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  • "Almost Familiar Forms."
    san francisco CALIFORNIA

    Almost Familiar Forms was a series of events convened by Clark Thenhaus (CCA) at CCA’s Architecture Division consisting of 50 participants in two concurrent weekend workshops led by Kristy Balliet (Knowlton School at the Ohio State University) and Andrew Holder (Harvard GSD). . . .

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  • Almost Familiar Forms.
    san francisco CALIFORNIA

    Almost Familiar Forms is a three-part event presented by CCA’s Architecture division composed of an opening event discussion and reception, followed by a two-day workshop, and culminating in a keynote lecture by Dora Epstein Jones (SCI-Arc), presented as part of the Architecture Division Lecture Series.

    workshop & lecture: Almost Familiar Forms with Kristy Balliet, Andrew HOLDER, Clark THENHAUS, and Dora EPSTEIN JONES.
    Friday, 02/19 (5:15 p.m. opening) – Monday, 02/22
    California College of the Arts
    1111 Eighth Street
    San Francisco, CA 94107

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  • Overall projects view, "Non-Stop Architecture." Photo: Thom FAULDERS.
    san francisco CALIFORNIA

    Thom FAULDERS speaks on his recent option studios at the California College of the Arts (CCA), the technological proficiency of today’s students, searching for the places where architecture and technology or biotechnology meet, a new “flattening” or evenness of precedent, and much more.

    [CLICK FOR THOM FAULDERS INTERVIEW]

    [EXCERPTED FROM FRESH PUNCHES ]

    *image by and courtesy the author. Overall projects view, “Non-Stop Architecture,” Advanced Studio, Spring 2012, California College of the Arts (CCA). Associate Professor Thom Faulders, instructor.

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  • RVTR, Nervous Ether: Shiver of Bodies.
    ann arbor MICHIGAN

    suckerPUNCH: Describe your project.

    Kathy VELIKOV & Geoffrey THÜN (RVTR): Nervous Ether is a full-scale responsive physical environment consisting of a cellular pneumatic skin, operating as an instrument to register and communicate remote environmental information while also generating specific sensations and effects within the immediate (inhabitable) environment. It aims to lever the agency of air and information to spatially and physically materialize the immaterial into a palpable and sensate environment. The installation was undertaken through the 333 Summer Studio at the California College of the Arts in San Francisco, August 2013.

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  • PATH, (re)STOCK.
    san francisco CALIFORNIA

    “Before the term spline came to refer to a mathematical function producing smoothness (and subsequently, in design software, to a smooth curve with control points) it was once an actual physical drafting tool, a flexible metal or wood strip with weights used to hold the spline in place. This tool developed out of necessity to design smooth, aerodynamic forms and leveraged specific material properties . . .”

    *All images courtesy the author. PATH, “(re)STOCK.” Intersecting hand and machine, digital and analog. (Physical, hand craft) Welding joints provides a strong and permanent assembly. Oxides from the welding process leave a rich coloration and evidence of the manual TIG welding process (joints are welded on the backside with ERCuSi-A Silicon Bronze filler rod).

    [EXCERPTED FROM FRESH PUNCHES ]

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  • Alex WOODHOUSE, Shadow Traceries.
    san francisco CALIFORNIA

    California College of the Arts
    critic: Gregory HURCOMB

    suckerPUNCH: Describe your project.

    Alex WOODHOUSE: Animated sequences are often difficult to convey in a single, static image. Movement, intensity, and speed are terms associated more strongly with the animate than static, abilities showcased in the production and viewing of visually recorded events. Shadow Traceries is an investigation into the decoding and re-representation of these events, compressing time-based input into a finite, visualized moment.

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  • These Marks are but Fragments of Us. Photo by Matthew MILLMAN.
    san francisco CALIFORNIA

    Faculty, California College of the Arts (CCA)

    suckerPUNCH: Describe your project.

    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.

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  • Driftbot
    san francisco CALIFORNIA

    California College of the Arts (CCA)
    critic: Jason K. JOHNSON

    suckerPUNCH: Describe your project.

    Alex WOODHOUSE & Leah ZALDUMBIDE: Desert Driftbot investigates the prospect of an alternative, event-driven, nomadic society, fleeing the overbearing,cosmopolitan lifestyle of urbanity in favor of a simplified yet profound way of living. Seeking respite from a culture of extreme density, poor air quality, automotive dependence, materialism and ownership, this nomadic civilization has emerged in the barren desertscape of the Salton Sea.

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  • perpetual dexterity
    san francisco CALIFORNIA

    suckerPUNCH: describe your project.

    alexa GETTING: This thesis proposes a disparate trajectory of architecture: a dissension from current design practice, a design practice that is no longer confined to or constrained by a building code and standardization which inevitably lends itself to apathetic and conditioned users. Rather, this thesis probes a trajectory of architecture that capitalizes on an urban and architectural reconsideration of conditioning, via a design intervention of perpetually transforming space. This spatial strategy affords the user a higher level of self-awareness through re-conditioning, or what this proposal terms “hyper-conditioning.”

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