Architecture News

Posted on Friday, April 4, 2014 by Laura Braun

Images provided by SAN-ARQ, the collective portfolio of Rosannah Sandoval and Sergio Sandoval.

Rosannah Sandoval (Architecture 2007) knew she loved architecture from an early age. And not much time passed before she found herself completely engulfed in it as a career.

When most young adults are wrapping up high school, Sandoval had already graduated from CCA’s Architecture Program with high distinction.

Today, at age 24, she is the youngest member of the American Institute of Architects (AIA).

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Posted on Monday, March 31, 2014 by Laura Braun

Last year, Michael Shiloh, an engineer, tinkerer and lecturer at Bay Area colleges, co-taught an advanced architecture class at California College of the Arts that posed an unusual challenge to students: build a non-standard 3D printer in just one semester.

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Posted on Wednesday, March 19, 2014 by Laura Braun

In 2008 Crescimano landed at Gensler's San Francisco office. She was piling up internship hours, working on campus planning and office projects for clients like Hewlett-Packard and Kaiser Permanente. In her spare time, she co-taught, with Public Architecture, a studio on small-space interventions at California College of the Arts. She was also collaborating with the intelligentsia at the San Francisco urban-research nonprofit SPUR, frequently writingand speaking on the future of work.

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Posted on Wednesday, February 26, 2014 by Allison Byers

Team members Kristina Kotlier (MArch 2013) (left) and Raine Paulson Andrews (MArch 2014) (right) with a STAND UP supporter

In spring 2013, three CCA students came together with one common goal: to make a difference with an IMPACT Social Entrepreneurship Award from CCA’s Center for Art and Public Life.

Robert Gomez (MFA and MA Visual and Critical Studies 2013), Raine Paulson Andrews (MArch 2014), and Kristina Kotlier (MArch 2013) were indeed one of three teams who won the award for summer 2013, and the project they carried out, STAND UP with Jamaica, was a major turning point for all of them.

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Posted on Wednesday, February 12, 2014 by Laura Braun

David Gissen and Irene Cheng, the exhibit's architectural-historian curators from the California College of the Arts, searched far and wide to amass this surreal collection of odors. They tapped into the collections of rock-star perfumers like Laudamiel – who fabricated "Paris 1738" using "cassis note for urine, and [pyrazine] molecules for the other sewage effects" – and solicited tips from odor-obsessed writers like Chandler Burr, the one-time perfume critic forThe New York Times.

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Posted on Tuesday, February 11, 2014 by Laura Braun

Alternative Futures, an exhibition of visionary architectural designs inspired by the new LGBT senior housing project at 55 Laguna St., is on display on the third floor of the San Francisco LGBT Community Center through March 15, with a free reception open to the public on Sat., Feb. 8, from 1-3 p.m.

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Posted on Wednesday, January 29, 2014 by Laura Braun

Such alternative historical practices were the subject of a recent pair of events held at the California College of the Arts (CCA) in San Francisco, both sponsored by the school’s Masters program in Design Theory and Critical Practices. The first was an exhibition entitled An Olfactory Archive: 1100-1951, curated by David Gissen and designed by Brian Price and Matt Hutchinson, that explored scent as a medium of historical reconstruction.

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Posted on Wednesday, January 29, 2014 by Laura Braun

One such operation is being run at the California College of the Arts by Jason Kelly Johnson and Michael Shiloh. As part of the CCA Hybrid Lab, where computers are taught in a scrappy, DIY, hackerish way, "Creative Architecture Machines" aims to integrate computer programming into the design-build process with machines the students have created directly for architecture. "We treat the machine, code, and material exploration as equals," Johnson said.

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Posted on Tuesday, January 28, 2014 by Lindsey Westbrook

Manhattan Atmospheres
University of Minnesota Press, 2014
Paperback, 240 pages, $30

From the 1960s to the early 1980s, New York’s great park networks; its sanitarian projects of light, air, and water; and its monumental public works were falling apart. Images of flooded streets, blackened air, collapsed highways, and burning buildings characterize our understanding of the city’s landscape throughout this period. At the same time, architects reimagined interior spaces as a response to these urban disasters. In this book, Architecture faculty member David Gissen reveals this chapter in New York’s environmental history that was unfolding inside the city’s gleaming late-modern architecture.

Gissen uncovers an alternative environmental history by examining the megastructural apartments, verdant corporate atria, enormous trading rooms, and mammoth museum galleries that were built in this era. These environments were integral to New York’s restructuring and also some of the most politicized fabrications of nature found in the city. Behind the tinted and mirrored glass, the vaporous cooled and warmed atmospheres offered protection from pollution, stewarded urban greenery, and helped preserve precious cultural artifacts. But, entangled with efforts to gentrify neighborhoods, the new settings served as a stage for demographic transformations and shifts in cultural concentration and enriched the overall corporatization of the city.

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Posted on Monday, January 20, 2014 by Lindsey Westbrook

On a crystal-clear June evening in summer 2013, the sun is setting in Marfa, Texas, and a dozen CCA students -- together with a dozen more students from two art schools in the Netherlands -- are settling into the evening rhythms of their tent city.

The tents are cozily nestled in the courtyard of a former officer’s club, long abandoned by the US military. Elsewhere in the building complex, an old bar has been converted into an ad hoc Internet lounge. A spookily empty ballroom houses a broken-down old piano. The kitchen has accommodated the making of many a communal dinner.

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