Summer Session 2016

Continuing CCA student registration for on-campus summer courses March 4-27 through WebAdvisor; registration for nondegree students begins on March 28.

Intro to Furniture

Instructor: Adrien Segal
San Francisco / FURNT–100 / 18 sessions
Prerequisite: none
May 24-June 30, Tues./Wed./Thurs., 9 a.m.-2 p.m.
$25 lab fee payable at registration

This course is an introduction to the fundamentals of woodworking and its application to furniture. Topics covered in detail include the care and use of hand tools, hand power tools, and larger woodworking machinery; fundamental techniques such as carving, shaping and finishing; joinery technology, construction processes and conventions; basic furniture design and wood technology. Processes are demonstrated and practiced through a series of "hands-on" projects. There is an emphasis on precision, the development of craft skills and the concept of physical as well as intellectual learning. It is also a great chance to make "real things" out of "real materials."

Students in this course will be exposed to professional practices and local resources through field trips and organized tours, where we will visit facilities such as a furniture production studio, an industrial arts organization, a digital fabrication lab, and of course, the lumber yard where students will select and purchase raw materials for their project. Guest critics from the local design community will be invited to participate as guest critics for the final critique. (3 credits)

A wood assistant will be available during studio access hours to assist enrolled students with their projects: Tues., Wed., & Thurs., May 24-June 29, 2-6 p.m.

Wood/Furniture Techniques: Soft

Instructors: Visiting Artists Mary Little, Peter Wheeler
San Francisco / FURNT–312 / 15 sessions
Prerequisite: none
July 25-August 12, Mon.-Fri., 9 a.m.–4 p.m.
$40 lab fee payable at registration

This studio focuses on contemporary upholstery techniques applicable to creating prototypes for large-scale production, producing editions, or making one-of-a-kind pieces.

Upholstery is not straightforward or simple, though the best pieces may look that way. The process is multi-skilled and multilayered. An understanding of the whole process is essential for a designer to accomplish his or her goals. In class, each student designs and constructs an ottoman for a particular interior and develops innovative design concepts appropriate to the context. During showroom visits, students learn about the technical construction of contemporary furniture and the selection of upholstery fabrics. Upon completion of the course, each student will have a well-made contemporary piece, a new skill set, knowledge of contemporary upholstery and exposure to a wealth of experience in European and North American furniture design.

The class is open to designers who want to learn or practice hands-on design skills as a method of design development. Students from majors such as Architecture, Fashion Design, Furniture, Interior Design, Industrial Design, and Textiles are welcome. (3 credits)

Due to the condensed nature of the course, students should plan to work in the lab on their own each weekend. A wood assistant will be available during studio access hours to assist enrolled students with their projects: Mon.–Fri., July 25-August 11, 4–6 p.m.

This course satisfies a Furniture requirement or a Studio Elective.

Mary Little established her studio in 1994 with her first solo show ‘Coat of Arms’ in London. In 1997 she began collaborating on projects with her husband, the designer Peter Wheeler. Their studio built on Mary’s reputation for executing exuberant seating commissions for individual collectors and arts organizations. Ironically, while the studio’s work was being published in major European design magazines and collected by museums there, their most exciting and challenging commissions were from clients in the USA.

They moved to San Francisco in 2001, to begin teaching at California College of the Arts. They have continued teaching design in the USA, sharing their ideas on the relationship between our bodies and the objects that support them and how we look sitting in them. The studio is unique in the experimental exploration of how a fabric’s structure can be applied to constructing three dimensional forms. Its consistent goal is to create work that non-designers might find approachable, about which they might be a little curious, and with which they may find an emotional connection.

Mary and Peter re-established their studio in 2005, near New Haven, Connecticut, where they designed and produced commissioned work and licensed designs for manufacture. In 2014 they returned to the west coast to set up studio in Downtown Los Angeles. The studio’s recent work, inspired by the landscape of Mary’s childhood, uses the inherent structure in artists’ cotton canvas to explore three dimensional pattern and repetition in the form of wall hangings and floor sculptures.

Work by the studio can be found in private collections in Europe and North America, as well as the Victoria & Albert Museum, London; Vitra Design Museum, Basel; Musée des Arts Décoratifs, Paris; and Museo de las Arts Decorativas, Barcelona.