For this year’s festival, the BuildLab brought out the Mobile Craft Module to be the backdrop for several engaging talks between CCA students and faculty. The Urban Works Agency and AIAS/NOMAS held discussions and presentations at the module. Sandra Vivanco, Lorena Del Rio, and Peter Anderson brought their students to the module where they presented their studio work. These talks and presentations were held within the public realm to influence students on how to engage communities through design.

Photos by: Joaquin Tobar and Adam Marcus

BIJAGOS SCHOOL PAVILION

11093485444_ff81149973_o 11093466476_9e667abac1_o 11093380095_77779b488b_o

11093485064_07ca350dc2_o  11093381065_b8c9dd063f_o

11093484724_08d72f20b4_o  11093484324_93ed5be240_o

11093465616_3d84123cbf_o  11093380275_31a6abfd1f_o

The Class:

This is the Creative Project Management class, fifth in a series of classes that seek to put project realization skills into the hands of designers, born out of the recognition that while most of our curriculum in Architecture focuses on the design phases of projects, there are limited opportunities for hands-on involvement in the rest of the process of bringing our design projects to physical realization. In addition to issues of fabrication, assembly, and construction, the course deals with the time management, permissions, budgeting, public relations, and fund- raising that is required for many design projects in the professional world. The premise of this course is that in our field it has become too easy for the design professionals to lose control of the process if they allow their roles to be diminished to design-only, with more and more of the responsibilities for bringing the projects to reality being off-sourced to non-designer Project Managers. This trend has been going on in our field for many years, encouraged by contract structures that seek to shift legal liability and responsibility to other parties in the process, which often results in the unintended consequence of also ceding control of the work.

The Project:

The project is to devise strategies for bringing simple structures to remote areas of the world for humanitarian purposes. The central focus has been on creating school classrooms, but the concept of lightweight easily-deployed structures is equally applicable to other building types, such as clinics, community centers, and disaster- relief efforts. The specific design criteria came from a request from a real-life client, a non-profit foundation based in Portugal and Guinea- Bissau, whose primary purpose is to help bring educational opportunities to a remote region of islands off the west coast of Africa–the Bijagos Archipelago. The islands have a unique culture and environment, and many areas are protected as a UNESCO biosphere reserve because of the largely undisturbed and fragile ecosystem. One of the reasons the islands remain undeveloped is because it is very difficult to access them, as there is no regular transportation system connecting the islands to the mainland or to each other. There is only one small airstrip and an occasional ferry on the most populous island in the chain, and most of the other islands are accessible only by shallow draft canoes.

Students:

Abibatou Sane, Adika Djojosugito, Amin Aghaie Tafti, Andrea Tse, Bianca Koch, Darshini Shah, Eva Jin, Fredy Lim, Kelly Hang, Mark Nicholson, Mark Zannad, Marlene Hurtado, Martinus Setiawan, Murhaf Salameh, Prairna Gupta, Rey Kambey, Ryan Uy, Sanby Yu, Sara Schneider, Sha Li

Professor: Peter Anderson, Anderson Anderson Architecture

THESE MARKS

These marks are but fragments of us

California College of the Arts
Architecture and Interior Design Department Advanced Interdisciplinary Studio Professor Gregory Hurcomb

This interdisciplinary studio looked to examine the nature of surfaces, color, light and space through the instigation and eventual transformation of California College of the Art’s main nave space. By utilizing different digitally and analogue driven techniques such as scripting, collage, physical modeling, photography, rendering, and drawing, the studio sought to explore the interstices between interior design, installation, art, and architecture.

By exploring a variety of themes each student developed their own studio project focused on a certain aspect of surface, color, light and space; and then further investigated these ideas through a series of material artifacts that culminated in their own final studio project that was combined, altered, shifted and integrated into a larger composition that comprises the final installation.

The installation consisted of over 200 printed panels of an adhesive thin film­like material that was affixed to the outside glass of California College of the Arts main façade, which at it’s highest point is over 25 feet and measures approximately 100 feet in length for an overall installation in excess of 2,000 square feet. These pieces were installed and affixed by the instructor and his students. The panels transformed and altered the Nave space from that of a serene white box gallery space to a space filled with patterns and effects of color, vibration, and sublime rhythm.

Exuberance. An overabundance of images frozen in stop motion. Pixelation, noise, reverberation, pause. This collective woven moment of transitory impermanence, a massive transparent surface imagined new, redefined and reconfigured as a degraded pulsating and shifting color field. These marks are but fragments of us.

Program: Installation
Client: Department of Architecture,, California College of the Arts Location: San Francisco, California, USA

Credits:
Faculty: Gregory Hurcomb (California College of the Arts / Studio Gregory Hurcomb) Thanks to all the students involved in the course:

Carl Lyon, Carleigh Wamberg, Anna Korkobcova, Kathryn VanCleave, Sara Schneider, Alexander Decicco, Kangning Zhao, Jennifer Giessler, Taylor Patton, Alan Hayes, Sin Lao, Bianca Koch, Hossna Nadjafabadi, David Kelley

And special thanks to:
Ila Berman, Director of Architecture
Cathrine Veikos, Chair of the Interior Design Department Lisa Stoneman, Director of Academic Administration Noah Bartlett, Director of Facilities and Operations
Lia Wilson, Program Manager, Department of Architecture

GUERRILLA STREET MUSEUM

Urban street beautification projects often confuse “beauty” with cleanliness, sweeping aside the unsavory realities of the street. The Guerilla Street Museum serves as a model for engaging and activating the street while simultaneously revealing what beautification projects often seek to hide. Museums traditionally display only artifacts deemed worthy by the culture that supports it. Here, we give the street its own “museum,” which can be replicated across the city as a mechanism to reveal the hidden stories of many diverse constituencies and neighborhoods.

This project was a collaboration between architecture students at CCA, led by Associate Professor Neal Schwartz, and Larkin Street Youth Services. The work both promotes the mission of Larkin Street and exhibits the creative work of the homeless and at-risk youth they serve. The project was exhibited as one of fifty installations selected for the 2015 Market Street Prototyping Festival and will be exhibited during the summer of 2015 in other venues.

CCA Architecture Team: Adika Djojosugito, Joy Fu, Danny Hsieh, Eva Jin, Saharsh Khaitan, Fredy Lim, Susan Lopez, Li Lu, Martin Setiawan, Andrea Tse, Melody Villavicencio

Professor: Neal Schwartz, Schwartz and Architecture

AORTIC ARC

A new canopy for a student lounge at the California College of the Arts (CCA) hangs within a double-height space and functions as a light scope, spatial definer, and viewing portal. The minimum surface structure is made up of 546 unique HDPE panels linked to one another by over 4000 pop-rivets. The name of the piece comes from its resemblance in form to a portion of the human heart and the fact that it leaps over an existing structural beam. The surface is suspended from three upper stainless steel rings (two circular, one elliptical) which are held and hold each other in tension. A singular large parabolic ring functions as a “hoop skirt” below. The technical and artistic challenges are unique and did not allow for a conventional approach. Collaborating closely with the designers, the engineers employed non-linear analysis tools and parametric BIM technology to model and predict the final minimal energy form of the piece which, structurally, behaves as a hybrid between a cable-net and membrane structure. A panelized system was developed using Generative Components and a customized Rhino script that took the raw data and turned it into a drawing file to drive a CNC milling machine that generated all the parts. HDPE plastic, the same material used to make milk jugs, was selected for the panels due to its low cost, resistance to solar degradation, recyclability, low embodied energy, and high tensile capability.

FIRM: Visible Research Office

PRINCIPAL: Mark L. Donohue, AIA