KARINA JUSUF I
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MATERIAL LIBRARY ASSISTANT
California College of the Arts
KARINA JUSUF
i n t e r i o r
d e s i g n e r
student IIDA
CALIFORNIA COLLEGE OF THE ARTS BFA of Interior Design
March 2015 - present
• • • •
Monitor use of the collection of product samples Assist students and faculty in finding materials and information about them Reshelve and organize materials Conduct library circulation duties
DESIGN INTERN
Assistant designer for retail showrooms (Hammer and Coconut
Summer 2013 Summer 2014
• AutoCAD drafting, 3D computer modeling and rendering, material selection • Administrative duties • Construction site visits
PT. IDEA Kreatama Jakarta, Indonesia
January 2013 - May 2016 Current GPA: 3.91
Monitor, assist and organize the material library
Island), residential (kids bedroom renovation) and hair & beauty salon.
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INTERIOR DESIGN TECHNOLOGY AND LIGHTING AWARD
May 2014
CCA Architecture Division Annual Award
CCA STUDIO JURY PRIZE NOMINEE Materiality and Space 3 Studio 2 & Materiality and Space 2 Materiality and Space 1
December 2014 May 2014 December 2013
ANNUAL IIDA STUDENT DESIGN CHARETTE
One of two students at CCA being nominated to attend the event in Chicago with paid expenses
March 2015
STUDIO PROJECTS EXHIBITION Junior Review Exhibition Belt Studio Exhibition
kjusuf@cca.edu 150 font blvd apt 4m San Francisco, CA 94132 +1 (650) 933 6469
issuu.com/karinajusuf/docs/kjusuf_portfolio2015
www.linkedin.com/in/karinajusuf
January 2015 December 2014
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SOFTWARE
AutoCAD Rhinoceros 3D Studio Max V-Ray&Maxwell Renders Google Sketchup Adobe Photoshop Adobe Illustrator Adobe InDesign Revit Microsoft Office
PERSONAL
Detail Oriented Time management Ability to meet deadline Leadership Team work Creativity Organization Public speaking
DIGITAL FABRICATION Laser Cut 3D print CNC router
LANGUAGE English Indonesian Chinese
R E S U M E
P U B L I C
T R A N S P O R T A T I O N N E X T M O D U L A R P E R F O R A T E D
R E D E S I G N| S P R I N G
U N I V E R S I T Y | F A L L
L E A T H E R N E O N
2 0 1 4
N E S T | F A L L
2 0 1 4
P E N D A N T | F A L L
2 0 1 4
I N V I S I B L E F A C E T E D
2 0 1 5
C O N E | S P R I N G
I N C U B A T O R | F A L L
M E T A L
S C R E E N | F A L L T A B L E
2 0 1 4
2 0 1 3 2 0 1 3 O F
C O N T E N T S
PUBLIC TRANSPORTATION FERRY - MUNI - BART | DESIGN STUDIO 4: AMY CAMPOS | Spring 2015
O V E R V I E W As forms of transportation provide increasing opportunity for new forms of public space, work space and social space, this project shows comprehensive proposals for the re-conceptualization of a fleet of public transportation of Ferry, MUNI and BART to serve the growing commuter population in the San Francisco Bay Area.
PU B L IC T RA N S PO RTAT IO N
REDESIGN
SCENEMATIC C L I E N T San Francisco Bay Ferry
DESIGN CONCEPT Inspired by the two bridges, hills, redwood forests and the beautiful scenery of San Francisco, the new Sausalito Ferry design will provide a more comfortable and enjoyable 30 minute ride from San Francisco to Sausalito. Mimicking the ocean’s beautiful tones, deep blues and greens will guide your eye out onto the open decks for some spectacular sightseeing. The open floor plan of furniture running through all three floors will create a warm and open feel. This ferry is design not only tourist and commuters, but also business passangers and family with kids, supported by different range of seating arrangement and ambiance. The new choice of material is more durable. This design will ensure a pleasant new experience for all. With all the beauty and excitement, the journey will seem if nothing, all too short.
OUTDOOR SOCIAL ZONE
SOCIAL ZONE
BIKE ZONE
BUSINESS ZONE
Sun Deck
Upper Deck
Upper Deck
Main Deck
Sun Deck
Main Deck
Sun Deck
T O O L S
Sun Deck
Sun Deck
Upper Deck
Upper Deck
Upper Deck
Upper Deck
Main Deck
Main Deck
Main Deck
Social / Individual Activitie Diagram Ventilation Diagram
Sun Deck
_UPPER DECK
Ciculation Diagram
AutoCAD, Rhino 5, Maxwell for Rhino, Adobe Photoshop, Adobe Illustrator, Adobe Indesign.
Ventilation Diagram
Located near the engin
KIDS ZONE
Sun Deck
Ciculation Diagram
Mostly occupied by tourist and commuters to enjoy the view of the bay during the ride.
TOURIST ZONE OBSERVATORY ZONE
Social Activities
FLOOR PLAN Social / Individual Activitie Diagram
Individual Activities
Main Deck
Social Activities Individual Activities
Sun Deck Sun Deck
Sun Deck
_MAIN DECK
KIDS ZONE _MAIN DECK
ne room in far front end of the ferry, it is a great space for family with kids to play in.
BUSINESS ZONE _MAIN DECK
Mainly for business passanger to finish up their work on the go with the spectacular view of the bay,.
SECTION
PU B L IC T RA N S PO RTAT IO N
REDESIGN:
S C E N E M A T I C
F E R R Y
City Link S a n
F r a n c i s c o
M U N I
C L I E N T San Francisco municipal transportation agency
DESIGN CONCEPT
The new MUNI design aims to reinvent the space of a public transportation to a unique space that makes the commute experience different and more enjoyable. Inspired by the curvatures and the continuous forms of the familiar MUNI logo, the curvature forms reshaped the furniture, circulation and overall space to accommodate all users. Different seating, leaning and standing arrangements provide a more spacious space for commuters and could also accommodate more masses in the bus. The layers of perceived forms also transformed the relatively small space into a vibrant expansive space with high efficiency, clear way finding and more inviting space to commute. The availability of small working station will allow business passengers to have a quick working session during the ride. The new MUNI design will also equipped with technological advancement, such as the introduction of smartphone application that linked to the bus system, LED signs, phone charging station, and digital wayfinding screen, that makes commuting easier, more efficient and convenient, not only for locals, but also business passengers and tourist.
Overhead
Furniture
Gro up
ed grou p
sittin
g
lean
ing
Overall Layout indiv
idua l+
dua
l - se
atin g
+ lea
ning
+ wo
rkin g
Indi
vidu
al
Zone Distribution
SECTION
digital screen on windows shows the route, with red LED dot showing the current location of the bus during ride, giving the riders clear real-time information of where they are, and inform riders whenever there is a tourist attraction nearby.
OVERALL VIEW OF THE BUS
wireless charging station riders can charge their phone just by placing it on the surface of the table
MUNI Smartphone Application links the clipper card with the MUNI system, will sign in automatically once riders enter the bus, allow to request stop and inform when there is an important place nearby.
Group sitting at the back of the bus PU B L IC T RA N S PO RTAT IO N
REDESIGN: C I T Y
L I N K
vertexisco b a y
a r e a
rapid
transit
C L I E N T Bay Area Rapid Transit (BART)
DESIGN CONCEPT
Bay Area Rapid Transit or BART is one of the busiest rapid transit system in San Francisco Bay Area that serves more than 400,000 passengers daily. With the increasing hectic and busy days in this modern world, the new BART design aims to serve more people with maximum convenience and efficiency in different levels. Because of the low ceiling of the BART, people often feel cramped and claustrophobic inside the BART, especially during rush hour. The new design uses the idea of reshaping the openings using metal frame and glass panels with back lighting, to blur the shape of existing windows, doors and ceiling, to give the feel of more expansive. We also introduce 3 different car types of BART, which are Executive cars, Economy cars and Bike cars.
Executive class This class, which is mostly directed to business passengers, are equipped with the most amount of seats than the other cars, directed mostly for longer duration (more than 45 minutes) riders.. Nowadays, people are willing to pay more for convenience during their commute, which is the main idea behind this executive car.
T O O L S
AutoCAD, Rhino 5, Maxwell for Rhino, Adobe Photoshop, Adobe Illustrator, Adobe Indesign. FLOOR
SECTION
PLAN
economy cl This class is more focused standing capacity to accom
lass d on the duration (less than 45 minutes) and the capacity. We reduce seating to increase mmodate more masses during rush hour. There is also easy wheelchair access in the car.
bike car There are bike integrated furniture, which can be used not only for locking the bike, but can be also used as a work station. There are also standing, leaning and working space aside from the bike furniture for various riders.
PU B L IC T RA N S PO RTAT IO N
REDESIGN: V E R T E X I S C O
N XT U I RSITY DESIGN STUDIO 3: CHIP MINNICK | Fall 2014
O V E R V I E W
NEXT UNIVERSITY is changing the paradigm of student learning by pushing the boundaries with new approach to let learning to happen everywhere. This design of the school highlight that goal by creating strong idea of gradation of public and private spaces gradually from the entrance to the back of the building to clearly distinguish spaces either for collaboration or spaces that needed more focus areas. Required areas are large classroom, 2 active learning classroom, 1 distance learning classroom, faculty connection hub, student work cafe and in between learning spaces.
OCCUPIABLE THICK WALL
Student work cafe and the large classroom is divided by this wall, both for aesthetic and efficiency reason, and acting as the main design concept of this university. Tools: Rhino 5, V-ray for Rhino, Photoshop N E X T
U N I V E R S I T Y
N
E
X
T
FACULTY CONNECTION HUB STUDENT WORK CAFE ACTIVE LEARNING CLASSROOM 1 ACTIVE LEARNING CLASSROOM 2 DISTANCE LEARNING CLASSROOM LARGE CLASSROOM IN BETWEEN LEARNING SPACES
C L I E N T Steelcase Student Design Competition
DESIGN CONCEPT
As gradient is the main concept of the design, all the required spaces are divided into public and private spaces, as shown in the diagram. In the more public spaces, there is no obvious distinction between spaces. One space is intertwined with other space to create the sense of larger learning space and allows students and faculty to engage with each other as a learning process. On the other hand, private spaces are divided by solid walls to provide more focus learning environment, but the glass openings gives transparency and a sense of openness to the space. The large classroom design and occupiable walls are the main highlight of the design, giving unique statement to the design that is believed to enhance the learning process to happen everywhere throughout the school.
PRIVATE
FACULTY CONNECTION HUB
ACTIVE LEARNING CLASSROOM II
ACTIVE LEARNING CLASSROOM I IN BETWEEN LEARNING SPACE IN BETWEEN LEARNING SPACE
DISTANCE LEARNING CLASSROOM
LARGE CLASSROOM
FACULTY CONNECTION HUB STUDENT WORK CAFE ACTIVE LEARNING CLASSROOM 1 ACTIVE LEARNING CLASSROOM 2
PUBLIC
STUDENT WORK CAFE
IN BETWEEN LEARNING SPACE
ESSENTIAL
DISTANCE LEARNING CLASSROOM LARGE CLASSROOM IN BETWEEN LEARNING SPACES NEARBY
ADJACENT
IMPORTANT CONVENIENT
NOT ADJACENT
D I A G R A M S
FACULTY CONNECTION HUB STUDENT WORK CAFE ACTIVE LEARNING CLASSROOM 1 ACTIVE LEARNING CLASSROOM 2 DISTANCE LEARNING CLASSROOM LARGE CLASSROOM IN BETWEEN LEARNING SPACES
T O O L S AutoCAD, Rhino 5, V-ray for Rhino, Adobe Photoshop, Adobe Illustrator.
SECTION A 1
/8” = 1’ - 0”
0
4’
12’
24’
0
4’
40’
12’
24’
40’
LARGE CLASSROOM
View from the second floor, large classroom has 3 different commitment level; full commitment, from inside the classroom, half commitment from the mezzanine and no commitment from the open circulation around it.
SECTION B 24’
40’
1
/8” = 1’ - 0”
0
4’
12’
24’ 0
4’ 0
4’
12’
40’ 12’
24’
24’
40’
N E X T
40’
U N I V E R S I T Y
A
FACULTY CONNECTION HUB
most private space in the building
ACTIVE LEARNING CLASSROOM
movable chairs and desk allow more collaboration and flexible groupwork between students
DISTANCE LEARNING CLASSROOM B
technology is mostly used in this room, allowing video conference teaching and learning with different seating posture available
B
PUBLIC SHIELDED IN-BETWEEN SPACE
individual and group work behind the large classroom allowing people to see the activity happening in the large classroom and collaborate
PUBLIC OPEN IN-BETWEEN SPACE
A
used for lounging and group work
FLOOR PLAN (2ND FLOOR) 1
/8” = 1’ - 0”
0
4’
12’
24’
40’
A
FACULTY HUB RECEPTION
connects student work cafe to faculty connection hub.
ACTIVE LEARNING CLASSROOM
private classroom with movable chairs and desk, which allow flexibility in space
PRIVATE IN-BETWEEN LEARNING SPACE shielded, more private to allow more focus on private learning or group discussion
B
B
STUDENT WORK CAFE
located beside the large classroom with partial separation by the main stairs also gives the more engagement for people to the large classroom.
LARGE CLASSROOM
acting as a focal point of the school, is open to the circulation both horizontally and vertically to increase interaction, with three different stages of collaboration.
FLOOR PLAN (1ST FLOOR) 1
/8” = 1’ - 0”
A
0
4’
12’
24’
40’
N E X T
U N I V E R S I T Y
FACULTY HUB RECEPTION
The more private space of the building shown by the narrower circulation and more closed spaces.
PUBLIC SHIELDED IN-BETWEEN LEARNING SPACE
Located behind the large classroom, adjacent to the cafe divided by occupiable thick wall.
FRONT ENTRANCE
Overlooking the large classroom and cafe, divided by the occupiable thick wall that also functions as the tunnel stairs. N E X T
U N I V E R S I T Y
MODULAR LEATHER REPURPOSING MATERIAL | MATERIALITY & SPACE 3 : AMY CAMPOS | Fall 2014
O V E R V I E W Leather belts that are donated from G Hensler Belt Company are repurposed and changed into a low seating chair. The idea of using flat material and using scoring and folding as a method to create volume gives the overall softness and comfort to the stool’s surface. The modules aggregated together creating an interesting textile pattern for the surface of the stool. The support system and the internal stuffing materials are made of the remaining scrap materials to eliminate waste.
40 years
USE TIMELINE:
40 years
DURABILITY TIMELINE: landfil / recycle 15 years 15 years
DIGITAL RENDERING
This prototype can be made in various sizes and color. OCCUPIABLE THICK WALL Tools: Rhino 5, V-Ray, Photoshop Student work cafe and the large classroom is divided by this wall, both for aesthetic and efficiency reason, and acting as the main design concept of this university M O D U L A R
L E A T H E R
N E S T
24” B
B
wooden frame
24” B
B
12”
belt scraps bundle
12”
HORIZONTAL SECTION
PLAN DETAIL
belt scraps bundle
16” A
A
wooden frame ELEVATION A
VERTICAL SECTION A
FRAME + BELT STRAPS
structural pieces underneath
FRAME + BELT TRAPS + SCRAP BUNDLES
structural pieces underneath
FINISHED PROTOTYPE
Size: 32” x 32” x 16”
M O D U L A R
L E A T H E R
N E S T
PERFORATED NEON DIGITAL FABRICATION | DESIGN MEDIA 3 : ALDA CAPI BLACK | Fall 2014
O V E R V I E W The perforated neon pendant panels are made of neon colored acrylic sheets that are laser cut and aggregated to form the overal pendant shape. The overal design of this pendant is made by the study of digital tools using paneling tools and laser cutting and executed into a useful product. Inspired by Tom Dixon’s Etch Pendant, this pendant design is so dynamic and unique, not only for its function to light up the room, but as a major decorative element that creates a statement in a room.
DIGITAL RENDERING
The zoom view of how the panels are aggregating Tools: Rhino 5, V-Ray, Photoshop P E R F O R A T E D
N E O N
P E N D A N T
Elevation A
Elevation B
Section A
Section B
Aggregation Diagram
3 Different Module Aggregation
0
1”
3”
6”
10”
wire
Detailed Connection
FINAL MODEL PHOTOGRAPH
Axonometric
Different perforated neon colored acrylic panels creates interesting shadow from the light Medium: green and red neon acrylic, pearl acrylic, cord, vintage bulb, metal wire P E R F O R A T E D
N E O N
P E N D A N T
I N V I S I B L E DESIGN STUDIO 2 + MATERIALITY & SPACE 2 : CATHRINE VEIKOS , MICHELLE CHANG | Spring 2014
O V E R V I E W The shared studio and separate living spaces design references from the material study of the combination of plaster and resin to capture the study of color and texture. These spaces are indicated for a painter, Affandi and a dancer, Martha Graham. Inspired from the “Conical Intersect� by Gordon Matta-Clark, the spaces are captured with diagrams, floor plans, sectional rendering and perspectival rendering.
SHARED STUDIO SPACE
View from the semipublic stared studio space mezzanine to the public dance studio and gallery space. Tools: Rhino 5, 3D Studio Max, V-ray, Photoshop I N V I S I B L E
C O N E
M A T E R I A L .This is a study about materiality of plaster and resin that captures two out of five design categories (color, reflection, texture, pattern, transparency), which are color and texture through the production of nine 6”x6” cubes. Two different materials are molded; one being the cone shape that intersect in the cube, and the other is being the negative space that create the solid cube. One of these cubes will be chosen for design reference of the next project. M A T E R I A L S Plaster and resin
C A T E G O R I E S Color and texture
T O O L S Plaster, clear resin, acrylic mold, metal mesh, metal tape mold, water beads
NINE 6”X6” CUBES
JOINT / SURFACE TREATMENT
CHOSEN FINAL CUBE I N V I S I B L E
C O N E
SHARED STUDIO C L I E N T S Martha Graham: American modern dancer + choreographer “Picasso of dance” Affandi:
Indonesian expressionist painter “squeezing the tube”
OPENINGS
CONES OF LIGHT
LAYERS OF GRADIENT
DESIGN CONCEPT This shared studio and separate living spaces for Martha Graham and Affandi is referenced from the resin-plaster colored cube. This building, with a 7-feet shift from the ground is required to have 2 separate entries for each artist and 1 combined entry for the public. The intersecting cones from the cube are brought to the design to be intersected with the building itself as openings, either on the ceiling, floor, or wall. The dancer’s living space is separated to all 3 floors, as she is active, while the painter’s living space is all located on the top floor, as he is more static. The shared studio, the gallery space and the dance stage can be reached both from painter and dancer’s living spaces. T O O L S AutoCAD, Rhino 5, 3D Studio Max, V-ray, Adobe Photoshop, Adobe Illustrator. TRANSFORMATION DIAGRAM
PHYSICAL MODEL
Scale 1/4” = 1’ - 0” Medium: Bass wood, museum board, acrylic, white spray paint I N V I S I B L E
C O N E
PUBLIC CIRCULATION
SEMI-PRIVATE SEMI-PRIVATE
PRIVATE CIRCULATION
UP
UP
PAINTER PAINTER
OPEN TO BELOW
PAINTER’S KITCHEN
SEMI-PRIVATE
RESIN CONE
UP
PAINTER’S LIVING SPACE OPEN TO BELOW
PUBLIC PUBLIC
PAINTER
UP OPEN TO BELOW RESIN CONE
UP
PLASTER GRADIENT FLOOR
DANCER DANCER
DANCER’S LIVINGROOM
UP
PAINTER’S BATHROOM PAINTER’S BEDRROM
SHARED STUDIO A
UP
C
UP
UP
A
RESIN CONE
PUBLIC
PLASTER GRADIENT FLOOR
3RD FLOOR DANCER
3RD FLOOR
3RD FLOOR
C
UP
A
C
UP
UP
PUBLIC CIRCULATION PUBLIC CIRCULATION PUBLIC CIRCULATION
PRIVATE CIRCULATION PRIVATE CIRCULATION LIGHT DIAGRAM
D I A G R A M S
B UP
DANCING STAGE
B
DANCER’S BEDROOM
DANCER’S KITCHEN
UP UP
LIGHT DIAGRAM
B UP
UP UP
2ND FLOOR RESIN CONE
UP
PLASTER GRADIENT FLOOR
UP UP
RESIN CONE RESIN CONE
2ND FLOOR
PLASTER GRADIENT FLOOR PLASTER GRADIENT FLOOR
UP
2ND FLOOR
PAINTING RACK
PAINTER’S
UP
GALLERY
LIGHT DIAGRAM
UP
BATHROOM
FLOOR PLAN 1
/8” = 1’ - 0”
DANCER’S UP
1ST FLOOR LIGHT DIAGRAM LIGHT DIAGRAM
FLOOR PLAN SCALE 1/4” = 1’ - 0’
LIGHT DIAGRAM
PRIVATE CIRCULATION
UP
1ST FLOOR
SECTION A
PLAS
View from main entrance to gallery space
View from dance stage to stairs that also function for public seating
View from top skylight
M O D E L
SECTION B
P H O T O G R A P H
SECTION C I N V I S I B L E
C O N E
F A C E T E D VISUAL ARTIST SENSORY INCUBATOR | DESIGN STUDIO 1: IVAN CHABRA | Fall 2013
O V E R V I E W
This Sensory Incubator is located in Headland Center for the Arts: West Wing. This sensory incubator is directed specially for a visual artist, Steve Carr during his stay in Headland Center for the Arts. This faceted design of the overall incubator is believed to be served not only for the artist himself, but also for the visitors to enjoy his artworks. All works produced were done manually, without digital media.
PHOTO COLLAGE
These collages show different activity that can be conducted inside the incubator, either for the artist himself or the visitors. Tools: Adobe Photoshop F A C E T E D
I N C U B A T O R
PHYSICAL MODEL PHOTOGRAPH
Medium: museum board, foamies, acrylic sheet, trace paper
SECTION
HAND RENDERING
PLAN
CONSTRUCTED HAND DRAWINGS
Medium:: Pencil on Vellum
F A C E T E D
I N C U B A T O R
M
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T
A
L
HAND FABRICATION | MATERIALITY & SPACE 1: MEGAN WERNER | Fall 2013
O V E R V I E W Material exploration in Metal and how it is developed from original pattern to its iteration and final prototype of 20”x20” atmospheric screen. This final metal atmospheric screen a 20” x 20” free-standing screen developed from the 2D original pattern. The verb “to split” from Richard Serra’s verb list is used to describe the motion created from this 3D screen. All the process done for this project is done manually, without digital media. M E D I U M Brass tube, Aluminum tube, Brass strip sheet, metal wire
FINAL MODEL PHOTOGRAPH
Using the verb “to split” to transform 2D pattern into 3D free standing atmospheric screen Medium: brass tube, aluminum tube, brass strip plate M E T A L
S C R E E N
PROCESS DRAWINGS
Medium: pencil on vellum
PHYSICAL MODEL
Size: 20” x 20” Medium: brass tube, aluminum tube, brass strip sheet, metal wire M E T A L
S C R E E N
C O N T A C T
K A R I N A
J U S U F | K J U S U F @ C C A . E D U | 6 5 0
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