Consultation Report: Integrating Advanced Design and Fabrication Technologies by Kent Wilson

West Valley College

Cilker School of Art & Design Fabrication Lab Planning Report Kent Wilson, Consultant June 2019

Copyright ÂŠ 2019 Kent Wilson All rights reserved. This report or any portion thereof may not be reproduced or used in any manner whatsoever without express written permission of the publisher, except for uses afforded to West Valley College by the contract under which this work was produced. This report contains photographic images subject to copyright protection by the respective owners of those images, used here under fair use provisions for educational purposes. Kent Wilson, Berkeley, California www.wilson3d.com

West Valley College

Cilker School of Art & Design Fabrication Lab Planning Report

Acknowledgements

Administration

Andrew Chandler, Dean of the Cilker School of Art & Design

Faculty

Architecture Soroush Ghahramani Digital Media Jean McIntosh Jeff Rascov Fashion Design Sally Aitken Tiina Keller Kaee Min Interior Design Diane Hurd Christopher Wright Cigdem Bulut

Student Panel

Irene Cardona Bennett Grisley Lisanne Huber Payal Thacker

Consultant

Kent Wilson

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> i

Table of Contents

Executive Summary Executive Summary . . . . . . . . . . . . . . . . . . . . . . . . 1:1

Holistic Approach Conceptual Premise

. . . . . . . . . . . . . . . . . . . . . .

2.1

Positioning within Cilker Strategic Plan . . . . . . . . . . . . .

2.2

Art, Design and Technology (ADT) Integration in Career Technical Education (CTE) . . . . . . Digital Design and Fabrication Landscape Digital Fabrication Primer

. . . . . . . . . . .

2.3 2.5

. . . . . . . . . . . . . . . . . . . 2.29

Thinking Curricular Integration Strategy . . . . . . . . . . . . . . . . .

3.1

Evaluation of Current Curriculum

3.8

. . . . . . . . . . . . . . .

Student and Faculty Engagement . . . . . . . . . . . . . . . . 3.12

ii >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Making Ideation Meets Material

. . . . . . . . . . . . . . . . . . . .

4.1

Lab Operations . . . . . . . . . . . . . . . . . . . . . . . . .

4.2

Student Access and Usage

. . . . . . . . . . . . . . . . .

4.2

Staffing . . . . . . . . . . . . . . . . . . . . . . . . . . .

4.5

Operational Best Practices . . . . . . . . . . . . . . . . .

4.6

Consumables and Supplies

. . . . . . . . . . . . . . . . .

4.6

Space Plans - Architectural Drawings . . . . . . . . . . . . . .

4.8

Equipment Lists and Budget Estimates . . . . . . . . . . . . . 4.24

Appendix (separate document) General Workshop Safety Document Samples Sample Job Descriptions - Staff and Student Staff Liability Waiver Sample Training Modules Samples Equipment Specification Sheets California CTE Standards for Arts, Media and Entertainment California CTE Standards for Architecture Links

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> iii

Executive Summary Committed to taking a leading role among California community college design programs, the Cilker School of Art and Design has commissioned a plan for holistic, human-centered integration of advanced digital design and fabrication technologies in its four programs: Architecture, Digital Media, Fashion Design and Interior Design. Excellence in Career Technical Education

“CTE programs are dynamic; curricula need to stay current with rapid changes in the workplace, requiring ongoing updates and learning on the part of CTE faculty.” – from California State Plan for Career Technical Education

This plan builds upon the key role that community colleges play in shaping the unique culture of creative innovation in California, a culture propelled and symbolized by the dynamism of the San Francisco Bay Area and Silicon Valley. Located within this center of creativity and commerce, the Cilker school prepares California residents to meet the challenges of the twenty-first century as they train or retrain to join California’s rapidly evolving workforce. The community college, in its dual role as both vocational and university preparatory school is on the leading edge of economic and social changes brought by challenges such as climate and ecological disruption and the upending of traditional work cultures by automation and big data. The close-knit academic community at the Cilker school and its established excellence as a bridge between secondary education and four-year degree program or career path position it to meet these challenges with unique creativity and human-centered inventiveness. Our approach to digital design and fabrication technologies will result in stronger support for both transfer-directed and workforce-directed paths in which soft skills, human centered design, interdisciplinary collaboration and access for diverse populations – all increasingly recognized by employers as keys to success – characterize the preparation of a resilient, engaged and informed workforce. West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.1

1822

Mechanical Tabulation Machine Charles Babbage developed a steam driven calculating machine to compute tables of numbers a century before the first electronic computers were developed

Holistic Approach A holistic approach fosters human volition in all facets of the plan to integrate advanced design and fabrication technologies at the Cilker school. Whether through space planning, tool selection, pedagogical and curricular strategies, student and faculty engagement, or its other aspects, the plan aims to place the student at the center. Students should emerge from Cilker programs adeptly in control of the technologies. Our holistic approach is a human centered approach. Digital Design and Fabrication Landscape The school embarks on this effort in a time and place where the future of design, making and manufacturing has been and continues to be radically reshaped. A brief look at the recent history of adoption of digital design and fabrication tools will provide essential context for the Cilker school’s plans and will elucidate the examples of notable digital design and fabrication deployments in commercial and educational spaces provided in dedicated sections of this report. COMMERCIAL

1900

Algorithmic Programming Ada Lovelace, collaborating with Charles Babbage, developed computational algorithms for punched card systems and envisioned possibilities beyond tabulation for the programs of a calculating machine

1890

1843

1804

1800

Numeric Control of Textile Weaving Jacquard Loom with Punch Cards Numeric control (NC) first applied to machine tools with “gcode,” to be adapted in the next century to computer numeric control (CNC) of fabrication and 3D printing

Electric Tabulating System Herman Hollerith developed a punch card tabulating system that can both read and write information for the 1890 US census effort, forming a company that eventually evolved into IBM

product design and industrial applications such as mold making for foundry work. In the San Francisco Bay Area, with it’s long history of “making” and creative innovation, forward thinking makers had begun to adopt the technologies. In 2006, Menlo Park startup TechShop initiated a business model that made digital fabrication tools available to a wider market. By 2017, they had opened ten locations in the United States. Their demise in 2017 corresponded to such broad adoption of these technologies in education, industry, and the home that the ubiquity of the tools rendered TechShop’s specialized business model functionally obsolete. In 2012, the design software giant Autodesk opened a multi-million dollar technology center with advanced fabrication labs at its core at Pier 9 in San Francisco. They have since replicated this model with centers in Boston, Toronto and Birmingham UK. Following this trend, Google and other tech companies have established digital fabrication labs both for research purposes and as an employee amenity, while some wealthy Bay Area executives have constructed advanced digital fabrication facilities in their homes and studios for private use.

The increasing proliferation of digital design and fabrication tools in mainstream education in the last ten years has emerged after commercial adoption that began much earlier. That commercial adoption was made possible by research that preceded it at universities such as UC Berkeley and MIT in developing the basic technologies and patents.

Within this rapidly expanding proliferation of digital design and fabrication tools, employers across disciplines increasingly expect to hire designers with at least basic competencies in these technologies.

By the mid-1990s digital printing, laser cutting, water-jet cutting and CNC milling were already transforming fabrication processes and influencing the design of buildings, products, apparel, marketing communications and graphics. Ten years later, 3D printing – still almost unknown to the general population of educators – had already made inroads into

Beginning in the early 2000s, many universities had added laser cutting and CNC milling tools to their analog fabrication facilities. A few colleges and universities had deployed early 3D printing technology – especially first generation powder printers. These tools initially served engineering and product design teams for basic prototyping needs.

EDUCATIONAL

1.2 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

In 2015, when the Jacobs Institute for Design Innovation established its interdisciplinary digital fabrication and design incubator in the College of Engineering at UC Berkeley, many schools had already acquired increasingly advanced 3D printers, including ceramic clay printers, robot arms with printing and cutting ends, CNC milling, and water jet cutting tools. Consumer-grade desktop extrusion printers had become ubiquitous on campuses, even at the elementary and high school levels, by 2017. The goal of establishing a “maker space” became a priority for schools worldwide at the same time as strong links between thinking and making, creativity and innovation, learning by doing began to gain renewed traction among educators. For example, Girls Garage in Berkeley now trains girls as young as nine years old in the use of professional power tools for “carpentry, welding, architecture, and activist art” in a design and building program that links competence in physical craft to independence and social activism. Their mottoes “Fear less. Build more.” and

2020 2019

Planned Opening of Cilker Fabrication Lab

TechShop brings makerspace concept to consumer market

2006

2003

1990s

3D Printing Costly 3D Powder printers in use in some academic and commerial settings, soon followed by economical options

2012 2015 2016

Laser Cutting In the 1980s, early laser cutters were in use in high-end manufacturing

By 2007, digital fabrication tools began to serve more experimental and conceptual design research. Innovators like UC Berkeley professor Ronald Rael and his student collaborators, including the author of this report, pushed past the prototyping boundaries to explore end-use architectural applications for 3D printing and develop building-scale components rather than prototypes. They broke away from the manufacturer’s recommendations to hack into and adapt the machines to utilize custom-formulated materials, including cement, salt, wood, and other friable substances shaped into architectural components with parametric software tools. Nari Oxman at MIT began to produce art and architecture that combines design, fashion, biology, computing and material innovation using light-cured resin 3D printing technology.

Commercial Fabrication Advances in digital processing bring laser, water jet cutting, CNC routing, and large-format digital printing to mass market applications

2000

1950s

1980s

CNC Fabrication MIT research yields fabrication machines that move in x, y and z axes controlled by punch card or punch tape coding – fabrication technology that proliferated in high value military, aerospace and automotive applications

1936

Early Modern Computing Alan Turing invented a machine that established the conceptual basis for the modern computer

Autodesk Pier 9 Massive trend-setting advanced fabrication and innovation lab opens with thinking and making design ethos

Jacobs Institute for Design Innovation Premier fabrication lab and design institute opens at UC Berkeley

1st International Symposium on Academic Maker Spaces Reflects rapid proliferation of maker spaces in academia

Humanmade Non-profit startup focused on supporting workforce development opens 13,000 sq ft state-of-the-art fabrication facility in San Francisco

“Fuse metal. Make trouble. Speak up. Stand out.” express the sense of empowerment increasingly associated with these competencies. Enthusiasm for the new fabrication technologies verged on utopian by the mid-2010s. That enthusiasm continues to build, but now with a more human-centered, craft-oriented tone – together with an interest in deeper critical discourse and scrutiny. For example, during the writing of this report, UC Berkeley’s Jacobs Institute for Design Innovation and College of Environmental Design jointly announced on June 25, 2019 the launch of a new advanced degree (MDes) program engaging in design for emerging technologies. The announcement quotes Bjoern Hartmann, faculty director of the Jacobs Institute as saying: “This new degree program will educate designers with a deep understanding of the foundations of emerging technologies as well as their social implications, a perspective urgently needed today.” UC Berkeley is not the first to launch such a program, but now joins other leading universities in advancing a holistic approach to art,

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.3

design and technology and setting a standard that can inform efforts by the Cilker school to prepare students for transfer or career. Curricular Integration Integration of advanced design and fabrication technologies will transform creative pedagogy at the Cilker school. Curricular integration of these technologies will begin first at the project level with incremental integration into student assignments starting as soon as the tools in the fabrication lab are available for use. Second, integration of advanced technologies into syllabi and Course of Record Outlines can begin immediately, continue to evolve and appear in curriculum in 2020. Finally, the integration will drive program adjustments as additional or completely overhauled classes, and potentially a new program area roll out within 3 to 5 years. This report details seven creative strategies informed by practices that unlock creativity and unleash innovative results in some of the worldâ&#x20AC;&#x2122;s top design programs. These seven strategies, when deployed by students, foster a uniquely creative culture of making, and benefit greatly from the availability of advanced design and fabrication tools. Details are provided in the Curricular Integration Strategy, Section 3.2 of this report. We recommend that student assignments and projects empower students to deploy these strategies as fully as possible:

1. Kitbash and Cannibalize 2. Translate Through Media and Material 3. Fuse the Analog and the Digital 4. Seek and Celebrate Mutations 5. Consume Complexity in Small Bites 6. Build Stories and Meaning

In addition to the forms of engagement already inherent in each of the recommendations, we provide recommendations specific to student and faculty engagement. These include suggestions for extracurricular creative skill development for students, and professional development for faculty and staff.

7. Cultivate Soft Skills THE QUALITY OF

YOUR LIFE

THE QUALITY OF

YOUR RELATIONSHIPS

We provide recommendations for applying these strategies to twenty specific courses from the schoolâ&#x20AC;&#x2122;s 2019 curriculum in ways that can transform assigned projects and syllabi. Those recommendations can model their similar application to other classes. 1.4 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Tools and Lab Space Tied to Curricular Goals Only when the designer begins the actual work of inscribing an idea into physical form can dialogue happen between physical reality and ideation, between constraints and aspirations. That dialogue makes great work, as thinking and making work together to solve problems, create beauty and meaning, and drive progress. Excellent design requires not only head space, as provided with effective curricular integration. It also requires physical space and tools. In support of the pedagogical approach proposed here, including the seven strategies for curricular integration, the following concepts drive our recommendations for the design, planning and operation of the fabrication lab. Support Hybrid Work The workspace will foster creative exploration across material and media, and support hybrid forms of digital and manual making with the best available tools for each process defined by ease of adoption, serviceability, reliability and durability. Accommodate Education and Training The space will accommodate periodic workshops and classes in which proximity to and incorporation of the available tools constitute integral components. This includes safety and skills training specific to particular machines, as a prerequisite to student access. Provide Visibility The space design will bring visibility to the creative fabrication lab in everyday use, through special events that demonstrate and exhibit the work, and with objects on longer-term display as samples of specific processes. This will showcase the creative processes, the technological tools, and the work produced. This visibility will educate and motivate students, faculty, staff and visitors, and will symbolize Cilker’s leadership in integrating advanced technologies in design education. Configure Machine Efficiency The positioning and grouping of machines will maximize efficiency of mechanical systems while balancing these with

equally important ergonomics, environmental comfort and creative work flow. Primary considerations include: • Tool selections that prioritize ease of use and adoption coupled with reliability and durability • Mitigation of dust, fumes, and noise • Adjacencies with material staging spaces and complementary workspaces • Lines of sight for safety and supervision • Ease of maintenance • Hierarchy of access This plan includes schematic design plans for the renovation and conversion of Cilker Room 116 into a 1600 square foot digital fabrication lab designed as the primary physical infrastructure to support the transformation in the Cilker curriculum – a transformation aimed at making West Valley College a leader among California community colleges in integrating advanced design and fabrication technologies in design education. Room 116 was selected over other potential spaces of similar size in the Cilker building for several reasons. First, this room has an adjacent storage room that will serve a vital material, tool and supply storage needs. Second, the room’s proportions and configuration lend themselves to the necessary division of the space into a hierarchy of uses and access levels. Third, the visibility of the space from the adjacent hallway and courtyard satisfy the need for visibility outlined above, ensuring that this can be an active, vibrant hub. Finally, the adjacent courtyard will serve as an attractive and visible event, demonstration and exhibition space to support engagement with the lab. Anchoring the north end of the Cilker building, on axis with the student resource center that anchors the south end, this space is conceived of as a spatial and material bridge that not only connects thinking and making, but also weaves together a culture of interdisciplinary collaboration among Cilker’s four programs. This report provides starting points for a holistic approach that synthesizes thinking and making with advanced technologies in a process that should undergo continual reevaluation and adjustment as both Cilker culture and available technologies rapidly evolve.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.5

The fabrication lab anchors the north end of the Cilker building, while the student resource center anchors the south, forming a north-south axis flanked by the program specific classrooms, woven together by the common areas along that axis â&#x20AC;&#x201C; the courtyard adjacent to the fabrication lab, the

student lounge space, and the auxiliary workshop space adjacent to the student resource center. This arrangement ensures opportunities for visibility of the new student projects, and cross-pollination of ideas among students and faculty from the four programs.

1.6 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

B C

A A

Within the fabrication lab, a hierarchy of spaces puts the most frequently accessed and least hazardous tools at the forefront (A), to provide the Hybrid Work Space, laser cutters, 3D printers and staff desk with maximum visibility and access. This space also accommodates workshops, classes and events specific to the lab tools. Double doors to the attractive courtyard extend the space for hosting of events and exhibition of work. The CNC router, and Wood Shop, with saws and other power tools, occupy a dedicated space (B), partitioned from the primary space to mitigate sound and dust, and to control access to tools which require more stringent safety precautions and access rules than the tools in the main space.

Placement of the CNC routing system near woodworking tools facilitates hybrid work. For example, CNC routed parts might be sanded, finished and assembled in the wood shop. The glazed partition allows line-of sight for staff, and CNC users can work on projects in the adjacent space (A) while monitoring the progress of their CNC work during its long operation cycles. The Material Storage and Supplies room (D), accessed by staff, and offlimits to users puts large, heavy material supplies closest to the Wood Shop and CNC where they are most used. Dust collection systems are located here to sequester noise while maintaining proximity to the tools they serve. An exterior door allows deliveries without disruption of the other spaces.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.7

BOSCH MITER SAW JET BAND SAW DRILL PRESS COMBINATION SANDER SAW-STOP TABLE SAW SPRAY BOOTH

MATERIALS & SUPPLIES and DUST COLLECTION SYSTEMS

SHOPBOT CNC MILL

Universal Laser Systems Laser Cutters/Engravers (several sizes) Robust steel shop tables with maple work tops, electrical outlets and casters

See full equipment list and architectural plans at the end of this report.

1.8 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

WOOD SHOP & CNC ROUTING

Staff Desk Form3 Resin (SLA) 3D Printers Ultimaker (FDM) 3D Printers

HYBRID WORK SPACE

COURTYARD

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.9

Artistâ&#x20AC;&#x2122;s rendering of the hybrid work space (wood shop and CNC milling area beyond), with laser cutters, 3D printers, work tables and display shelves to be fabricated in the lab. 1.10 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.11

Artistâ&#x20AC;&#x2122;s rendering of the wood shop, viewed from the CNC milling area.

1.12 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.13

The wood shop incorporates premium wood working tools with computer controlled routing (CNC).

1.14 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

The existing courtyard, currently under utilized, is a major aesthetic feature of the Cilker building. Its excellent visibility both from and into the lab, and its direct access, make it an attractive enhancement for periodic lab events as overflow and exhibition space. At other times it will serve as an easily accessible quiet retreat from the shop. West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 1.15

Holistic Approach Conceptual Premise

“The convenience factor is great, but you have to dig deep into the tool to avoid being manipulated by it.” – E. J. Meade, AIA

A holistic approach fosters human volition in all facets of the plan to integrate advanced design and fabrication technologies at the Cilker school. Whether through space planning, tool selection, pedagogical and curricular strategies, or student and faculty engagement, the plan aims to place the student at center. Students will emerge from Cilker programs adeptly in control of the technologies. The plans and recommendations in this report spring from a holistic approach to integration of advanced digital design and fabrication technologies in creative pedagogy. This reaches beyond vocational skill development to support the whole student, who we conceive of as a unique human subject guided and empowered to lead in their own creative development and initiate positive change in their world. This requires technological tools appropriately matched to a curricular framework that supports each student’s development and ownership of their creative and intellectual positions in relation to the tools. This inherently social synergy is born of relationship networks, collaborations and robust discourse. The holistic approach recognizes human interaction as the basis for individual understanding of self and purpose. It recognizes human-machine interaction as mediated interaction between one human and another whose agendas remain embedded in the design of the technological tool. A holistic academic approach demystifies and critiques these mathematical forms of human interaction. Students intelligently confront the shifts in agency that the technologies engender, and creatively reassert their own volition. A holistic approach is a human-centered approach. West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.1

Positioning with Cilker Strategic Plan This plan derives its mandate from the Cilker Strategic Plan. While the recommendations here will support most of the strategic plan objectives directly or indirectly, the specific objectives most directly addressed are: Innovation and Technology (within Pursue Excellence) Support of Faculty Innovation (within Organize Change) Responsive Curricula (within Organize Change) Implementation of these recommendations will also positively impact academic quality, whole student support and the resulting ability of students to engage effectively in conscious socially responsible deployment of their skills and talents and to promote social equity in the face of often technologically driven asymmetries of power.

2.2 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

ADT Integration in CTE The plan to integrate advanced digital design and fabrication tools in the design programs at the Cilker school provides strong support for the state of California Career Technical Education (CTE) standards in the school’s curriculum and facilities. Design education – especially with integration of advanced technologies deployed according to the strategies outlined in this plan – provides a particularly rich context for implementing these standards.

Full text of these standards is included in the appendix for this report, in the California CTE Model Curriculum Standards document. Art, design and technology (ADT) – especially when integrated in cross-disciplinary projects and classes – are unique among academic pursuits in affording creative handson experiential learning opportunities for students to excel in application of each of the twelve CTE standards.

California CTE Standards for Career Ready Practice 1. Apply appropriate technical skills and academic knowledge. 2. Communicate clearly, effectively, and with reason. 3. Develop an education and career plan aligned with personal goals.

The Thinking section of this report contains example cases and recommendations for deploying engagement with advanced design and fabrication technologies in curriculum to catalyze student competencies in each of the areas addressed by the CTE standards. We provide seven strategies that not only lead to exciting creative work, but provide students with a set of strategic tools for cultivating the self-confidence and creative curiosity that form the foundation of these standards.

4. Apply technology to enhance productivity. In the Making section of this report, we design and specify 5. Utilize critical thinking to make sense of problems the physical facility and tools that will support this inteand persevere in solving them. gration of ADT and CTE – the Cilker fabrication lab – and provide reference for recommended best practices. From 6. Practice personal health and understand financial literacy. the space plan, to equipment specification, to use guidelines and best practices, every aspect of the facility plan 7. Act as a responsible citizen in the workplace aims to support specific curricular objectives in ADT that and the community. link directly to the CTE standards. 8. Model integrity, ethical leadership, and effective management. 9. Work productively in teams while integrating cultural and global competence. 10. Demonstrate creativity and innovation. 11. Employ valid and reliable research strategies. 12. Understand the environmental, social, and economic impacts of decisions.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.3

Digital Design and Fabrication Landscape

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.5

Digital Design and Fabrication Landscape: Architecture

Photo: Kent Wilson

Digital design and fabrication have transformed architectural design, not only in highly visible projects, but also in hidden ways that integrate seamlessly with the everyday built environment. In San Jose, for example, the domes of the 1885 Cathedral Basilica of St. Joseph (center right) are digitally fabricated reproductions made of light-weight resin composite shaped and crafted by Kreysler and Associates, a Bay Area fabrication shop with advanced 5-axis robotic CNC milling tools. More visible examples in San Jose include digitally designed patterns that adorn the parking structures at the San Jose International Airport (bottom), and digital designs laser-cut in steel in public projects such as the fence shown here (lower right). In a high-profile example, the new addition for San Francisco MOMA (below) features extensive digital design and fabrication in itâ&#x20AC;&#x2122;s exterior skin, designed by Snohetta and fabricated by Kreysler and Associates.

2.6 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Architecture

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.7

Photos, this page: Kent Wilson

Architecture | Digital Design and Fabrication Landscape

The work of Wan Yan (above), CCA Design Media II, Spring 2018 An architectural design studio at California College of the Arts. Digital modeling creates designs for CNC routing, which produces objects that form molds for vacuum forming. The vacuum formed shell then serves as form work for cement casting to replicate the original part. These casts aggregate to form a landscape to host 3D printed models (powder process) and aggregations of laser-cut modules. The project is documented through renderings and drawings. Each phase of translation through different tools and materials results in anomalies and transformations that inform subsequent iterations and the design concept as a whole. Students learn not only skills specific to each tool and material, but also gain understanding of the challenges inherent in translating an idea through varied processes. 2.8 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Design and Fabrication Landscape | Architecture

In his 2014 M.Arch thesis, Hazardous Atmosphere’s, at UC Berkeley’s College of Environmental Design (top), Benjamin Golze deployed multiple forms of digital fabrication: 3D printing, CNC cut adhesive vinyl, and laser cutting. Together with smoke, light and video effects, these techniques supported a witty and exquisitely crafted presentation with strong social and political engagement. A scale model (left) – one of ten from Kent Wilson’s 2015 M.Arch thesis, Cloud Capitol, which grappled with similar social, political and economic critiques – integrates an array of advanced digital design and fabrication techniques with hand craft. Research into architectural applications for 3D printing at UC Berkeley produced Bloom (above) as a case study. Crafted with 840 individually unique 3D printed blocks, the project broke new ground for 3D printing at architectural scale.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.9

Digital Design and Fabrication Landscape Fashion Design Fashion design offers particularly rich and prescient opportunities to embrace digital design and fabrication. Textile designs respond well to digital design and fabrication tools such as laser cutting, while digitally designed and 3D printed jewelry, accessories and shoes are developing a strong market presence. Even as 3D printing has yet to improve upon the mature material technologies of textiles, for which 3D printing cannot substitute, digital design and 3D printing nevertheless afford exciting conceptual exploration. But in leather goods, felts, jewelry and accessories â&#x20AC;&#x201C; digital design and fabrication already make a strong impact on fashion. Goods produced with these techniques are readily available on the market. Cilker students will have the tools to both prototype and produce laser cut and engraved leather, felt and fabric, 3D printed jewelry and accessories, laser cut and engraved jewelry and accessories in wood, acrylic, paper and fabric, and 3D printed or laser cut stencils and stamps for applying designs on fabric and other materials.

2.10 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Fashion Design

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.11

Fashion Design | Digital Design and Fabrication Landscape

2.12 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Fashion Design

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.13

Digital Design and Fabrication Landscape Digital Media Digital Media classes can expand creative opportunities for students by incorporating laser cutting and engraving, 3D printing and CNC milling in the form of both finished products like the book cover shown below and intermediary tools like the 3D printed debossing die shown at right. Even as the age-old technologies of printing adapted and absorbed digital design technologies starting in the 1990s, they now readily adapt to advanced digital fabrication techniques.

2.14 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Design and Fabrication Landscape | Digital Media

Bay Area woodworker Carleen Weirauch adeptly blends digital and analog in her commercial sign work (above). Weirauch selectively applies digital design, laser cutting and engraving to augment the hand craft. In a student portfolio (top) San Jose State University Interior Design student Michelle Rumawas deployed laser cutting and engraving to enhance traditional bookbinding.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.15

Digital Media | Digital Design and Fabrication Landscape

Stencils, dimensional lettering, rubber stamps and embossed or debossed designs are among the techniques that laser cutting and engraving, 3D printing, and CNC routing will enable for digital media students. Appalachian State University graphic design faculty member Taekyeom Lee combines typography, ceramics and 3D printing (below right).

2.16 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Digital Media

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.17

Digital Design and Fabrication Landscape Interior Design The interior design field embraces and deploys digital design and fabrication technologies in spectacular ways, and students can find inspiration in the breadth of creative opportunities. These pages feature examples from professional practice and student work. The projects deploy CNC milling, laser cutting, 3D printing, and ceramic 3D printing â&#x20AC;&#x201C; all techniques with practical application in design classes, studios and design practice.

French architect Odile Decq works with undulating forms that emerge from 3D digital modeling techniques and digital fabrication

Bar Raval in Toronto features a complex assemblage of digitally-designed, CNC-routed components, meticulously hand finished

Rhino-designed form, CNC-routed ribs and hand-crafted bent-wood strips characterize the work of Brooklyn sculptor Matthias Pliessnig

2.18 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Interior Design

MIT professor, architect, and designer Neri Oxman (center right) employs computational design and resin-based 3D printing combined with hand craft in her furniture and other design explorations West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.19

Photo: Kent Wilson

Photo: Kent Wilson Photo: Kent Wilson

Photo: Kent Wilson

Interior Design | Digital Design and Fabrication Landscape

Interior design students at San Jose State University explore design with 3D printed ceramic modules (top and left), while design professionals use 3D printed bio-plastic (middle, right), and laser-cut corrugated cardboard to invent new styles of interior light fixtures.

2.20 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Design and Fabrication Landscape | Interior Design

Instructor Eleanor Pries (top) guided San Jose State University seniors through interior design studio in which 3D printed connectors combine with laser-cut plywood in studies of pattern and space for interior design.

Photo: Kent Wilson

In a group project, first-semester freshmen at SCI-Arc produce installations using CNC routed plywood and wood strips (above left) and laser-cut acrylic (above right). In a more advanced project, SCI-Arc faculty and students designed and fabricated a modular bio-inspired conference table (right) in which individual â&#x20AC;&#x153;petalsâ&#x20AC;? can either roll out as individual work stations or plug into a central core.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.21

Digital Design and Fabrication Landscape Fabrication Labs: Autodesk Pier 9 Autodesk describes its Pier 9 center as follows: â&#x20AC;&#x153;The Autodesk Technology Center in San Francisco is a hub for the exploration of the future of manufacturing. Focused on the concept of configurable microfactories it offers a range of advanced manufacturing equipment, robotics, general shop facilities and workspaces to research and develop ideas that push the boundaries of manufacturing.â&#x20AC;? While Pier 9 was the original technology center conceived by Autodesk, the company has since expanded the concept, with centers in Boston, Toronto and Birmingham, UK that have expanded the idea. A high profile Artist In Residence (AIR) program generates exciting creative projects that merge art, design and technology (a few examples shown here) to push the boundaries of digital design and fabrication technologies.

2.22 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Design and Fabrication Landscape | Fabrication Labs

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.23

Digital Design and Fabrication Landscape

Photo: Kent Wilson

Fabrication Labs: The Jacobs Institute for Design Innovation According to their website, “The Jacobs Institute for Design Innovation is UC Berkeley’s interdisciplinary hub for learning and making at the intersection of design and technology. We aim to educate students who understand both the details that make something work and the big-picture context that makes something matter.” The institute states that from their home in Berkeley’s College of Engineering, “we serve as a welcoming hub: here, engineers, artists, and makers of all kinds can gather and collaborate. In a space designed to mix students of different disciplines, expertise levels, and modes of engagement...” Jacobs Hall, opened in August 2015. The 24,000-squarefoot building’s “light-filled design studios and equipment labs offer flexible space and access to tools for prototyping, iteration, and fabrication. From sketching to cutting-edge digital fabrication, the building facilitates a diverse range of making practices under one roof.”

2.24 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Fabrication Labs

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.25

Digital Design and Fabrication Landscape Fabrication Labs: Humanmade Opening August 10, 2019 with startup funding from the City of San Francisco, Humanmade states a mission “to empower individuals... to become the next generation of inventors, designers, and makers.” With “brand new, industry standard, rapid prototyping tools and software, cutting-edge facilities, and training” they offer “mastering maker-based skills through comprehensive instruction and mentoring from expert staff, [through] a safe, meaningful, and rewarding experience.” This effort, aimed at workforce development, reflects a renewed emphasis on the human in human-machine interaction, and keen awareness of the skills required in the new technological workplace.

2.26 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Design and Fabrication Landscape | Fabrication Labs

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.27

Digital Fabrication Primer

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.29

Digital Fabrication Primer Laser Cutting _______________________________________________ BASICS The laser cutter moves a lens with a high-powered laser beam in the x and y axes according to input it receives from a 2D digital file to cut through or engrave sheet materials. Objects and materials that are too thick to cut can sometimes still be engraved on their surface. Laser cutting also provides a good prototyping tool in design exercises that envision finished work that would be cut by water jet or CNC router. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Architectural models, site models, drawings, presentation graphics, exhibition/display support, 2D and 3D design solid/ void exercises, design experimentation

Universal VLS6.60

DIGITAL MEDIA Cut-out lettering, signage, templates, stencils, embossing, debossing forms, 2D design exercises, exhibition/display support, drawing and design experimentation FASHION DESIGN Fabric and leather cutting and embellishment, jewelry prototyping and creation, exhibition/display support, drawing, fashion accessory prototyping and creation, stencils for fabric print

Laser cutter in action

Photo: Kent Wilson

INTERIOR DESIGN Architectural models, site models, drawings, presentation graphics, exhibition/display support, 2D and 3D design solid/ void exercises, lighting and decorative accessories, furniture design prototyping and development _______________________________________________ RECOMMENDED Universal Laser Systems VLS6.60 32”x18” Universal Laser Systems ILS12.150D 48”x24” See list of recommended equipment in FF&E section of this report. _______________________________________________ MATERIAL Paper sheet goods (paper, cardboard, mat board) Plywood (1/8”, 1/4” thickness) Hardwood (up to 1/2” thick) Acrylic Some plastics and foams (limited) Will not cut metal, glass or stone, but can mark/engrave some _______________________________________________ SOFTWARE REQUIRED Windows 10 Adobe Illustrator or Rhino for 2D vector drawing (proprietary machine software included) _______________________________________________ HARDWARE REQUIRED PC work station

Laser-cut components with digital drawing and hand craft, UC Berkeley architecture department

2.30 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Fabrication Primer: Laser Cutting

Photo: Kent Wilson

Laser-cut bowls in 1/4” thick acrylic and 1/4” thick plywood (top and right) with water-jet cut bowl (left) in 1/4” aluminum

Photo: Kent Wilson

Laser-cut architectural model – museum board, painted after laser cutting, on acrylic base – UC Berkeley M.Arch studio

Photo: Kent Wilson

Laser drawing details, California College of the Arts

Laser-cut jewelry (see also Fashion section in Digital Design and Fabrication Landscape section of this report)

Laser-cut architectural model – corrugated cardboard, museum board – combining 3D printed canopy material, UC Berkeley architecture department

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.31

Digital Fabrication Primer CNC Routing _______________________________________________ BASICS The CNC (Computer Numerical Control) router moves a cutting blade in the x, y and z axes according to input it receives from a digital file. Its two main categories of milling are flat and contoured. See examples on these pages. _______________________________________________ SUPPORT FOR CURRICULUM See below, with examples on these pages, and in the Digital Design and Fabrication Landscape section of this report. ARCHITECTURE Site and terrain contour models, exhibition/display support, sculptural compositions, furniture, molds for casting or vacuum forming, ornament, concept DIGITAL MEDIA Cut-out lettering, signage, exhibition/display support, molds for vacuum forming of packaging prototypes FASHION DESIGN Exhibition and display support INTERIOR DESIGN Site and terrain models, exhibition/display support, decorative accessories, furniture, molds for casting or vacuum forming, prototyping for tiles and other decorative elements _______________________________________________ RECOMMENDED ShopBot 48”x96” See list of recommended equipment in FF&E section of this report. _______________________________________________ MATERIAL Up to 1” thick for cutting, 3” thick for contour carving: Plywood, hardwood and fiber board Some sheet plastics such as Delrin Cast plaster Rigid foam Will not cut metal, glass or stone _______________________________________________ SOFTWARE REQUIRED Windows 10 Autodesk Fusion 360 3D modeling software (Rhino, SketchUp, AutoCad) _______________________________________________ HARDWARE REQUIRED PC work station (proprietary machine software included) _______________________________________________ ADDITIONAL INFORMATION When cutting in contour mode (as in photo on right), the blade does not move all the way through the material, and thicker materials can be used. When cutting in 2D mode, the blade can move all the way through the material and can carve pockets (non-contoured shapes that only go partly through the material)

ShopBot CNC Router

The spindle and cutting blade

Contour cuts in maple

2.32 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Houzz

Digital Fabrication Primer: CNC ROUTING

Photo: Kent Wilson

CNC Routed bench using only 2D (non contoured) plywood cuts, aggregated and layered to generate a contoured effect. Note that significant amounts of hand crafting are required for finishing a piece like this.

Photo: Kent Wilson

CNC-routed “flat pack” shelving

Assembly of CNC contour routed parts at Bar Raval, Toronto, Ontario

A winning entry (2012) from Toronto’s annual Sukkahville juried competition. CNC-routed and sanded letters West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.33

Digital Fabrication Primer CNC VINYL CUTTING _______________________________________________ BASICS The CNC (Computer Numerical Control) vinyl cutter moves a blade in the x and y axes according to input it receives from a 2D digital file to cut various types of adhesive vinyl for window decals, wall graphics, display and presentation text, apparel (via heat transfer) and decals for furniture, electronics or products. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Graphics for presentations, wall graphics, window decals, prototype/simulate more advanced fabrication methods DIGITAL MEDIA Signage for walls, floors, windows and for product prototypes FASHION DESIGN Heat transfer graphics for apparel and accessories INTERIOR DESIGN Graphics for presentations, wall graphics window decals, prototype/simulate more advanced fabrication methods _______________________________________________ RECOMMENDED Roland 24â&#x20AC;? cutter and heat press See list of recommended equipment in FF&E section of this report. _______________________________________________ MATERIAL Opaque adhesive vinyl Translucent and frosted adhesive vinyl Heat-transferable adhesive vinyl _______________________________________________ SOFTWARE REQUIRED Windows or Mac OS Adobe Illustrator to create cutting files _______________________________________________ HARDWARE REQUIRED PC work station (proprietary machine software included)

2.34 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: CNC VINYL CUTTING

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.35

Digital Fabrication Primer Water Jet Cutting _______________________________________________ BASICS The CNC (Computer Numerical Control) system moves a high-pressure stream of water and abrasive (garnet granules) in x and y axes according to input from 2D digital files. Materials include metal, stone, glass, plastic, rubber, foams, and wood. _______________________________________________ RELEVANCE TO CILKER Some academic fabrication labs use the Omax machine shown (top), but its large size, high cost, and high operation and maintenance costs prevent us from recommending it at this time. In 2018, a new desktop water jet cutter came to the market. The Wazer company (a startup) sells this for under $10,000. The product seems promising as a future addition to the Cilker fabrication lab but needs to be proven effective before we can recommend it. With or without the in-house capabilities, a knowledge of water jet cutting is important for design faculty and students, especially in the architecture and interior design fields. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Structural components, ornamentation, signage DIGITAL MEDIA Signage FASHION DESIGN Accessories such as buckles, loops, embellishments or jewelery INTERIOR DESIGN Furniture components, ornamentation, fixtures, signage _______________________________________________ MATERIAL The water jet cutter will cut almost anything, but is not particularly suitable for wood or other water-absorbent materials. _______________________________________________ SOFTWARE REQUIRED Illustrator or 2D drafting software such as Rhino or AutoCad (propriety machine software included) _______________________________________________ HARDWARE REQUIRED PC work station

2.36 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Fabrication Primer: Water Jet Cutting

Metal, stone and glass customized with water jet fabrication featured in architecture, interiors and architectural signage increasingly in recent years. The tool works well for complex digital designs and for intricate repetitive patterns that would be difficult or impossible to produce with other tools.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.37

Digital Fabrication Primer 3D Printing: FDM (fused deposition modeling) _______________________________________________ BASICS A heated nozzle moves in the x, y and z axes extruding material to build objects. The process can be thought of as similar to a very precisely calibrated and controlled hot glue gun. Thin layers, deposited sequentially, fuse to each other as they cool. The machine is controlled by computer code generated by simple software that slices the digital model into the layers and creates x, y and z coordinates for the movements of the nozzle. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Concept models, structural detail and connector prototypes, massing models, furniture, figures DIGITAL MEDIA Debossing dies, dimensional lettering, FASHION DESIGN Accessories, embellishments, jewelery INTERIOR DESIGN Furniture, ornamentation, fixtures, signage, product prototypes _______________________________________________ RECOMMENDED MakerBot Replicator (shown), Lulzbot Taz and/or Ultimaker (not shown) _______________________________________________ SOFTWARE REQUIRED 3D modeling software such as Rhino, SketchUp, AutoCad or Fusion 360 (any program that can output a .stl file) Slicing software (MakerBot provides their own, other brands use freely available slicing programs) loaded on user’s machine or fabrication lab work station. _______________________________________________ COMPUTER HARDWARE REQUIRED Connects to user’s machine, or can use a dedicated PC _______________________________________________ STRENGTHS • Low-cost entry level for 3D design exploration. • Effective for design presentation and ideation for items to be produced later on more precise and expensive tools. • Accessible to novice users. • Minimal or no material handling hazards _______________________________________________ WEAKNESSES • Quality aesthetically unsuitable for some designer end uses. • Surface texture from layering (see images), can obscure fine details and affect tolerances. • Deformations can occur in the building of an object. • Support material (see image, next page) can be difficult to remove, and leaves marks on surface of object. • Objects frequently fail to print due to geometric anomalies. 2.38 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: MakerBot

Consumer Grade

Photo: Kent Wilson

Digital Fabrication Primer: 3D Printing

Support material is required, and is automatically inserted by the machine software, in places with overhangs or bridging forms.

Photo: Kent Wilson

Removal of support material can be difficult. Note the parts without extreme overhangs (red objects on facing page) that do not require support, in contrast to the model that requires extensive support (bottom of facing page). Some shapes (left) do not require support due to the smooth slope of the overhangs, which the machine can build incrementally without collapse. In the partially finished figure (above) both internal and external support can be seen. Failed prints (top) are frequent in this inexpensive and simple form of 3D printing. Failures have many causes, from variations in temperature that cause a part to come loose from the machine during build, to user error in attempting to print geometries not suited to the method. The low cost and ease of use, as well as failures, make this type of 3D printing a useful learning tool for understanding basic principles of the more complex types of digital fabrication and 3D printing.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.39

Digital Fabrication Primer 3D Printing: FDM (fused deposition modeling) Professional Grade _______________________________________________ BASICS Operating on the same principle as the consumer grade machines described on the preceding pages, these more advanced machines control many of the variables that affect precision and failure rate. Specifically, they control temperature and moisture within the machine and in the material supply. Such variations in temperature and moisture, causes for common failures that occur in consumer grade machines, are minimized here. These machines can employ more durable plastics in the finished 3D print, with higher melting points, smoother finish, and greater dimensional precision than the consumer grade models. They can also print with two separate materials within the same object: one material for the finished object, and a second material for the support structures, which are dissolvable. The dissolving process, however, involves a heated chemical bath that occupies lab space, requires trained staff, and involves increased safety and waste disposal procedures. The professional grade machines are simpler to operate than consumer grade machines, in terms of the immediate user interface for initiating a print. However, their high cost, higher material cost, more complex maintenance, costly consumables and more serious post-processing requirements (dissolving the support material) make them less practical from financial and staffing points of view for many fabrication labs. _______________________________________________ SUPPORT FOR CURRICULUM Concept models, structural detail and connector prototypes, massing models, furniture, figures DIGITAL MEDIA Debossing dies, dimensional lettering FASHION DESIGN Accessories, embellishments, jewelery INTERIOR DESIGN Furniture, ornamentation, fixtures, signage, product prototypes _______________________________________________ RECOMMENDED Smaller versions of the more advanced machines are being developed. Some may serve the Cilker fabrication labâ&#x20AC;&#x2122;s needs in the future. But, for reasons outlined above, we do not recommend these advanced 3D printing systems within the current plan. _______________________________________________ SOFTWARE REQUIRED 3D modeling software such as Rhino, SketchUp, AutoCad or Fusion 360 (any program that can output a .stl file) _______________________________________________ COMPUTER HARDWARE REQUIRED PC work station 2.40 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Fabrication Primer: 3D Printing

3D prints from a Dimensions machine (top) for UC Berkeley architecture studio models, in which support material has been dissolved in a hot sodium hydroxide bath. A part (above) shown before and after support material has been dissolved. Water-soluble support material (right) is available for some consumer grade machines that have dual material capability.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.41

Digital Fabrication Primer 3D Printing: SLA (stereolithography) _______________________________________________ BASICS Light-cured resin accumulates in thin layers as cross-sectional impressions of the object, projected onto the emerging surface. An post-processing bath completes the curing process as it removes and neutralizes uncured resin from the part. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Concept models, structural detail and connector prototypes, furniture, figures DIGITAL MEDIA Debossing dies, dimensional lettering, embellishments for packaging and print media, product prototypes FASHION DESIGN Accessories, embellishments, jewelery INTERIOR DESIGN Furniture, ornament, and fixture scale models, product prototypes _______________________________________________ RECOMMENDED Formlabs Form 3 and Form 3L _______________________________________________ SOFTWARE REQUIRED 3D modeling software such as Rhino, SketchUp, AutoCad or Fusion 360 (any program that can output a .stl file) Requires free PreForm software loaded on user’s computer _______________________________________________ COMPUTER HARDWARE REQUIRED Connects to user’s machine, or a dedicated PC _______________________________________________ STRENGTHS • Hi fidelity to digital model • Clarity of detail and dimensional precision • Smooth undistorted finish • Availability of porcelain-impregnated resin which can be kiln fired to vaporize resin and leave pure porcelain (see photos) • Availability of transparent materials • Particularly good for small, finely detailed objects _______________________________________________ WEAKNESSES • Higher material cost than FDM printers • Relatively small build volume compared to most FDM printers Form 3: 5.7”x5.7”x7.3” Larger build volume for the more expensive Form 3L: 11.8”x13.2”x7.9” • Support material (see image, next page) can be difficult to remove, and may leave marks on surface, but is generally cleaner to remove that FDM support

2.42 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

For most geometries, SLA prints require support material which must be removed manually (right), but the smooth finish, fine detail, and clarity of the transparent colors make the resin material attractive for many projects. West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.43

Digital Fabrication Primer 3D Printing: Powder _______________________________________________ BASICS Builds objects from digital 3D models by printing cross sections sequentially on thin layers of fine powder. The process does not require support material, as the powder bed supports the object while printing. Capable of integrated full spectrum color. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Concept models, structural detail and connector prototypes, furniture, figures DIGITAL MEDIA Debossing dies, dimensional lettering, embellishments for packaging and print media, product prototypes FASHION DESIGN Accessories, embellishments, jewelery INTERIOR DESIGN Furniture, ornament, and fixture models, product prototypes _______________________________________________ RECOMMENDED HP Jet Fusion 500/300 Series 3D Printer _______________________________________________ SOFTWARE REQUIRED 3D modeling software such as Rhino, SketchUp, AutoCad or Fusion 360 (any program that can output a .stl file) Requires free HP software loaded on user’s computer _______________________________________________ COMPUTER HARDWARE REQUIRED Connects to user’s machine, or a dedicated PC _______________________________________________ STRENGTHS • Clarity of detail and dimensional precision • Full spectrum integral color capability • Even intricate objects don’t require support during printing • Material strength • Refined finish _______________________________________________ WEAKNESSES • High cost for machine and material • Requires post-processing to vacuum away excess powder

2.44 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.45

Photo: Kent Wilson

3D Printing: Powder (continued)

Nearly full scale human figure (above) printed in sections, assembled after printing. Miniature human figure (right) demonstrates clarity of detail and color capability at small size.

2.46 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.47

Digital Fabrication Primer 3D Printing: Ceramic _______________________________________________ BASICS Extrudes ceramic clay in a continuous stream, moving in the x and y axes, with layer-by-layer movement in the z axis, to build ceramic objects which can be fired and glazed with traditional methods. The process does not accommodate support material, so designs must be structurally self supporting, without extreme overhangs. _______________________________________________ SUPPORT FOR CURRICULUM ARCHITECTURE Concept models, masonry building components, ornament DIGITAL MEDIA Ceramic letter forms, digital experimentation

Photo: Kent Wilson

INTERIOR DESIGN Ornament, light fixtures, product prototypes, tiles _______________________________________________ RECOMMENDED Scara V3 from 3D Potter, supported by a high quality pug mill that uses compressed air to extract air bubbles from clay _______________________________________________ SOFTWARE REQUIRED 3D modeling software such as Rhino, SketchUp, AutoCad or Fusion 360 (any program that can output a .stl file) Also requires free or low-cost slicing software such as Simplify _______________________________________________ COMPUTER HARDWARE REQUIRED Connects to user’s machine, or a dedicated PC _______________________________________________ STRENGTHS • Works best for robust closed-loop geometries _______________________________________________ WEAKNESSES • Limited geometric design options due to continuous extrusion (no start-stop of flow) and requirement that the object be self supporting.

2.48 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.49

Digital Fabrication Primer 3D Printing: Metal _______________________________________________ In just the last five to seven years, metal 3D printing has gone from rough academic experimentation to full commercial application. The rapidly evolving technologies include a wide range of different methods that include direct fusing of metal powder as well as 3D printing of castable high-wax-content materials shaped by 3D printing and then used in traditional lost wax casting processes to produce metal parts. While true metal 3D printing systems remain cost prohibitive and technically out of reach for the Cilker schoolâ&#x20AC;&#x2122;s current fabrication lab plans, we might expect lower-cost and more technically accessible tools to become available in the next five years. More importantly, for the purposes of the current plan, we recommend robust inclusion of metal 3D printing in the conceptual framework of the student instruction, since designers will inevitably encounter this technology in their careers. Awareness of, and planning for this technology on the part of instructors and students will prepare them to exploit advanced fabrication technologies in their designs. The various 3D printing systems that Cilker will include in the new fabrication lab will support conceptual thinking about the possibilities of metal. For example, designs similar to any of the objects shown here could be prototyped through one or another of the 3D printing tools in the lab. Those prototypes might either be the end goal of a design project, or might form test cases for actual metal pieces to be later procured from outside vendors.

2.50 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.51

Digital Fabrication Primer 3D Printing: Glass _______________________________________________ In the last four to five years 3D printing of glass has begun to emerge as a real possibility. Recent advancements at MIT indicate that the technology will soon go from experimental stages to commercially viable production. This will expand the possibilities for designers engaged with digital design tools and will open up new aesthetic possibilities. We do not recommend that the Cilker school invest in glass 3D printing tools at this time due to the experimental and evolving state of the current technologies. But, as with metal 3D printing, we recommend robust inclusion of these potentials in the conceptual framework of student instruction, since designers will likely have opportunities to exploit the aesthetic characteristics in the near future. Awareness of and planning for this technology will prepare students to be at the forefront of advanced fabrication technologies as they develop their creative processes. The other 3D printing systems that Cilker will include in the new fabrication lab will support conceptual thinking about the possibilities of glass, as they will with metal. Objects such as those shown here can be prototyped through one or another of the 3D printing tools in the lab. Those prototypes might conclude a design project, or form the basis for actual glass pieces that can be procured from outside vendors.

2.52 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Printing

Recent research at MIT (opposite and below) has produced promising results for developing 3D printed glass systems with the consistency and quality required for commercial application. Meanwhile, designers can experiment with extruded plastic 3D printing (above and above right) to explore the aesthetic potential of glass and prepare for its availability.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.53

3D Scanning | Digital Fabrication Primer

Digital Fabrication Primer 3D Scanning 3D scanning, or reality capture, is an essential technology in architecture and engineering. It has become commonplace for even small architecture firms to hire services that capture 3D imagery and measurements of as-built conditions. Body scanning, already common for creating kitsch 3D printed self-portraits, has begun to make its way into fashion design work flows and has great potential there.

In design visualization, and in cutting edge design work in the woldâ&#x20AC;&#x2122;s best design schools, 3D scans often play a role. Some predict that 3D scans could soon become nearly as ubiquitous as digital photographs, and just as heavily relied upon in design. Put another way, to conceive of digital design and fabrication without 3D reality capture is like conceiving of graphic design without digital photographs. Therefore, we strongly recommend that the Cilker school invest, at the very least, in basic consumer grade 3D scanning equipment for the fabrication lab, and that students learn to include this technology in their work.

2.54 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Scanning

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.55

Photo: Kent Wilson

3D Scanning (continued)

Throughout the world, shops provide 3D printing services tied directly to 3D scanning capabilities. Digitally captured 3D printed selfies are inexpensive and commonplace.

UC Berkeley architecture professor Simon Schleicher and two Master of Architecture students incorporate 3D scanning into work flows for a digital design and fabrication class where real-world objects are scanned so that students can craft digital models for 3D printed components to attach to them.

Digital scans of Notre Dame cathedral will aid in restoration efforts after the recent fire. World heritage sites around the world have been undergoing detailed reality capture and archiving processor for education and research purposes, and to prepare for restoration or reconstruction in cases of disaster. 2.56 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Digital Fabrication Primer: 3D Scanning

Numerous software apps provide apparel design tools based on 3D scanning (above). In architecture, 3D scanning provides new ways to visualize existing conditions and to integrate them with new designs.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.57

Digital Fabrication Primer Robots In digital fabrication, a robot arm with a custom tool end can be programmed to perform 3D printing, welding, routing, grasping or other functions, with movement controlled by computer code resulting in assembly of an object. Sometimes (below and top of facing page) designers deploy robot arms for ephemeral creative purposes such as the light show or fashion performance shown here. Robot arms do not feature in our current recommendations due to cost, programming complexity and space requirements, but since these are some of the most advanced and versatile digital fabrication tools available, we recommend that knowledge about them appear in design curricula, and that future plans could consider their acquisition.

2.58 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Photo: Kent Wilson

Digital Fabrication Primer: Robots

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 2.59

Thinking Curricular Integration Strategy

“The purpose of education is to enable people to become more fully human, more fully able to act to change their world with others” – Kenneth J. Saltman and Alexander J. Means paraphrasing Brazilian philosopher and educator Paulo Freire

Integration of advanced design and fabrication technologies will transform creative pedagogy at the Cilker school. Curricular integration of these technologies will begin first at the project level with incremental integration into student assignments starting as soon as the tools in the fabrication lab are available for use. Second, the integration of advanced technologies will appear in syllabi and Course of Record Outline documents. This can begin immediately and continue to evolve. Finally, the integration will occur in program adjustment – with added or completely overhauled classes, and potentially new program areas. We have categorized seven strategies that unlock student creativity and unleash innovative results. These emerge from experience with and research into top design programs at University of California, Berkeley, California College of the Arts, San Jose State University, The Bartlett at University College London, and SCI-Arc. We recommend these strategies for adjusting assignments and syllabi at the Cilker School of Art and Design, and will provide recommendations in this report for how these can be applied to existing classes. In order to inform integration in both the first and second phases – at the project and the syllabus levels – we present these seven strategies that we have deployed successfully to catalyze a culture of creative thinking and making with advanced technology in design pedagogy.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.1

Curricular Integration Strategy

1. Kitbash and Cannibalize

Photo: Kent Wilson

Kitbashing borrows preexisting components – usually mass-produced or “off the shelf” – and re-purposes them in ways not intended by the manufacturer. Think of it as the hacking of objects. This refined form of three-dimensional collage results in a layered synthesis of disparately sourced components in a singular composition with unique, creative and innovative results. For example, the artists, designers and model makers who created the films 2001: A Space Odyssey and the Star Wars films famously kitbashed commercial model kits for aircraft, vehicles and ships to create innovative visual effects that became iconic in popular culture. Similarly, the creators of 1982 film Blade Runner employed combinations of motion-control camera effects with kitbashed models and vintage film footage in what amounts to a sort of optical kitbash. With the advent of CGI and other fully digital visual production modes, kitbashing remains a strong creative strategy. Indeed, with the 2017 resurrection of the Star Wars film series, special effects artists deployed a digital form of kitbashing – using preexisting digital 3D models in a manner similar to what early effects artists had used with physical models. Depth of meaning merges with novelty when a designer freely re-appropriates in this manner and blends these re-appropriations with their work, later “cannibalizing” portions of their own work in an ongoing process.

Photo: Kent Wilson

2. Translate Through Media and Material

The captivating imagery in Berkeley M.Arch Hsin-Yu Chen’s masters thesis (2016) deploys all of the strategies defined here. The parafictional narrative imagines balloon structures that vacuum animals from wildfire disasters and carry them to safety. Chen now works with Mark Cavagnero Associates.

Explore a creative concept by translating it iteratively through different materials or media. For example, express an idea with a paperboard model, and then iterate the concept using materials with fundamentally different properties, such as metal mesh. Next, translate the discoveries from that iteration into another material such as cast plaster. Now, translate that plaster cast into a sketch, and then translate that sketch into a digital drawing. These multiple translations may themselves layer into a single composition: a designer may kitbash their own creations. This process tests and challenges creative ideas under different material conditions. Such testing reveals unexpected

3.2 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Curricular Integration Strategy

3. Fuse the Analog and the Digital

Photo: Kent Wilson

Disrupt digital processes with analog processes, and heighten the power of analog processes with digital processes. Ensure that empowered human creativity directs the digital tools, and counters their tendency toward an algorithmic automation that would sideline distinctly human aptitudes.

Student work from UC Berkeley professor Ronald Rael’s 2013 Studio One (a one year post-professional master program) deploys the strategies identified here as Translation Through Media and Material, Fusing Analog and Digital, and Celebrating Mutations. Here we see iterations produced with laser cutting, CNC routing, 3D printing, ceramic slip casting, and a great deal of hand craft.

creative opportunities, exposes strengths and weaknesses in the concept, and gives birth to new ideas. It can reveal how a concept derives its power from the particular materials or media that carry it. Not only can this provide serendipitous discoveries for the student, it also results in skill development as the student encounters a variety of practical challenges related to craft and making. By understanding the interconnectedness of a concept with the media in which it is generated and represented, the student gains competency in diligently shepherding ideas from ideation to fabrication/construction/production and adeptly meeting the inevitable challenges the process presents.

Digital design and fabrication methods afford immense creative opportunities, even as their commercial adoption has frequently been driven by some of the same financial interests that have driven mainstream curricular priorities: “emphasis on measurement, efficiency, competition, accountability, standardization, big data” (Saltman and Means). These characteristics of computational design emerge from its precision, literalism and specificity which, in a technological society, can easily crowd out the imprecise, tentative and ambiguous alchemy of human creativity. Creativity thrives at the margins of the literal and precise. Indeed, “[t]he smartest, most creative ideas come when people are afforded room to think,” as Nicholas Carr observed in his book The Glass Cage. That room to think expands in the realm of the analog – the non-digitally-programmed, the hand drawn and the hand crafted. Even as the analog environment imposes distinct constraints compared to the seeming freedom of digital processes, its ambiguity, vagueness and imprecision necessarily arouse the imagination. The gestural nature of a sketch keeps layers of nascent creative possibility abundant and open for debate, dialogue, inquiry and unexpected new paths. In design pedagogy, deploying a combination of digital and analog processes in an iterative dialogue richly layers the fruits of both in the finished design. This empowers the student to see beyond preprogrammed outcomes and lead in asserting their own creative process and point of view.

4. Seek and Celebrate Mutations In evolutionary biology, genetic mutations exist as a vital creative resource that enables a species to successfully adapt to changing conditions. Oversimplification of a genetic pool reduces or eliminates the occurrence of mutations and forecloses possibilities, destroying the creative

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.3

Curricular Integration Strategy potential for the species. Mutations are potentialities that exist outside the norms: abnormal, by definition. They are, at times, even referred to as mistakes or errors.

Photo: Kent Wilson

Our technological society generates great pressure to eliminate mistakes, to increase efficiency and predictability, to herd toward a norm. This stands in opposition to renewed understanding and appreciation of the resilience engendered by cultural diversity, biological diversity and creative diversity. In design and entrepreneurship, great innovations and discoveries have emerged from such mistakes and apparent failures. Indeed, a failure of one approach is generally prerequisite to success in another. Nevertheless, students come into design programs indoctrinated by mainstream culture and by prior academic experience with an aversion to failure – fearing and avoiding the very catalysts of creativity.

Photo: Kent Wilson

Creativity and innovation cannot thrive in an environment hostile to failure, error, or deviation from a norm. In design pedagogy, we encourage experimentation that may produce the mutations known as unexpected results, errors or failures. When an ostensibly efficient, deterministic system of digital design and fabrication “malfunctions”, either through user or machine error, we look to this as opportunity for new discoveries and creative inspiration. Likewise, when constraints result in the failure of a creative trajectory, therein lie the seeds of a more advanced and relevant creative expression.

Photo: Kent Wilson

In the event that technological systems function as planned – when work becomes efficient, predictable, and predetermined by software programs and digital fabrication processes, the recommended pedagogical response is to request that the human designer contribute something more to the work – to do something to the design that the machine cannot or will not do. This results in rich, hybrid work, and often involves deploying the principle of fusing the digital and the analog.

5. Consume Complexity in Small Bites Break down the complexity of the software or fabrication system through limited work-flows that readily infuse making into the thinking aspects of the learning process.

Consuming complexity in small bites: in a single class session students with no prior experience rapidly move from design ideation (top), to 3D scanning via an app (middle), to generating laser-cut components assembled into a scale model (bottom) during the 2016 Design Innovation for Sustainable Cities (DISC)program at UC Berkeley’s College of Environmental Design.

3.4 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

All images this page: Kent Wilson

Curricular Integration Strategy

Student work from UC Berkeley M.Arch studio (Kent Wilson, 2013) demonstrates the strategies: Translate Through Media , Fuse Analog & Digital, Celebrate Mutations and Build Stories/Find Meaning. Deploys laser cutting, 3D printing, plaster casting, hand craft and digital photo collage.

This clears a path toward quick mastery of a limited work-flow – a set of commands or functions – to place the student on a fast track toward exciting results before they move on to the next work-flow. For example, an Illustrator or Rhino novice can learn in a 1-hour session how to make a shape, then scale, distort and replicate it and cut the resulting shapes out of plywood on a laser cutter. In the process, they learn a few basics for navigating the software and the machine, and have a base of confidence and enthusiasm to move forward. When we foster smaller, more frequent successes with lower-stakes failures, we create space for the student’s motivation, creativity and confidence to flourish. This frees the student to iterate and experiment – to take ownership of the learning process. This approach requires upfront work by the instructor to prioritize and curate a series of work-flows. The instructor must avoid the temptation to impress the student

with the complexity of the tools, or with the instructors’ own comprehensive knowledge of them, as this can result in a cognitive shutdown and frustration. Our primary goal is to nurture the student’s progress toward an empowered creative state of play in which the complexity of the mechanized system serves them. When we guide the student to consume the complexity of the system in small bites, we position them to harness the power of the system to multiply and proliferate their creativity.

6. Build Stories and Find Meaning In his book Robot-Proof, Joseph E. Aoun raises the question “What are human beings singularly good at doing?” – an important consideration in establishing pedagogical strategies that aim to integrate digital technologies such that they support and extend, rather than diminish human capabilities. Aoun argues that our exceptional sociability sets us apart from machines, and that a result of that is our creative capacity to build stories, or “shared fictions” that bind us together through mutual understanding and shared meaning.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.5

Curricular Integration Strategy

Photo: Kent Wilson

Aoun’s argument reflects a broader trend among educators in art and design programs to recognize human subjectivity and storytelling as integral components in creative processes. In some of the most creative design studios instructors request that students develop parafictions and other narratives in assignments. In the context of increasing scrutiny and critique of automation, concerns about advanced technologies supplanting humanities, and the threats technology poses to life on earth in the Anthropocene, this trend reasserts the value of exploring what it means to be human, and linking that exploration to creative processes. This is not an impractical or esoteric quest. Indeed, creative work that influences economics, politics and broader culture derives power from its ability to move people emotionally, to stir the soul, and to transcend rational thought. That ability exists to the degree that the creative work builds, and builds upon, meaningful stories that connect people.

Photo: Kent Wilson

As we transform design pedagogy to adeptly deal with advanced technologies, our design projects should prepare students to incorporate and relate their work to the singularly human propensity for building stories and finding meaningful patterns in their work.

7. Cultivate Soft Skills Defined generally as “important job-related skills that involve little or no interaction with machines,” soft skills frequently appear as the most important skills employers seek. These skills also improve relationships and quality of life outside of work. The programs at the Cilker school already exhibit strong support for soft skills in the campus culture – skills vital to elevating mere technical training to true career technical training, or CTE. As advanced technologies transform the pedagogy, we must maintain a strong continued emphasis on soft skills. Just as smart phone technology and social media can distort and fragment the social and learning environment in a classroom, other forms of automation inherent in advanced digital design and fabrication technologies can drive a tendency toward fragmentation of human rela-

In a program that emphasizes team work, San Jose State University’s 2018 cohort of interior design students (top) formed strong bonds that have extend into their budding professional careers. Their mutually supportive relationships and pride in collective accomplishments resulted in some of the strongest student work yet seen in the program. In the DISC (Design Innovation for Sustainable Cities) program at UC Berkeley in 2016, students worked exclusively in teams for the entire term (a team working in studio, above). Teams of students with varied skill levels, from 9 different countries produced professional quality urban design presentations within the span of a summer term. Instruction deployed many of the strategies set forth here.

tionships. Technology intervenes in person-to-person interactions. The relatively low-tech making culture that has characterized the Cilker school will provide a strong foundation for an integration of technology tempered by human centered priorities.

3.6 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Curricular Integration Strategy

The innovative work and high international ranking of UC Berkeley’s Master of Architecture (M.Arch) program emerges in the context of instruction that exemplifies all of the strategies set forth in this report. Cultivation of soft skills resulted in a collaborative and minimally competitive environment in the 2015 cohort. A student team (left to right: Kent Wilson and Jun Li, instructor Mark Anderson, Alex Schofield) poses in front of their presentation of an urban plan reintroducing wildlife to Richmond, CA that integrated these strategies with a range of digital fabrication techniques.

Research by Marcel M. Robles, Professor of Corporate Communication & Technology at Eastern Kentucky University, shows that top soft skills employers seek are: Communication Courtesy Flexibility Integrity Interpersonal Skills

Positive Attitude Professionalism Responsibility Teamwork Work Ethic

The pedagogy of design – with its inherent revelations of personal perspectives, comparisons of cherished talents and skills, and necessity for collaboration – provides particularly important and relevant space to exemplify soft skills and cultivate them in students. To maximize inculcation of soft skills, we recommend strong, unwavering commitment to: 1. Teach soft skills by demonstrating them. In all interactions students will be treated as professional equals and colleagues – their strengths acknowledged, their input sought, and their intelligence, competence and success presupposed. Frequently remind students that their time in school is as much about relationship building and skills as it is about acquiring technical skills.

2. Assign teamwork on projects, to comprise 30% to 50% of the work, varying these arrangements enough to allow students to also shine individually. Clarify why this teamwork is vital to their education, and provide guidance for how to work successfully in a team through soft skills and self organization. Despite students’ occasional resistance to team work, the collaborations elevate the quality of work, foster soft skills, and multiply learning opportunities. They temper competitive pressure, build shared responsibility for failure, success and discovery, and provide vital relationship insights. 3. Encourage peer mentorship. Advise students that they will often learn more from fellow students and coworkers than from instructors or supervisors. Facilitate group and partner desk critiques, and coach students on critiquing each others work in group and partner pinups and presentations. 4. Practice deep humility. Rapid technological advancement inevitably places highly skilled, well informed instructors in the position of having specific knowledge surpassed by that of a student. Sometimes this happens mid-lecture or mid-critique. For example, cloud-based software programs – updated continuously – change a feature overnight. An instructor’s presentation and knowledge might not reflect the change, while some students have already discovered it. Instructors who set aside ego and embarrassment in such cases, encourage students to share their knowledge to benefit the class, and assume the role of curator and guide in the learning process will gain the trust of students, bring out the best work, and model strong relationship skills. 5. Maintain flexibility. Resist the temptation to pretend to have all the right answers. Design is open ended research without predetermined outcomes. The instructor should set standards and impose constraints, but the “right answers” are up to the student. Avoid specificity on design solutions and encourage students to discover, own and confidently defend their own unique process, as they will need to do throughout their careers. Cultivation of soft skills knits together all of the other recommended strategies and multiplies their effectiveness.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.7

Evaluation of Current Curriculum Twenty courses selected from the 2019 curriculum serve as example cases for our application of the seven strategies set forth in this plan. These represent the spirit of our approach rather than fixed mandates. Specifics will evolve and re-combine as the creativity and wisdom of the instructors shape ongoing implementation.

ARCHITECTURE Section 786851 Introduction to Rhino • Start the course, in first or second session, with a quick exercise that shows the potential for making exciting forms with Rhino. With step-by-step instructions, this can be accomplished in one class session. Exercise based on making random shapes in 2D, combining them and trimming out excess lines to make a silhouette of the random shape that results, then extruding twisting and distorting that volume. Next use the contour tool to apply regularly spaced lines to the object in all three axes. Pipe these lines to create a grid. Apply materials and treat the object like a building, setting up plan and four elevations. • Require students to 3D print the object and/or make the volume out of laser-cut corrugated cardboard. • This exercise can continue and become a mini-studio project, or can remain limited to serving as a warm-up. It can be used to teach any number of basic Rhino tools. Architecture 047 – History of Modern Architecture • Introduce a technological perspective to the history of architecture, emphasizing how various emergent technologies influenced the design and construction of the buildings already covered in the course. Add some buildings as needed to create a more complete picture of these technological connections. For example: - Crystal Palace as example of modular, mechanized construction using newly available materials and techniques - Mirrors at Versailles as display of French technological prowess and state power - Villa Savoye as idealized technological machine aesthetic that was actually cobbled together with traditional masonry and wood work

- The Seagram building as expression of a an anti-ornament that revered technological efficiency but ironically used costly bronze I-beams for exterior ornament - Bilbao Effect – technological spectacle in service of development goals • Update recent cases studied to include consideration of Frank Gehry, Odile Decq, Zaha Hadid and other designers who emerge as innovators with new technologies. • Include at least one class session (or intersperse among many) to discus “paper architecture” which, by virtue of its representational techniques as well as its subject matter, expresses and promotes aspirational utopian (or critical dystopian) ideas about the role of technology in architecture and culture. Examples could include Le Courbousier’s Plan Voisin or Radiant City, work of the Italian Futurists, Archigram Walking City, Super Studio’s The Continuous Monument, as well as contemporary examples the reflect aspirations to harness technology in service of “sustainable” architecture (the 2013 Oslo Architecture Triennial and the Solar Decathlon are good examples). These are excellent opportunities to discuss how architectural representation helps advance certain social agendas, and how race, class and economic agendas are embedded. Architecture 062 – Architectural Design II • Start with an experience rather than a precedent. • Use a rhino exercise to generate a large number study models capturing specific experiential spatial qualities. • Let the Rhino study models serve as raw material for creating diagrams in Illustrator. • Use selected Rhino study models to create laser-cut study models. • Use Make2D line work from study models as a basis for hand sketches and digital drawing iterations to catalyze design development.

3.8 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Evaluation of Current Curriculum Section 74390 – Architectural Styles • Clarify how “style” consists of a system of symbols, often vestigial representations of earlier building technologies, which – prior to appropriation and de-contextualization – expressed particular relationships between architecture and environment, and between individual and state or religious power. • Require a consideration of the role of material technology and cultural context in understanding the origins and proliferations of styles. For example, understand San Francisco’s Victorian houses as expedient wooden replicas of stone structures in Brussels and other European cities, or understand antebellum Greek revival as wooden representations of Greek and Roman styles deployed to support the colonial, white supremacist imperial project. • Understand the replication and commoditization of styles through technology, where new fabrication technologies are used to replicate historical styles (as in the case of San Francisco, where wooden mill-work replicated styles originally based on stone masonry, or cases of plasticized stucco coating mimicking Spanish colonial revival). • Examine the role of digital design and fabrication technologies in preserving styles, as in Kreysler & Associates’ digitally replicated domes on the San Jose cathedral, and their other restoration work. Why, for example, would the domes not be updated and remade with stainless steel and glass or other materials that express the actual technological systems used to build them? • Look at the ways in which architectural style becomes a marker of social status and, through technological mass production and consumption, helps manufacture consent to reinforce systems of power, allowing consumers to “buy in” to participation in colonialism, white supremacy, and empire. Consider Orientalism as researched by Edward Said, for example.

DIGITAL MEDIA DIGM 86 Portfolio Planning and Review • Position the portfolio itself as a technological construct. • Emphasize importance of showing balance of digital, handmade, and hybrid, work in portfolio. • Share guidelines for ensuring portfolio format smoothly translates between digital and physical (printed) versions.

• Clarify that digital does not only exist online. It is also, and more often, PDF and screen. Format accordingly. Ensure that page format works for this. For example, 17x11 works well because it is 2 standard 8.5x11 pages (easily printable), and it’s landscape proportions work well for screen proportions. • Consider non-digital technological constraints inherent specifically in printing. For examples, it is easy to make bleeds and crossovers in a digital version, but these don’t translate so easily to physical printing. A design can accommodate this by making them easily omitted to facilitate physically printed versions. • If requiring a printed/bound version, require a blending of digital fabrication and handcraft in its production. • Clarify that a portfolio is possible only if the work has been documented and saved, and can be readily found. Cover technological aspects of documenting and archiving the work: using high quality photography (not cell phone photos), archiving high resolution originals not downsized or cropped, backing up work in more than one place, file naming aids in searches, page layouts standardized such that pages can be quickly interchangeable and customized for specific audience. DIGM 014C - Digital Illustration • Include a module which allows for free-form exploratory illustration with Illustrator. • Adapt the free-form illustration (or other illustrations included in existing modules) specifically for laser engraving and cutting. • Generate a layered, drawing using laser cut paper, vellum, chipboard, etc., possibly on a heavy, thicker wooden base. Reference work of Perry Kulper, Lebbeus Woods, CCA “Drawing Codes” exhibition, and other examples of 2D drawing morphing from digital into material form. • Incorporate hybrid techniques – digital drawing combined with digital imagery and hand work. DIGM 099 – Introduction to Typography • Incorporate a sign fabrication exercise using laser cutting, CNC milling, and/or 3D printing. • Incorporate an exercise for a sign that spatializes fonts by asking students to laser or CNC cut them at different scales from corrugated e-flute or c-flute, plywood and/or other materials with thickness.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.9

Evaluation of Current Curriculum • Use cutout letters in quick collage exercise(s) to understand components of typography as dimensional, technological objects . • In above exercises, ask students to dissect letters in a precise, modular, gridded manner and incorporate these deconstructions into their laser cutting work, so that parts of letters of one font manually/physically splice together with parts of another, to create monstrous hybrid letters. Goudy serifs, for example can sprout from Optima letters that are cross-pollinated with Brush Script or Futura. • Letters can be extruded in 3D modeling software, and the surfaces that comprise the resulting volumes cut out on a laser cutter, CNC routed, or 3D printed to bring a structural exploration into the other understandings specified in the course objectives. • Generate embossing, debossing and/or die-cutting schemes with typography, and use laser cutting and/or cnc milling to realize them in the form of printed and documents or package designs. • These exercises will introduce understanding of how fabrication processes and structure affect typography and bear upon the other course objectives. DIGM 002 – Introduction to Electronic Communication • Incorporate readings from The Filter Bubble, The Glass Cage, The Technological Society, or other books that add depth of technological understanding to the insights of Chomsky already included in the course reading. • Expand the field to include social media and gaming. • Look at media representations of technology and of digital fabrication technologies to add depth to the understandings already listed in the course objectives. DIGM 003 – Visual Design for New Media • The primary assignment – creating a visual brand, integrating symbols, typography, and color – can include packaging, signage, merchandising display(s) and/or other physical objects fabricated with hybrid methods that include digital fabrication. • Design development explorations such as 2D design exercises can incorporate laser cutting of stencils, negative/positive design elements, abstraction/extraction of symbols, and work with typography as described for DIGM 099.

FASHION DESIGN FDAT058 - Fashion Draping • This course, or one like it, might integrate 3D design software that simulates draping in digital space to produce visualizations that students could then contrast with draping exercises done in physical space to drive understanding of the strengths and weaknesses of the real versus simulated. Study digital simulation technologies, increasingly common in fashion design, and evaluate their efficacy in comparison to working with actual fabric. • Students could explore digital design and fabrication of conceptual base forms for draping, which could also serve as innovative methods for display and merchandising. 3D-scanned contours of the human body can fuse with digitally designed forms. FD52A – Fabric Analysis • Ensure that the course includes updated information on the latest computational technologies as applied to fashion design, weaving and knitting of fabric, and textile industry more broadly. • Survey new types of jobs available in the textile industry that are emerging as a result of advanced technologies. • Are there ways that new, possibly data driven technologies are affecting sustainability in the textile industry – for example facilitating reuse of clothing and fabrics to reduce production of new fabrics? • Look at how synthetic fabrics, now implicated in micro plastic pollution problems, are popularized via technological positivism. • Explore how new fabrication technologies can find synergies with traditional non-synthetic fabrics. FDAT30 – Introduction to Fashion • As part of the learning outcome that deals with identification of factors influencing fashion change, ensure that students consider emerging technologies – not just those deployed within the fashion industries, but those affecting cultural changes conveyed upon the public imagination as expressed and shaped through fashion. FDAT020 – Couture Embellishment • Require students to incorporate at an example of digital design and fabrication in their explorations of different embellishment techniques used on clothing.

3.10 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Evaluation of Current Curriculum • Ask students to consider the implications of the new digital technologies such as 3D printing and laser cutting on traditional modes of embellishment. For example, students might evaluate whether the embrace of new technologies results in marginalization of traditional, and possibly more sustainable techniques in ways similar to the marginalization of traditional architectural styles and techniques that came with fetishization of a technological machine aesthetic. FD76 – Creative Apparel Design • Given its objective of identifying areas of innovative fashion design, this course should include understanding of digital fabrication tools. Laser-cut patterns in leather and fabric, 3D printed embellishments and accessories, and the use of computational form-finding and fabrication in the display and presentation of fashion provide fertile areas for creative production in this course. FD87 – Technical Drawing and Specification • Introduce strategies and techniques for merging digital and analog drawing methods • Make space for creative exploration of unconventional drawing effects with Illustrator • Introduce techniques for “make 2D” flattening of 3D digital objects into 2D line drawing. • Incorporate digital fabrication methods into the production of layouts and presentations. For example, simple extruded plastic 3D printing or laser cutting can generate geometric and lettering elements in a physical presentation. FD70 – Elements and Principles of Design • Students should be introduced to the newest trends in digital fabrication and design in fashion and encouraged to critique and evaluate these according to the understandings they develop in this class. The novelty of new tools and techniques should be demystified and evaluated according to fundamental principles of fashion design.

INTERIOR DESIGN

• The model currently referenced in learning outcomes should be preceded by a very large number of sketch/ study models, with 50% developed digitally, and exhibiting digitally fabricated elements such as laser-cut modules that facilitate prolific analog assembly, 3D printed connectors, and digital fabrications generated from 3D scans of the analog sketch models. INTD15 – Interior Architectural Drafting • In this course, the various standards for symbols and drawing can be applied to an unconventional creative form-finding endeavor in which students enjoy initial free-from exploration – both digital and analog. Students draw and notate according to all of the same standards and techniques currently covered in the class. Without sacrificing the acquisition of technical skills, this will serve the dual purpose of engaging them in a creative and inspiring design exercise that generates attractive portfolio content while also teaching them about the challenges of translating a non-standardized design through traditional architectural drawing conventions. INTD29 – Principles of Green Design • Include critical reflection on successes and failures in sustainable design, and the position of technology in those cases. (2013 Oslo Architecture Triennial is good reference) • Update course objectives to specify understanding the role of advanced technologies in aspirations for green design – critical evaluation of their promises, performance, and hidden externalities. • Understand green washing. (Solar Decathlon as good reference) INTD85 – Design Detailing • Add to course objectives: “Identify which fabrication methods can generate innovative interior details,” or similar. • Include the detailing of digitally designed and fabricated component(s) developed by the student in exploratory design iterations that translate through different materials and combine digital and analog processes.

INTD010 – Elements and Principles of Design • Require that each part of the listed course content synthesize digital and analog exercises. For example, sketch models can explore the various questions of spatial relationship through both digital and analog elements. West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.11

Student and Faculty Engagement

Student and Faculty Engagement Successful integration of advanced digital technologies will transform the culture of thinking and making in the design programs at the Cilker school. This transformation will occur through robust engagement by students and faculty – with not only the tools, but with the revamped student assignments, updated syllabi and adjusted long-term program goals. The recommendations we make throughout this report should work together to catalyze and sustain student and faculty engagement. On these pages we make additional recommendations that specifically target enhancement of student and faculty engagement. According to both faculty and students, and based on our observation, the Cilker School of Art and Design excels in the provision of first-class facilities, infrastructure, and teaching. The time has come for the school to excel in creative integration of emerging design and fabrication technologies with a human-centered design pedagogy. Students and faculty interviewed for this report not only expressed enthusiasm for refreshing the school’s infrastructure and curriculum to incorporate new technologies for design and fabrication, but also shared concerns about the urgency of these efforts. For example, one student confided that they had recently attended an International Interior Design Association (IIDA) portfolio review and felt that their portfolio did not measure up with that of students from other schools, where components of digital design and making yielded powerful creative results. Another student opined that their architecture classes at Cilker had entailed rote replication of preexisting designs without the opportunities for rapid exploration of dynamic conceptual iteration that the digital technologies enable. All of the students expressed positive feelings about their classes and overall learning experiences at the school, tempered by concerns about their future competitiveness in career and education due to perceived deficiencies in creative innovation that could be remedied by vibrant engagement with digital design and fabrication technologies.

We recommend the following to enhance student and faculty engagement with the fabrication lab and the curricular goals, and to integrate the campus culture with the broader maker culture in the Bay Area – a culture unique in the world for its rich history, strong roots, flourishing interconnections with Silicon Valley tech culture, and ongoing growth. This engagement will promote learning, enthusiasm and relationship building through networking. Faculty Innovation Retreats For key faculty, staff and administrators, retreats will consist of tours and workshops at locations such as Autodesk Pier 9, The Crucible, Exploratorium, and Jacobs Institute. Purpose: To facilitate discovery of new approaches to digital design and fabrication, acquisition of insights on best practices for creative studio and shop operation, and inspiration for new ways to transform curriculum. Budget: Variable according to transportation costs, rental fees and incidentals. The Jacobs Institute has agreed to facilitate a comprehensive full day, fully staffed handson workshop for 12-15 participants for approximately $40,000, with hands-on demonstrations of laser cutting, CNC, water jet cutting and 3D prints. The other retreats – Pier 9, The Crucible, Exploratorium – would be more tour than retreat, for a budget closer to the $2000 to $8000 range for each event, depending on depth of hands-on work, transportation and meal arrangements.

The fabrication shop at the Exploratorium, just steps away from Autodesk’s Pier 9 facility, offers a window into the maker culture that is deeply embedded in and unique to the Bay Area.

3.12 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Student and Faculty Engagement Student Workshops Coordinated with student groups, outside experts in various aspects of digital design and fabrication, invited to the fabrication lab, will provide training to students not necessarily currently enrolled in classes that use the lab. Budget: Will vary from $500 to $800 per event for a stipend to facilitator and refreshments for participants. Lectures Specific to new digital design and fabrication tools and trends, invited lecturers to present either in the fabrication lab or in larger space (depending on participation). Budget: Will vary from $800 to $1000 per event for honorarium and refreshments, depending on participation.

ISAM Conferences Require technical staff, and encourage faculty and particularly engaged students to attend the annual ISAM (International Symposium on Academic Makerspaces) conferences. ISAM conferences first began just three years ago, in 2016 – an indication of how new and quickly evolving the integration of advanced fabrication technologies is in academia. Budget: Individual student tickets range from $100 to $150. Faculty and staff tickets range from $550 to $750. Important add-on sessions for faculty and staff range from $100 to $150 additional. If Cilker pays for travel expenses, these could range from $1200 to $2500 per person, depending on location and allowances. The 2019 conference will be held at Yale University in Connecticut. Last year’s conference was held at Stanford University. Instagram Presence Assign an engaged student and/or staff member to manage an instagram account dedicated to featuring the most creative and exciting projects, as well as events from the fabrication lab. Budget: Zero to incremental cost of wages for paid staff.

Design showcase events – staged at the end of each semester – attract people from throughout the UC Berkeley campus community to see student work on exhibit at the Jacobs Institute for Design Innovation.

Fabrication Lab Events Open houses at the beginning of semester and student work showcases at the end of semester will include demonstrations of digital design and fabrication processes and displays of work. Faculty and students will volunteer time to host. Events can spill into adjacent courtyard and other parts of the building, and attract outside visitors. Budget: Varying from $1500 to $2500 per event, depending on level of event staging. Maker Faire Bay Area Encourage students and faculty to attend or participate. Budget: Zero to $6000+, depending on whether Cilker pays for attendee admission, sponsors a booth, or finances the production and transportation of content for a booth.

Instagram is an excellent place to both discover and feature design content.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 3.13

Making Ideation Meets Material

â&#x20AC;&#x153;When powerful, easy-to-use technologies meet creative, inspired people, magic happensâ&#x20AC;?

â&#x20AC;&#x201C; Tom Wujec

Design is inherently a process of making. That making most often takes on a physical, material form. Even when the physicality and materiality exist in a virtual realm, the quality of the work depends upon its correspondence to physical reality. Real-world physical reality provides essential feedback to a designer, informing and reshaping thoughts that would otherwise remain ungrounded and heady. Only when the designer begins the actual work of inscribing an idea into physical form can dialogue happen between physical reality and ideation, between constraints and aspiration. That dialogue makes great work, as thinking and making work together in balance. This hones and reshapes the ideas as it hones and reshapes the materials and the tools. Excellent design then solves problems, creates beauty and meaning, and drives progress. Excellent design requires not only head space, as described in this report. It also requires physical space and tools. This section of the plan contains recommendations for design and management of the physical space and selection and administration of the tools in the Cilker fabrication lab. In support of the pedagogical approach proposed here, including the seven strategies for curricular integration, the following constitute our recommendations for the design, planning and operation of the fabrication lab.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.1

Student Access and Usage Hybrid Work

Lab Operations

The workspace will foster creative exploration across material and media, and support hybrid forms of digital and manual making with the best available tools for each – defined by ease of adoption, serviceability, reliability and durability.

These recommendations for lab operations provide an initial framework which Cilker administration, faculty and staff (including the lab manager to be hired) should revisit, revise and reshape continually, based on student feedback, pedagogical imperatives, experience in the lab, and information that unfolds from tool and equipment manufacturers, relevant policies and regulations, and the evolving best practices for academic makerspaces that ISAM (International Symposium on Academic Makerspaces) and other related organizations disseminate. Every lab environment is unique, and ideas about best practices and optimal techniques vary by circumstances and objectives. Therefore, these recommendations offer a foundation upon which to build and adapt according to evolving needs.

Education and Training The space will accommodate periodic workshops and classes in which proximity to and incorporation of the available tools constitute integral components. This includes safety and skills training specific to particular machines as a prerequisite to student access. It also includes outreach and awareness-building. Visibility The space design will bring visibility to the creative fabrication lab in everyday use through tours, special events that demonstrate and exhibit the work, and with objects on longer-term display as samples of specific processes. This will showcase the creative processes, the technological tools, and the work produced. This visibility will educate and motivate students, faculty, staff and visitors, and will symbolize Cilker’s leadership in integrating advanced technologies in design education.

The lab manager, engaged faculty and students, administrators – and even outside funders, alumni and suppliers – will offer operational opinions, advice and expertise that will warrant consideration. Some of this input will be contradictory, even when it “makes sense” on a surface level. Therefore, we recommend developing a formal framework for collecting and considering this input, to clarify and document policies and policy changes for everyone involved. The lab manager should own this process, and make policies clear with periodic updates. Student Access and Usage

Machine Efficiency The positioning and grouping of machines will maximize efficiency of mechanical systems while balancing these with equally important ergonomics, environmental comfort and creative work flow. Primary considerations include: • Mitigation of dust, fumes, and noise • Adjacencies with material staging spaces and complementary workspaces • Lines of sight for safety and supervision • Ease of maintenance • Hierarchy of access (see Access and Usage)

The terms “access”, and “usage” are sometimes used interchangeably in reference to availability of the fabrication lab and it’s tools. Access here deals with authorization to use the lab or a specific tool. It may also reference specific places or times at which access is active – such as designated time at which a student who has access (authorization) might find access (based on availability) to the lab or tools. Access includes administrative considerations such as: fees, liability waivers, enrollment status, and safety training prerequisites. “Usage” deals with aspects of actual or potential use by those who have access. This includes volume of use, hours of operation, reserved time on tools, and time allocations for equitable distribution of tool or lab availability.

4.2 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Student Access and Usage Access Authorization

Physical Access

Access, in terms of authorized use, should be based on a student’s having signed a liability waiver and demonstrated (through a quiz or discussion with staff) that they understand the general workshop safety rules (sample waiver and GWS forms included in Appendix to the this report), along with any other rules or policies that evolve during the ongoing operation of the lab.

The space layout in the lab features a hierarchy of access based on both frequency of use and safety:

If the Cilker school opts to institute a fee, payment would be required prior to access. Access to specific tools (always subject to broader lab access) will vary, depending on the complexity and safety considerations for the tool. For example, some tools – such as the CNC router, laser cutters, or power saws – will require an orientation to cover safety and best operational practices. Examples of tool-specific training materials are included in Appendix to this report. Other tools with lower safety risk and simpler operation will be available to anyone with lab access, but may require a sign-out – as with a laser measuring tool in which high cost and portability warrant tracking, and moderate complexity warrants a discussion of use and safety. As the lab begins operation, part of the lab manager’s job will be to document which tools require which levels of access, and develop procedures for granting and verifying it. In some similar labs, this process is as simple as maintaining a spreadsheet where user access status resides for staff to manually check users into the lab or tool. In the high volume operation and complex building layout of the Jacobs Institute, these procedures are automated through key card and computer work station access that synchronizes with electronic databases that track fee payment, waiver documentation and tool-specific trainings; but we do not anticipate – based on potential usage volume – that Cilker lab access should require this level of automation. We also recommend that a bias toward human-to-human interaction that already characterizes the creative environment at Cilker should be cultivated and take priority over automation bias whenever possible. A lab technician who meets and knows the users makes a better mentor than one who discretely surveils an automated electronic database to verify access.

Most Open: The largest portion of the space – the area devoted to hybrid work space, 3D printing, laser cutting and staff – has the most direct access to the main entrance, the exterior and the courtyard. It will have the most liberal access of the lab spaces, remaining unlocked during daytime hours. It should remain open to students with authorized access, and possibly to guests, for as many hours per day as staff and administration consider feasible based on experience with initial trials. Key card access, calibrated to specific students for specific semesters, could be an attractive option for physical access to this space. Moderately Controlled: The wood shop space has more restricted access via the single set of double doors. Access there will require the wearing of safety glasses and the presence of staff within line of site. This space is isolated from the main work area by a glazed partition to contain dust and noise while allowing light and visual access. The doors to this space can at times be locked when the main work area continues to remain open. For example, the main work area might remain open late into the night for 3D printer and laser access, without allowing access to the wood shop. Another, very attractive alternative for controlling wood shop access would be to follow the example of the Jacobs Institute in installation of a keyed master power switch that controls power supply to all of the wood shop tools. This would allow students to use the manual tools there (hammers, hand saws, drills, clamps, etc.) in after-hours or non-staffed periods while restricting use of the large power tools. Note that some school wood shops do not require the presence of staff during use. An emergency phone or alarm, and/or a policy that requires companion work mitigates safety risk in such cases. We recommend that Cilker start by requiring the presence of staff, and revisit this after the first semester or two, to consider a “buddy system” to allow more advanced users to work without the supervision of staff.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.3

Student Access and Usage The CNC routing area is subject to the same controls as the wood shop, with the addition of another tool-specific training requirement. This room has an additional glazed partition to isolate the elevated sound that occurs during much longer machine running periods, and to contain machine-specific dust and debris. The machine features a keyed power switch, so access can be controlled without any entry control exceeding that of the wood shop.

the wood shop and CNC room without actual entry. Students in design related seminar classes can benefit from lab tours and explanations of the tools and processes. Some of the classes addressed in the Evaluation of Current Curriculum in this report, for example, will discuss the role of technology in the design fields. These instructors should bring their students into the lab to observe some of those technologies in use.

Restricted. The material storage and supply room is a staff-only space containing materials, spare parts and consumables. Access to this space and distribution of these materials should be controlled by staff, with the possible inclusion of paid student staff.

By making the lab accessible as an observation space, Cilker will help build awareness of the creative potential of the tools and drive development of an integrated creative culture making. Usage

Guests in the Lab Depending on evolving conditions, the school may need to place restrictions on guest access in order to prevent usage by those without signed waivers, monopolization of resources, or other safety or operational considerations. At the Jacobs Institute, only authorized users are allowed in the makerspace. Guests are not even allowed to stand inside the door unless accompanied by staff for an officially designated tour. Similar restrictions apply in the CAD/ CAM lab at UC Berkeleyâ&#x20AC;&#x2122;s Wurster Hall. Violations of the rule prohibiting guests can result in strict disciplinary action, including loss of access for the offending user. These rules appear rooted in liability concerns, as well as in an effort to prevent over-exploitation of the resources, as might happen if a friend or relative of a student uses the tools, possibly even for commercial purposes. Conceptual Access The lab will be an important resource to promote learning and awareness about the Cilker methods of integrating advanced technology and design in pedagogy. Administration, faculty, staff and students should freely show off the space. The rules and policies, and the physical configuration, condition and appearance should facilitate these learning opportunities. Objects on display can include explanatory captions, and be located on display shelves near windows, to allow viewing from the courtyard. The window wall is particularly suited for observation, and this effect is repeated on the interior with the glazed partition that allows viewing of

Beginning with a trial period during the first semester we recommend that student access remain limited to those enrolled in four specific classes â&#x20AC;&#x201C; one from each design program, along with about eight other students identified by faculty and administration as particularly engaged and enthusiastic, with strong work ethic and potential to successfully incorporate the new tools into exemplary samples of creative work. The four selected classes will have assignments prepared in the spirit of the curricular integration recommendations provided in this report. To prevent bottlenecks in equipment usage and to promote peer to peer learning, these initial projects should be team assignments, with teams of two or three students each. Assuming an enrollment cap of eighteen students per class, along with the eight additional students mentioned above, we limit the overall user base for the lab to about 80 students in the first semester. Subsequent adjustments can incorporate the resulting feedback. All faculty should have full access to the lab after receiving training on the equipment, and should be encouraged to use the tools to develop their creative pedagogy. After the initial trial period, access may be extended more generally to students not enrolled in a specific class designated to use the lab. The school will need to decide whether to charge a fee for such non-class-specific access.

4.4 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Staffing Hours of Operation Until student staff can be trained to staff the space after hours, we recommend limiting lab use to hours in which the lab manager can be available. For the main hybrid work space and CNC usage, the manager need not be present, but should be available on campus to address problems and questions. For wood shop, the manager should be present at all times during use. As students gain more experience, on CNC setup for example, the manager may choose to allow them to use the space without staff supervision. Material and Supply Availability An inventory of commonly used materials (see tool specific list on following pages) for laser cutting, CNC routing and wood shop work will reside in the storage room along with materials specific to the various 3D printers. We recommend that designated amounts of the materials for student assignments be supplied free of charge to students during the initial curricular integration period. If needed, a materials fee could be charged for a class in order to offset this cost. After the lab operation has become established, materials could be provided to students through an online material “store” such as Shopify – the method used by the Jacobs Institute at UC Berkeley – or sold directly by staff. Ease of availability will be a key component to encouraging use of the lab and integration into curriculum. We recommend supplying the 3D printer materials to students free of charge (possibly within an imposed limit) to encourage experimentation and creativity.

• Excellent people skills, including good communication • Strong technical skills and knowledge of the lab tools • Positive approach to managing student users and student staff, and supporting faculty development This individual should have a strong interest in supporting the Cilker integration plan for technology and design. They should stay abreast of emerging technologies, and be interested in developing and implementing best practices for educational fabrication labs at the Cilker lab. We recommend that the lab manager attend and actively participate in the yearly ISAM (International Symposium on Academic Makerspaces) conferences, and be exceptionally engaged with maker culture in the Bay Area and beyond. The lab manager will play a key role in supporting faculty as they integrate advanced technologies into their design curricula. Some faculty will not possess or be in a position to teach the technical skills for the tools that they ask their students to use. The lab manager should play a supporting role here and be prepare to offer class-specific trainings each semester, calibrated to assignments. Willingness and skill in facilitating student-to-student peer learning will enhance this process. Examples of job descriptions for staff and student staff are included in the Appendix to this report, and should be revised and adjusted at Cilker according to specific needs. Student Staff As budget and other priorities allow, additional staffing support can come from student workers, possibly through work-study.

Staffing

Volunteer Staff Support Staff functions can also be augmented by volunteer student staff.

Dedicated Staff At least one full time staff member, a fabrication lab manager with the fabrication lab designated as their primary work space, will be responsible for managing the lab, overseeing student use of the space, and maintaining equipment and tools. Key skills: • Strong creative design background • Expertise in education and training

Maker Community A “design fellows” program, and apprenticeship initiatives in which students apprentice with staff, faculty or other students and receive lab usage privileges in return for sharing responsibility for specific aspects of lab operation and maintenance can lend additional support to staff. The Jacobs Institute and Autodesk Pier 9 provide examples of this type of community development.

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.5

Operational Best Practices Operational Best Practices Trainings General lab orientation and individual machine tool safety training are prerequisites to user access. An example of general workshop safety training is included in the Appendix to this report. The lab manager should develop these training sessions, guided by those found at well established maker spaces described in this report, and other resources as deemed appropriate. Lab staff will attend mandatory trainings for yearly or bi-yearly first aid and CPR certification. Machine Training Each tool has specific best practices for safe usage, usually specified by the manufacturer. The lab manager and other lab staff (including volunteers) should identify these best practices, document them for training purposes, and develop training sessions that can be provided on a scheduled basis each semester. Examples of training curriculum are included in the Appendix of this report. These practices will include machine use techniques as well as deployment of appropriate PPE (personal protective equipment) specific to the machine or process. General Shop Rules Every shop develops its own rules based on the objectives of the institution, and the particulars of the facility. At Cilker, an initial set of rules developed prior to opening the lab should be extracted from this report by the lab manager when that person is hired, and continually evolve based on input from instructors and lab users. Some aspects of shop use to address with shop policies: • Closed toe shoes required • Headphones prohibited • No pets • Guest policy (some labs have strict prohibition on guests for safety and liability purposes) • Only trained users allowed to use tools/machines • No outside commercial work allowed • Portable tools stay inside the lab, not taken to classrooms or other part of building or campus. If lab manager elects to make exceptions, tools are signed in and out.

• Hand tools openly available and easily accessible. Students are on an honor system to follow the rule about not removing tools. Experience shows that most students live up to this trust. The loss of a few tools to breakage, misplacement or theft can be absorbed into the budget and should not drive restrictive policies that would inhibit free use by the majority or conscientious students. • No volatile chemicals allowed in lab • Oil based paints and stains are discouraged or prohibited • No casting of concrete or plaster allowed unless appropriate plumbing drain trap is installed Machine Reservations Time on the digital fabrication equipment will be highly sought after as students discover these tools. Initially, a manual reservation sign-up method will suffice for Cilker, but eventually the lab manager may elect to use one of the numerous free online platforms for this purpose. Consumables and Supplies We recommend that the lab cultivate an open and supportive culture of creative exploration, and that the provision of consumables and supplies form a basic part of this. Consumables and Supplies for General Shop Use: • Cloth shop rags (provided by a linen service, with flameproof collection bin) • Boxed “shop rag” heavy-duty paper towels • Nitrile gloves in S, M and L • Several sets of carpenter’s gloves in S, M and L • Basic dust masks • Safety glasses (standard and over-glasses for those who wear eye glasses). These should be bought by the dozen and placed around the lab. They will need frequent replacement, as they are semi disposable. • Safety goggles • Isopropyl alcohol • Grease-removing hand cleaner • Vacuum cleaner filters and bags (note that shop vacs should be fitted with both filter and bag – not filter only – for ease of maintenance and better air quality • Masking tape in wall dispenser

4.6 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Consumables and Supplies • Clear packing tape • Standard cellophane tape • Hot glue sticks • Carpenters wood glue • Aileen’s Tacky Glue • Acrylic cement (solvent based) • Basic hardware assortment: nuts, bolts, wood screws, nails • Standard drill bits • Possibly a tap and die set • Butcher paper • Post-it notes • Label maker with label tapes • Staple gun and staples • Regularly serviced first aid kit • Eye wash kit • Facial tissues • Rubber bands • Assorted zip ties • Utility knives and blades • Exacto knives and blades • Sharps disposal bin • Battery disposal bin • Sand paper Tool-Specific Consumables and Supplies: Laser Cutters Materials for student purchase: 1/8” birch plywood, ¼” birch plywood, 1/16th acrylic, 1/8” acrylic, ¼” acrylic, 1-ply and 2-ply grey and/or white museum board – all cut to standard sizes to fit laser cutters (work with supplier on plywood to ensure that it is indoor quality suitable for laser cutting. Laser will not cut construction grade due to resin density.) Spare Parts: Keep replacement parts on hand, including replacement nozzle casing, belts, aluminum honeycomb bed (the most costly regular consumable, at approx. $200 each, will need to be replaced yearly, depending on usage, and in cases where accidental flare-ups melt the honeycomb) Accessory tools/supplies: Spray water bottle, calipers, lens cleaning kit from manufacturer, replacement screws for main components

CNC Router Materials for student purchase: ½” plywood, ¾” plywood, both in 4’x8’ and 4’x4’ sizes Accessory tools/supplies: Mallet, chisel, brad nailer with supply of plastic brad nails, calipers, measuring tape 3D Printers – Ultimaker Materials supplied free of charge: PLA plastic material spools in assorted colors (minimum: white, black, gray and tan) Spare parts from manufacturer 3D Printers – Formlabs Materials supplied to student for purchase, or free on a controlled basis, as per Cilker discretion: Resin in assorted colors and translucencies (minimum: white, black, gray, clear), and consider adding rubberized material and porcelain resin in the future. Spare parts and cleaning kit from manufacturer Vinyl Cutter Materials supplied to student for payment per sq inch of usage, on honor system: Assorted colors of adhesive vinyl, assorted colors of heat transfer vinyl, transfer tape Spare blades Vacuum Former Materials supplied to student for purchase: Thick and thin versions of vacuum formable plastic material, cut to size for the specific machine, in colors at least black and clear Accessory tools/supplies: Several pairs of heat protective gloves in 3 sizes, large, medium and small Power Tools Accessory tools/supplies: Extension cord, safety glasses, spare blades/bits Sander Replacement sandpaper in assorted grit

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.7

Site

The Bill and Leila Cilker School of Art and Design (top) resides in an impeccably renovated mid-century building on the campus of West Valley College, in Saratoga California. The space we have identified as best suited to conversion into a fabrication lab is a classroom (shown in its existing condition at top and right, facing page) located in the north end of the building. It will require minimal structural changes, and it features a

dedicated storage room, adjacency to the buildingâ&#x20AC;&#x2122;s only courtyard (lower left, facing page) and integrated connectors in ceiling (bottom center, facing page) for attaching mechanical components. The room is also close to the central student lounge (above) - an artery that connects classrooms and an existing student design resource center with convenient proximity to the new fabrication lab.

4.8 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Site

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.9

New Fabrication Lab

Artistâ&#x20AC;&#x2122;s rendering of the hybrid work space (wood shop and CNC milling area beyond), with laser cutters, 3D printers, work tables and display shelves to be fabricated in the lab. See additional renderings in the Executive Summary in this report. 4.10 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

New Fabrication Lab

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.11

Plan - Existing

38'-0"

28'-0"

2'-0"

CASE WORK TO BE REMOVED

2'-0"

28'-0"

44'-3 1/2"

38'-0"

PLAN AS BUILT WITH DEMOLITION 4.12 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Plan - Existing

2'-0"

KENT WILSON

CASE WORK AND SINK TO BE REMOVED

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

WHITE BOARD ASSEMBLY TO BE REMOVED

(E) DATA AND POWER PORT TO REMAIN

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

SCHEMATIC DESIGN PLAN AS BUILT AND DEMOLITION

A1.1 0

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.13

Plan - Proposed

38'-0"

28'-0"

2'-0"

DUST COLLECTION SYSTEM - CNC

DUST COLLECTION SYSTEM - WOOD SHOP

SPRAY BOOTH

14'-4 1/2"

CNC ROUTER 96” x 48”

2'-0"

FLAMMABLES CABINET

FUTURE LASER CUTTERS

LASER CUTTER 48”x24” CAPACITY

44'-3 1/2"

28'-0"

LASER CUTTER 32”x18” CAPACITY

2'-0"

WASTE BIN

PLAN PROPOSED 4.14 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

OUTDOOR WORK YARD

Plan - Proposed

2'-0"

SCRAP

BAND SAW

DRILL PRESS

KENT WILSON

WASTE BIN

SANDER

STAINLESS STEEL STUDIO SINK

CHOP SAW W/EXTENDED WORK SURFACE TABLE SAW AND CATCH TABLE

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

POSSIBLE FUTURE PARTITION OF CNC AREA MOBILE TOOL/ STORAGE CABINET

MOBILE TOOL/ STORAGE CABINET

GLAZED INTERIOR STORE FRONT PATITION WALL SYSTEM

(E) DATA, AV AND POWER CONNECTIONS AT FLOOR

3D PRINTERS

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

3D PRINTERS

SCHEMATIC DESIGN

DISPLAY SHELVES

PLAN PROPOSED

A1.2 0

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.15

Reflected Ceiling Plan - Existing

CAPPED ROOF OPENING TO BE RE-OPENED FOR EXHAUST SYSTEM

PORTION OF (E) LIGHT FIXTURE TO BE REMOVED AV PROJECTOR TO BE REMOVED

(E) LIGHT FIXTURES TO REMAIN

(E) AV PROJECTOR TO REMAIN

REFLECTED CEILING PLAN AS BUILT WITH DEMOLITION 4.16 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Reflected Ceiling Plan - Existing

(E) AUDIO SPEAKER TO BE RELOCATED

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

KENT WILSON

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

AV SCREEN TO BE REMOVED

(E) WHITE BOARD ASSEMBLY TO BE REMOVED

(E) AV SCREEN TO REMAIN

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

(E) AUDIO SPEAKER TO REMAIN

SCHEMATIC DESIGN REFLECTED CEILING PLAN AS BUILT WITH DEMOLITION

A2.1 0

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.17

Reflected Ceiling Plan - Proposed

DUCTS VENT THROUGH ROOF FOR LASER CUTTER EXHAUST AND SPRAY BOOTH EXHAUST DUST COLLECTION SYSTEM FOR WOOD SHOP MAIN COLLECTOR DUCT FOR WOOD SHOP DUST COLLECTION SYSTEM DEDICATED DUST COLLECTION SYSTEM FOR CNC ROUTER (BELOW)

DUCTS FOR DEDICATED CNC ROUTER DUST COLLECTION SYSTEM

DUCT FOR SPRAY BOOTH EXHAUST (VENTS TO ROOF) POSSIBLE FUTURE PARTITION FOR CNC ROUTING AREA

GLAZED INTERIOR STORE FRONT PARTITION SYSTEM

DUCTS FOR LASER CUTTER EXHAUST

(E) AV PROJECTOR

REFLECTED CEILING PLAN PROPOSED 4.18 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Reflected Ceiling Plan - Proposed

DUCTS FOR WOOD SHOP DUST COLLECTION SYSTEM

RETRACTABLE CEILING MOUNT CORD REELS, TYP.

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

KENT WILSON

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

(E) LIGHT FIXTURES

(E) AUDIO SPEAKER

(E) AV SCREEN

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

(E) AUDIO SPEAKER

SCHEMATIC DESIGN REFLECTED CEILING PLAN PROPOSED

A2.2 0

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.19

9'-11 1/2"

11'-11 1/2"

Interior Elevations - Existing

38'-0"

11'-11 1/2"

9'-6"

(E) AUDIO SPEAKER TO BE RELOCATED

14'-6 1/4"

24'-0"

44'-5"

B (E) CASE WORK TO REMAIN

SECTIONS AS-BUILT WITH DEMOLITION 4.20 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

CASE WORK TO BE REMOVED

Interior Elevations - Existing

WHITE BOARD ASSEMBLY TO BE REMOVED

CASE WORK AND SINK TO BE REMOVED

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

KENT WILSON

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

(E) AV SCREEN TO REMAIN (E) AUDIO SPEAKER TO REMAIN

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

SCHEMATIC DESIGN SECTIONS AS BUILT WITH DEMOLITION

A3.1

WHITE BOARD ASSEMBLY TO BE REMOVED

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.21

3'-0"

8'-6"

9'-11 1/2"

Interior Elevations - Proposed

6'-0" 38'-0"

9'-10 3/4"

8'-6"

11'-11 1/2"

13'-7"

7'-0" 14'-7"

POSSIBLE F FOR CNC R

SECTIONS PROPOSED 4.22 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Interior Elevations - Proposed

Berkeley, California 94702 | 706-573-2380 kent@wilson3d.com | www.wilson3d.com

KENT WILSON

DRAWN BY: KW __________________ DATE: 07/31/19 __________________ REVISIONS:

GLAZED INTERIOR STORE FRONT PARTITION SYSTEM

WEST VALLEY COLLEGE CILKER SCHOOL FABRICATION LAB

SCHEMATIC DESIGN SECTIONS PROPOSED

FUTURE PARTITION ROUTING AREA

A3.2 0

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.23

Recommended Tools and Equipment - Phase 1 - 2020 Item

Basic Specifications

Brand

Cost

Operating (Estimate

Item

Basic Specifications

Brand

Cost

Operating (Estimate

Laser Cutters 32"x18" capacity (1)

32"x18" capacity

Universal

$25,000.00

Laser Cutters 32"x18" capacity (1) Laser Cutter 48"x24" capacity (1)

32"x18" capacity 48"x24" capacity

Universal Universal

$25,000.00 $32,000.00

Laser Cutter 48"x24" capacity (1) CNC Router (1)

48"x24" capacity 96"x48" capacity

Universal ShopBot

$32,000.00 $25,000.00

96"x48" capacity

ShopBot Ultimaker

$25,000.00 $7,500.00

Ultimaker Form 3

$7,500.00 $5,000.00

3D Printers - SLA (1) CNC Vinyl Cutter

Form 3 Roland

$5,000.00 $2,400.00

CNC Vinyl Cutter Contingency (installation, shipping, accessories, spare parts, warrantees) Contingency (installation, shipping, accessories, spare parts, warrantees)

Roland

$2,400.00 $2,100.00

Digital Fabrication Tools Digital Fabrication Tools

CNC Router (1) 3D Printers - Extrusion (3) 3D Printers - Extrusion (3) 3D Printers - SLA (1)

Digital Fabrication Tools Total

$2,100.00 $99,000.00

Digital Fabrication Tools Total

$99,000.00

Power Tools - Wood Shop Table Saw

Power Tools - Wood Shop

3 HP, 36" T-glide fence.

Sawstop

$3,049.00

Table Saw Miter Saw

3 HP, 36" T-glide fence. Model CM10GD 10-inch, 15 amp

Sawstop Bosch

$3,049.00 $600.00

Miter Saw and Cabinetry (outfeed table for table saw, Casework counter for miter saw) Casework and Cabinetry (outfeed table for table saw, counter for miter saw) Band Saw

Model CM10GD 10-inch, 15 amp TBD

Bosch TBD

$600.00 $3,500.00

TBD 15" Bandsaw, 3HP, Model JWBS-15-3

TBD Jet

$3,500.00 $1,850.00

Band Saw Combination Sander

15" Bandsaw, 3HP, Model JWBS-15-3 Belt and Disc

Jet Jet 708598K

$1,850.00 $1,500.00

Combination Sander Hand-Held Circular Track Saw

Belt and Disc SP600J1 6.5" with 55" guide rail

Jet 708598K Makita

$1,500.00 $569.00

Hand-Held Circular Track Saw Hand-Held Jigsaw

SP600J1 6.5" with 55" guide rail Model 4350FCT 6.3 amp

Makita Makita

$569.00 $539.00

Model 4350FCT 6.3 amp

Makita DeWALT

$539.00 $520.00

Cordless Drills (3) Hand-Held Router

DeWALT DeWALT

$520.00 $340.00

Hand-Held Router Dremel Sets (2)

DeWALT Dremel

$340.00 $660.00

Dremel Sets (2) Pneumatic Brad Nailer (dedicated for CNC router lab)

Dremel Makita

$660.00 $90.00

Pneumatic Brad Nailer (dedicated CNC routerspare lab) parts) Contingency (intallation, shipping,for accessories,

Makita

$90.00 $3,783.00

Hand-Held Jigsaw Cordless Drills (3)

Power Tools Total

4.24 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Other Equipment

$17,000.00

Phase 1 - Recommended Tools and Equipment Contingency (intallation, shipping, accessories, spare parts)

$3,783.00

Power Tools Total

$17,000.00

Basic Specifications

Brand

Cost

Laser Cutters 32"x18" capacity (1) Vacuum Former

32"x18" 16"x16" capacity capacity

Universal NewForm 16:16

$25,000.00 $2,900.00

Laser CutterCabinet 48"x24" capacity (1) Sand Blast

48"x24" capacity

Greg Smith Universal Equipment SBC 420

$32,000.00 $1,160.00

96"x48" capacity

ShopBot TBD

$25,000.00 $5,000.00

3D Printers - Extrusion (3) Sewing Machine

mechanical

Ultimaker Singer Classic Heavy Duty

$7,500.00 $156.00

3D Printers - SLA (1) Shop Vacuum Cleaners (3)

16-gallon, stainless steel, wet/dry, with accessories

Form 3 RIDGID

$5,000.00 $618.00

12" trigger handle,

Roland Irwin

$2,400.00 $500.00

30" bar clamp

Bessey

$2,100.00 $225.00

Item

Other Equipment Digital Fabrication Tools

CNC SprayRouter Booth(1)

CNC Vinyl CutterRelease (25) Clamps - Quick Contingency (installation, shipping, accessories, spare parts, Clamps - Metal (15) warrantees) Clamps - Heavy-Duty (25) Utility Cart

assortedDigital Fabrication Tools Bessey Total

$99,000.00 $875.00

45"x25"x37" 500 lb capacity

Uline

$285.00

30"x60" deck 12-36" ht adj. 2000lb capacity

Uline

$441.00

Loop handle, pneumatic 3 HP, 36" T-glide fence. wheels

Sawstop Harper Series 56T

$3,049.00 $146.00

4-wheel, 30"x18.2" Model CM10GD 10-inch, 15 amp 1000lb capacity

Bosch Buffalo Tools

$600.00 $100.00

TBD

$3,500.00 $120.00

15" Bandsaw, 3HP, Model JWBS-15-3

Jet

$1,850.00 $90.00

Belt and Disc

Jet 708598K

$1,500.00 $100.00

SP600J1 6.5" with 55" guide rail

Makita

$569.00 $60.00

Model 4350FCT 6.3 amp

Makita

$539.00 $45.00

Cordless Drills (4) (3) Hot Glue Guns

DeWALT

$520.00 $120.00

Shop Brushes, Brooms, Dust Pans, Hand-Held Router Waste Bins, Mop

DeWALT

$340.00 $350.00

Dremel

$660.00 $1,709.00

Sheet Goods Cart Power Tools - Wood Shop Table Saw Handtruck Miter Saw Dollies (2 sets of 2) Casework and Cabinetry (outfeed table for table saw, Ladder counter for miter saw) Band Saw Step Stool Combination Sander Extension Cords (4) Hand-Held Saw Horse Circular BracketsTrack Saw Hand-Held Heat Gun Jigsaw

Dremel Sets (2) Contingency (intallation, shipping, accessories, warrantees) Pneumatic Brad Nailer (dedicated for CNC router lab)

Makita Other Equipment Total

$90.00 $15,000.00

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.25

Operating (Estimat

Recommended Tools and Equipment - Phase 1

Basic Specifications

Brand

Cost

Laser 32"x18" NailingCutters Hammers (10) capacity (1)

32"x18" capacity curved-claw

Universal Stanley or Pittsburgh

$25,000.00 $80.00

Laser Cutter 48"x24" capacity (1) Dead Blow Hammers (10)

48"x24" capacity neon orange plastic

Universal Pittsburgh

$32,000.00 $90.00

96"x48" capacity wood handle

ShopBot Stanley or Pittsburgh

$25,000.00 $54.00

Ultimaker Ironton

$7,500.00 $300.00

Quick Adjusting Groovelock

Form Irwin3

$5,000.00 $100.00

Quick-Grip steel

Roland Irwin

$2,400.00 $70.00 $16,000.00

Item

DigitalSmall Fabrication Tools Tools

CNC Router (1) (6) Rubber Mallets 3D Printers - Extrusion Pliers - 6-piece sets (10)(3) 3D Printers (1)sets (5) Joint Pliers - SLA 2-pack CNC Vinyl Cutter Vise Grips (5)

Mechanical Systems Total

Contingency (installation, shipping, accessories, spare parts, Socket Wrench sets (2) warrantees)

64-piece SAE & Metric

Pittsburgh

$2,100.00 $70.00

Wrench Sets - Open and Ratchet Ends (2)

20-piece combination Total Craftsman ratchet/openDigital end, Fabrication Tools SAE & Metric

$99,000.00 $120.00

Furnishings

Allen Key Sets - Long Reach (6) Work Tables (12)

Power Tools - Wood Shop Allen Key Sets - T-Handle (4) Shop Stools (20) Table Saw Sets (6) Screwdriver Task Chairs (2) Miter Saw Tape Measures (10) Locking Storage Cabinets (2) Casework and Cabinetry (outfeed table for table saw, Laser Measuring (4) counter for miter Tools saw) Tool Cabinet/Carts (2) Band Laser Saw Leveling Tools (2) Flammables Safety Cabinet Combination Sander Carpenter's Combination Squares (6) Shelving for 3D printers Hand-Held Carpenter'sCircular SquaresTrack (4) Saw Contingency (shipping, spare parts, accessories, warrantees) Hand-Held Jigsaw Contingency (shipping, accessories, warrantees)

36-piece SAE &electrical, Metric 30"x60", casters, butcher block tops

Pittsburgh TBD

$48.00 $24,000.00

18-piece SAE & Metric round top, steel

PIttsburgh Based on Uline but seeking alternative

$72.00 $740.00

3 HP, 36"flat T-glide fence. 12-piece and phillips rolling

Sawstop Stanley Based on Uline but seeking alternative

$3,049.00 $546.00 $460.00

Model CM10GD 10-inch, PowerLock 35' 15 amp

Bosch Stanley Lista

$600.00 $220.00 $3,800.00

TBDrange 100-foot

BoschTBD GLM 30 Craftsman

$3,500.00 $160.00 $880.00

15" Bandsaw, 3HP, Model 33-foot range JWBS-15-3

BoschJet GLL 55 Justrite

$1,850.00 $300.00 $600.00

Belt12-inch and Disc

JetStanley 708598K TBD

$1,500.00 $60.00 $3,500.00

SP600J1 6.5" with 55" guide rail

Makita Stanley

$569.00 $20.00 $6,020.00

Furnishings Total

Makita

$539.00 $1,690.00 $40,000.00

DeWALT Small Tools Total

$520.00 $4,000.00

Model 4350FCT 6.3 amp

Cordless Drills (3) Hand-Held Router

DeWALT

$340.00

Dremel SetsBracket (2) Mechanical Wall-Mount for Computer Systems Workstation with Keyboard Shelf (6)

Dremel TBD

$660.00 $450.00

Pneumatic Brad Nailer (dedicated for CNC router lab) Air Compressor Compressed Air Lines, Hoses, Nozzles

Makita TBD TBD

$90.00 $2,900.00 $300.00

Dust Collection Unit (Shop) Retractable Ceiling-Mount Cord Reels (6)

Baileigh KH Industries

$3,400.00 $1,200.00

Dust Collection Unit (CNC) Contingency (shipping, parts, hardware)

Baileigh

$1,400.00 $2,050.00

TBD

$5,000.00 $4,000.00

Fixtures

Ventillation Unit (Laser Cutters) Contingency (intallation, shipping, spare parts, warrantees)

4.26 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Fixtures Total

$3,300.00

Operating (Estimate

Carpenter's Squares (4)

Stanley

$20.00

$1,690.00 Phase 1 - Recommended Tools and Equipment

Contingency (shipping, accessories, warrantees)

Mechanical Systems Total Small Tools Total Item

$16,000.00 $4,000.00

Basic Specifications

Brand

Cost

30"x60", casters, electrical, 32"x18" capacity butcher block tops

Universal TBD

$25,000.00 $24,000.00 $2,900.00

48"x24" capacity round top, steel

Based on UlineUniversal but seeking alternative Baileigh

$32,000.00 $740.00 $3,400.00

96"x48" capacity rolling

Based on UlineShopBot but seeking alternative Baileigh

$25,000.00 $460.00 $1,400.00

Ultimaker Lista TBD

$7,500.00 $3,800.00 $5,000.00

Form 3 Craftsman

Digital Fabrication Tools Furnishings Mechanical Systems Laser Cutters(12) 32"x18" capacity (1) Work Tables Air Compressor Laser Cutter (20) 48"x24" capacity (1) Shop Stools Dust Collection Unit (Shop) CNC (1) Unit (CNC) Task Chairs (2) Dust Router Collection 3D Printers -Unit Extrusion (3) Locking Storage Cabinets (2) Ventillation (Laser Cutters) 3D Printers - SLA (1) Tool Cabinet/Carts (2) Contingency (intallation, shipping, spare parts, warrantees)

Mechanical Systems Total

$5,000.00 $880.00 $3,300.00 $16,000.00

CNC Vinyl Cutter Flammables Safety Cabinet

Roland Justrite Mechanical Systems Total

$2,400.00 $600.00 $16,000.00

Contingency (installation, shipping, accessories, spare parts, Shelving for 3D printers Furnishings warrantees)

TBD

$2,100.00 $3,500.00

Contingency (shipping, spare parts, accessories, warrantees) Furnishings Work Tables (12)

Fabrication Tools Total 30"x60", casters, Digital electrical, TBD butcher block tops

$99,000.00 $6,020.00 $24,000.00

Work (12) Shop Tables Stools (20)

30"x60", casters, electrical, TBD Furnishings Total round top, steel Based on Uline but seeking alternative butcher block tops

$40,000.00 $24,000.00 $740.00

Shop Stools (2) (20) Power Tools - Wood Shop Task Chairs Table Saw (2) Fixtures Task Chairs Locking Storage Cabinets (2) Wall-Mount Bracket for Computer Workstation Miter Saw Locking Storage Cabinets (2) Tool Cabinet/Carts (2)(6) with Keyboard Shelf

roundrolling top, steel

Based Based on on Uline Uline but but seeking seeking alternative alternative

$740.00 $460.00

3 HP, 36"rolling T-glide fence.

Based on UlineSawstop but seeking alternative Lista

$3,049.00 $460.00 $3,800.00

Model CM10GD 10-inch, 15 amp

Bosch TBD Lista Craftsman

$600.00 $450.00 $3,800.00 $880.00

TBD

TBD Craftsman Justrite

$3,500.00 $300.00 $880.00 $600.00

15" Bandsaw, 3HP, Model JWBS-15-3

Jet KHJustrite Industries TBD

$1,850.00 $1,200.00 $600.00 $3,500.00

Combination Sander Contingency (shipping, hardware) Shelving for 3D printers parts, Contingency (shipping, spare parts, accessories, warrantees)

Belt and Disc

Jet 708598K TBD

$1,500.00 $2,050.00 $3,500.00 $6,020.00

Hand-Held Circular Track Saw parts, accessories, warrantees) Contingency (shipping, spare

SP600J1 6.5" with 55" guide rail

Makita Fixtures Total Furnishings Total

$569.00 $4,000.00 $6,020.00 $40,000.00

Model 4350FCT 6.3 amp

Makita Furnishings Total

$539.00 $40,000.00

Casework and Cabinetry (outfeed table for table saw, Compressed Air Lines, Hoses, Nozzles Tool Cabinet/Carts (2) counter for miter saw) Flammables Safety Cabinet Band Saw Safety CabinetCord Reels (6) Retractable Flammables Shelving forCeiling-Mount 3D printers

Hand-Held Jigsaw

Recommended Tools and Equipment - Phase 1 Fixtures

Cordless Drills (3)

DeWALT TOTAL - ALL CATEGORIES

$520.00 $195,000.00

Hand-Held Wall-MountRouter Bracket for Computer Workstation Fixtures with Keyboard Shelf (6)

DeWALT TBD

$340.00 $450.00

Wall-Mount for Computer Workstation Dremel SetsBracket (2) Compressed Air Lines, with Keyboard Shelf (6)Hoses, Nozzles

Dremel TBD TBD

$660.00 $450.00 $300.00

Pneumatic Brad for CNC router lab) Compressed Air Nailer Lines, (dedicated Hoses, Retractable Ceiling-Mount CordNozzles Reels (6)

Makita TBD KH Industries

$90.00 $300.00 $1,200.00

Retractable Cord Reels (6) ContingencyCeiling-Mount (shipping, parts, hardware)

KH Industries

$1,200.00 $2,050.00

Contingency (shipping, parts, hardware)

Fixtures Total

$2,050.00 $4,000.00

Fixtures Total

$4,000.00

- ALL CATEGORIES West Valley College Cilker School TOTAL of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant$195,000.00 >> June 2019 >> 4.27

Operating (Estimat

Recommended Tools and Equipment - Phase 2 - 2021 Item

Basic Specifications

Brand

Cost

Operating (Estimate

Item

Basic Specifications

Brand

Cost

Operating (Estimate

Laser Cutters 32"x18" capacity (1)

32"x18" capacity

Universal

$25,000.00

Laser Cutters 32"x18" capacity (1) 3D Printers - Extrusion (3)

32"x18" capacity

Universal Ultimaker

$25,000.00 $7,500.00

Laser Cutter- 48"x24" capacity (1) 3D Printers Extrusion (3) 3D Printers - SLA (1)

48"x24" capacity

Universal Ultimaker Form 3

$32,000.00 $7,500.00 $5,000.00

96"x48" capacity

ShopBot Form 3

$25,000.00 $5,000.00 $1,500.00

Digital Fabrication Tools Total

Ultimaker

$7,500.00 $1,500.00 $39,000.00

Form 3 Digital Fabrication Tools Total

$5,000.00 $39,000.00

Digital Fabrication Tools Digital Fabrication Tools

CNC Router-(1) 3D Printers SLA (1) Contingency (installation, shipping accessories, warrantees) 3D Printers - Extrusion (3) shipping accessories, warrantees) Contingency (installation, 3D Printers - SLA (1) CNC Vinyl Cutter

Roland

Power Tools - Wood Shop

Contingency (installation, shipping, accessories, spare parts, Power Tools - Wood Shop warrantees) Maintenance and parts of table saw, band saw, miter saw

$2,100.00 $1,200.00

Digital Fabrication Tools Total DeWALT

$99,000.00 $1,200.00 $380.00

DeWALT Festool

$380.00 $950.00

Festool Dremel

$950.00 $660.00

3 HP, 36" T-glide fence.

Sawstop Dremel Makita

$3,049.00 $660.00 $90.00

Model CM10GD 10-inch, 15 amp

Bosch Makita

$600.00 $90.00 $920.00

Power Tools Total

TBD

$3,500.00 $920.00 $4,200.00

15" Bandsaw, 3HP, Model JWBS-15-3 Power Tools Jet Total

$1,850.00 $4,200.00

Maintenance and parts of table saw, band saw, miter saw Cordless Drills (2) Cordless Drills (2) Biscuit Joiner (1) Biscuit Joiner (1) Power Tools - Wood Shop Dremel Sets (2) Table Saw Dremel SetsBrad (2) Nailer Pneumatic (additional, not dedicated for CNC router lab) Pneumatic Brad Nailer Miter Saw (additional, not dedicatedshipping, for CNC router lab) Contingency (intallation, accessories, warrantees) Casework and Cabinetry (outfeed table for table saw, Contingency (intallation, shipping, accessories, warrantees) counter for miter saw) Band Saw Combination Sander

$2,400.00

TBD

Belt and Disc

Jet 708598K

$1,500.00

SP600J1 6.5" stainless with 55" guide 16-gallon, steel, rail wet/dry, with accessories

Makita RIDGID

$569.00 $206.00

Hand-Held Jigsaw Shop Vacuum Cleaners (1) Clamps - Quick Release (10)

16-gallon, stainless steel, Model 4350FCT 6.3 amp wet/dry, with accessories 12" trigger handle,

Makita RIDGID Irwin

$539.00 $206.00 $200.00

Cordless Drills (3) Clamps - Quick Release (10) Clamps - Metal (5)

12" trigger handle, 30" bar clamp

DeWALT Irwin Bessey

$520.00 $200.00 $750.00

Hand-Held Router Clamps - Metal (5) Utility Cart

30" bar clamp 45"x25"x37" 500 lb capacity

DeWALT Bessey Uline

$340.00 $750.00 $285.00

Dremel Sets (2) Utility Cart Extension Cords (4)

45"x25"x37" 500 lb capacity

Dremel Uline

$660.00 $285.00 $100.00

Makita

$90.00 $100.00

Other Equipment

Hand-Held Circular Track Other SawEquipment Shop Vacuum Cleaners (1)

Pneumatic Brad Nailer (dedicated for CNC router lab) Extension Cords (4)

4.28 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Biscuit Joiner (1)

Festool

$950.00

Dremel Sets (2)

Dremel

$660.00

Pneumatic Brad Nailer (additional, not dedicated for CNC router lab)

Phase 2 - Recommended Tools and Equipment Makita

Contingency (intallation, shipping, accessories, warrantees)

$90.00 $920.00

Power Tools Total

$4,200.00

Basic Specifications

Brand

Cost

16-gallon, stainless steel, 32"x18" capacity wet/dry, with accessories

Universal RIDGID

$25,000.00 $206.00

48"x24" capacity 12" trigger handle,

Universal Irwin

$32,000.00 $200.00

96"x48" 30" barcapacity clamp

ShopBot Bessey

$25,000.00 $750.00

45"x25"x37" 500 lb capacity

Ultimaker Uline

$7,500.00 $285.00

3D PrintersCords - SLA(4) (1) Extension

Form 3

$5,000.00 $100.00

Saw Horse Brackets CNC Vinyl Cutter

Roland

$60.00 $2,400.00

Item

Digital Fabrication Tools Other Equipment Laser Cutters 32"x18" (1) Shop Vacuum Cleanerscapacity (1) Laser Cutter 48"x24" capacity Clamps - Quick Release (10) (1) CNC Router (1) (5) Clamps - Metal 3D Printers Utility Cart - Extrusion (3)

Contingency (installation, shipping, accessories, spare parts, Hot Glue Guns (2) warrantees) Shop Brushes, Brooms, Dust Pans, Waste Bins, Mop

$60.00 $2,100.00

Digital Fabrication Tools Total

Contingency (intallation, shipping, accessories, warrantees)

$89.00

Other Equipment Total

Power Tools - Wood Shop Table Saw

$250.00 $99,000.00

$2,000.00

3 HP, 36" T-glide fence.

Sawstop

$3,049.00

Model CM10GD 10-inch, 15 amp

Bosch

$600.00

curved-claw TBD

Stanley or Pittsburgh TBD

$40.00 $3,500.00

neon 3HP, orange plastic 15" Bandsaw, Model JWBS-15-3

Pittsburgh Jet

$45.00 $1,850.00

wood handle Belt and Disc

Stanley or Pittsburgh Jet 708598K

$27.00 $1,500.00

SP600J1 6.5" with 55" guide rail

Ironton Makita

$120.00 $569.00

Quick Adjusting Groovelock Model 4350FCT 6.3 amp

Irwin Makita

$100.00 $539.00

Quick-Grip steel

Irwin DeWALT

$56.00 $520.00

Socket Wrench sets (1) Hand-Held Router

64-piece SAE & Metric

Pittsburgh DeWALT

$35.00 $340.00

WrenchSets Sets(2) - Open and Ratchet Ends (1) Dremel

20-piece combination ratchet/open end, SAE & Metric

Craftsman Dremel

$60.00 $660.00

Allen Key Sets (4) for CNC router lab) Pneumatic Brad- Long NailerReach (dedicated

36-piece SAE & Metric

Pittsburgh Makita

$32.00 $90.00

Allen Key Sets - T-Handle (2)

18-piece SAE & Metric

PIttsburgh

$36.00

12-piece flat and phillips

Stanley

$273.00

Miter Saw

Small Tools

Casework and Cabinetry (outfeed table for table saw, Nailing Hammers (5) counter for miter saw) Dead Blow Band Saw Hammers (5) Rubber Mallets (3) Combination Sander Pliers - 6-piece setsTrack (4) Saw Hand-Held Circular Joint PliersJigsaw - 2-pack sets (5) Hand-Held Vise GripsDrills (4) (3) Cordless

Screwdriver Sets (3) Tape Measures (8)

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.29

PowerLock 35'

Stanley

$176.00

Operating (Estimat

Shop Brushes, Brooms, Dust Pans, Waste Bins, Mop Contingency (intallation, shipping, accessories, warrantees) Recommended Tools and Equipment - Phase

$250.00

$89.00

Other Equipment Total

$2,000.00

Basic Specifications

Brand

Cost

Laser 32"x18" NailingCutters Hammers (5) capacity (1)

32"x18" capacity curved-claw

Universal Stanley or Pittsburgh

$25,000.00 $40.00

Laser Cutter 48"x24" capacity (1) Dead Blow Hammers (5)

48"x24" capacity neon orange plastic

Universal Pittsburgh

$32,000.00 $45.00

96"x48" capacity wood handle

ShopBot Stanley or Pittsburgh

$25,000.00 $27.00

Ultimaker Ironton

$7,500.00 $120.00

Quick Adjusting Groovelock

Form Irwin3

$5,000.00 $100.00

Quick-Grip steel

Roland Irwin

$2,400.00 $56.00

Contingency (installation, shipping, accessories, spare parts, Socket Wrench sets (1) warrantees) Mechanical Systems

64-piece SAE & Metric

Pittsburgh

$2,100.00 $35.00

Wrench Sets - Open and Ratchet Ends (1) Air Compressor Maintenance

20-piece combination Total Craftsman ratchet/openDigital end, Fabrication Tools TBD SAE & Metric

$99,000.00 $60.00 $800.00

Allen Key Sets - Long Reach (4) Dust Collection Unit Filters (Shop)

36-piece SAE & Metric

Pittsburgh Baileigh

$32.00 $600.00

Power Tools - Wood Shop Allen Key Sets - T-Handle (2) Dust Collection Unit Filters (CNC)

18-piece SAE & Metric

PIttsburgh Baileigh

$36.00 $400.00

3 HP, 36"flat T-glide fence. 12-piece and phillips

Sawstop Stanley

$3,049.00 $273.00 $1,200.00

Model CM10GD 10-inch, PowerLock 35' 15 amp

Bosch Stanley

$600.00 $176.00 $3,000.00

TBDrange 100-foot

BoschTBD GLM 30

$3,500.00 $80.00

15" Bandsaw, 3HP, Model 33-foot range JWBS-15-3

BoschJet GLL 55

$1,850.00 $150.00

Belt12-inch and Disc

JetStanley 708598K

$1,500.00 $30.00 $1,000.00

Hand-Held Carpenter'sCircular SquaresTrack (2) Saw Contingency (shipping, accessories, warrantees)

SP600J1 6.5" with 55" guide rail

Makita Stanley

$569.00 $10.00 $500.00

Hand-Held Jigsaw Contingency (shipping, accessories, warrantees)

Model 4350FCT 6.3 amp

Furnishings Total

Makita

$539.00 $730.00 $1,500.00

DeWALT Small Tools Total

$520.00 $2,000.00

Item

DigitalSmall Fabrication Tools Tools

CNC Router (1) (3) Rubber Mallets 3D Printers - Extrusion Pliers - 6-piece sets (4) (3) 3D Printers (1)sets (5) Joint Pliers -- SLA 2-pack CNC Vinyl Cutter Vise Grips (4)

Table Saw Sets (3) Screwdriver Contingency (misc. maintenance, parts, shipping, accessories) Miter Saw Tape Measures (8)

Mechanical Systems Total

Casework and Cabinetry (outfeed table for table saw, Laser Measuring counter for miter Tools saw) (2) Band Laser Saw Leveling Tools (1)

Furnishings

Combination Sander Carpenter's Combination Squares (3) Shelving, brackets, fasteners

Cordless Drills (3) Hand-Held Router

DeWALT

$340.00

Dremel SetsBracket (2) Wall-Mount for Computer Workstation with Keyboard Shelf (2)

Dremel TBD

$660.00 $150.00

Pneumatic Brad Nailer (dedicated for CNC router lab) Compressed Air Lines, Hoses, Nozzles

Makita TBD

$90.00 $150.00

Fixtures

Contingency (shipping, parts, hardware)

$500.00

Fixtures Total

4.30 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

TOTAL - ALL CATEGORIES

$800.00

$52,500.00

Operating (Estimate

Phase 2 - Recommended Tools and Equipment

Basic Specifications

Item

Mechanical Systems Mechanical Systems Digital Fabrication Tools

Air Compressor Maintenance

Brand

Cost

TBD

$800.00

Laser Cutters 32"x18" capacity (1) Air Compressor Maintenance Dust Collection Unit Filters (Shop)

32"x18" capacity

Universal TBD Baileigh

$25,000.00 $800.00 $600.00

Laser Cutter 48"x24" capacity (1) Dust Collection Unit Filters (Shop) Dust Collection Unit Filters (CNC)

48"x24" capacity

Universal Baileigh Baileigh

$32,000.00 $600.00 $400.00

96"x48" capacity

ShopBot Baileigh

$25,000.00 $400.00 $1,200.00

Mechanical Systems Total

Ultimaker

$7,500.00 $1,200.00 $3,000.00

Form 3 Mechanical Systems Total

$5,000.00 $3,000.00

CNC (1) Unit Filters (CNC) Dust Router Collection Contingency (misc. maintenance, parts, shipping, accessories) 3D Printers - Extrusion (3) Contingency (misc. maintenance, parts, shipping, accessories) 3D Printers - SLA (1) CNC Vinyl Cutter

Roland

Furnishings

Contingency (installation, shipping, accessories, spare parts, Furnishings warrantees) Shelving, brackets, fasteners

$2,400.00 $2,100.00 $1,000.00

Digital Fabrication Tools Total

Shelving, brackets, fasteners Contingency (shipping, accessories, warrantees) Contingency (shipping, accessories, warrantees)

$99,000.00 $1,000.00 $500.00

Furnishings Total

$500.00 $1,500.00

Furnishings Total

$1,500.00

3 HP, 36" T-glide fence.

Sawstop

$3,049.00

Model CM10GD 10-inch, 15 amp

Bosch TBD

$600.00 $150.00

TBD

TBD TBD TBD

$3,500.00 $150.00 $150.00

Band Saw Compressed Air Lines, Hoses, Nozzles Contingency (shipping, parts, hardware)

15" Bandsaw, 3HP, Model JWBS-15-3

Jet TBD

$1,850.00 $150.00 $500.00

Combination Sander Contingency (shipping, parts, hardware)

Belt and Disc

Fixtures Total

Jet 708598K

$1,500.00 $500.00 $800.00

Makita Fixtures Total

$569.00 $800.00

Power Tools - Wood Shop Table Saw

Fixtures

Miter Saw Bracket for Computer Fixtures Wall-Mount Workstation with Keyboard Shelf (2) Casework Cabinetry (outfeed table for table saw, Wall-Mountand Bracket for Computer Workstation counter for miter saw) with Keyboard Shelf (2)Hoses, Nozzles Compressed Air Lines,

Hand-Held Circular Track Saw

SP600J1 6.5" with 55" guide rail

Hand-Held Jigsaw

Model 4350FCT 6.3 amp

Makita

$539.00

TOTAL - ALL CATEGORIES

$52,500.00

Cordless Drills (3)

DeWALT TOTAL - ALL CATEGORIES

$520.00 $52,500.00

Hand-Held Router

DeWALT

$340.00

Dremel Sets (2)

Dremel

$660.00

Pneumatic Brad Nailer (dedicated for CNC router lab)

Makita

$90.00

Recommended Tools and Equipment - Phase 2

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.31

Operating (Estimat

Recommended Tools and Equipment - Phase 3 - 2023 Item

Basic Specifications

Brand

Cost

Operating (Estimate

Item

Basic Specifications

Brand

Cost

Operating (Estimate

Digital Fabrication Tools Digital Additional Laser Cutter or Fabrication Tools CNC Router upgrade: automatic tool changer Additional Laser Cutter or Laser Cutters 32"x18" capacity (1) CNC Router-upgrade: tool changer 3D Printers Extrusionautomatic (3) Laser Cutter- 48"x24" capacity (1) 3D Printers Extrusion (3) 3D Printers - SLA (1) CNC Router-(1) 3D Printers SLA (1) Contingency (installation, shipping, accessories, spare parts, warrantees) Contingency (installation, shipping, accessories, spare parts, 3D Printers - Extrusion (3) warrantees)

$28,000.00

32"x18" capacity

Universal Ultimaker

$25,000.00 $28,000.00 $7,500.00

48"x24" capacity

Universal Ultimaker Form 3

$32,000.00 $7,500.00 $5,000.00

96"x48" capacity

ShopBot Form 3

$25,000.00 $5,000.00 $1,500.00

Digital Fabrication Tools Total

Ultimaker

$7,500.00 $1,500.00 $42,000.00

Form 3 Digital Fabrication Tools Total

$5,000.00 $42,000.00

3D Printers - SLA (1) CNC Vinyl Cutter

Roland

Power Tools - Wood Shop

Contingency (installation, shipping, accessories, spare parts, Power Tools - Wood Shop warrantees) Maintenance and parts of table saw, band saw, miter saw

$2,100.00 $1,200.00

Digital Fabrication Tools Total DeWALT

$99,000.00 $1,200.00 $380.00

DeWALT Dremel

$380.00 $660.00

Dremel

$660.00 $760.00

Power Tools Total

Sawstop

$3,049.00 $760.00 $3,000.00

Model CM10GD 10-inch, 15 amp Power ToolsBosch Total

$600.00 $3,000.00

Maintenance and parts of table saw, band saw, miter saw Cordless Drills (2) Cordless Drills (2) Dremel Sets (1) Dremel Sets (1) Power Tools - Wood Shop Contingency (intallation, shipping, accessories, warrantees) Table Saw Contingency (intallation, shipping, accessories, warrantees) Miter Saw

3 HP, 36" T-glide fence.

Casework and Cabinetry (outfeed table for table saw, counter for miter saw) Other Equipment Band Saw Other Equipment Shop Vacuum Cleaner Replacement (1) Combination Shop VacuumSander Cleaner Replacement (1) Extension Cords (2) Hand-Held Circular Extension Cords (2)Track Saw Hot Glue Guns (2) Hand-Held Jigsaw Hot Glue Guns (2) Shop Brushes, Brooms, Dust Pans, Waste Bins, Mop Shop Brushes, Brooms, Dust Pans, Cordless Drills (3) Waste Bins, Mop Contingency (intallation, shipping, accessories, warrantees)

$2,400.00

TBD

$3,500.00

15" Bandsaw, 3HP, Model steel, JWBS-15-3 16-gallon, stainless

Jet RIDGID

$1,850.00 $206.00

16-gallon, Belt stainless and Disc steel, wet/dry, with accessories

JetRIDGID 708598K

$1,500.00 $206.00 $50.00

SP600J1 6.5" with 55" guide rail

Makita

$569.00 $50.00 $60.00

Model 4350FCT 6.3 amp

Makita

$539.00 $60.00 $125.00

DeWALT

$520.00 $125.00 $159.00

Other Equipment Total

DeWALT

$340.00 $159.00 $600.00

Dremel Other Equipment Total

$660.00 $600.00

wet/dry, with accessories

Hand-Held Router Contingency (intallation, shipping, accessories, warrantees) Dremel Sets (2) Pneumatic Brad Nailer (dedicated for CNC router lab)

4.32 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

Makita

$90.00

Maintenance and parts of table saw, band saw, miter saw Cordless Drills (2)

$1,200.00 DeWALT

$380.00

Phase 2 - Recommended Tools and Equipment

Dremel Sets (1)

Dremel

Contingency (intallation, shipping, accessories, warrantees)

$760.00

Power Tools Total Item

$660.00

$3,000.00

Basic Specifications

Brand

Cost

16-gallon, stainless steel, 32"x18" capacity wet/dry, with accessories

Universal RIDGID

$25,000.00 $206.00

48"x24" capacity

Universal

$32,000.00 $50.00

96"x48" capacity

ShopBot

$25,000.00 $60.00

Ultimaker

$7,500.00 $125.00

Form 3

$5,000.00 $159.00

Digital Fabrication Tools Other Equipment Laser Cutters 32"x18" (1) (1) Shop Vacuum Cleaner capacity Replacement Laser Cutter 48"x24" Extension Cords (2) capacity (1) CNC Router (1) (2) Hot Glue Guns Shop Brushes, Brooms,(3) Dust Pans, 3D Printers - Extrusion Waste Bins, Mop 3D Printers - SLA (1) Contingency (intallation, shipping, accessories, warrantees) CNC Vinyl Cutter

Roland Other Equipment Total

Contingency (installation, shipping, accessories, spare parts, warrantees)

$2,400.00 $600.00 $2,100.00

Digital Fabrication Tools Total

$99,000.00

Power Tools - Wood Shop Table Saw

3 HP, 36" T-glide fence.

Sawstop

$3,049.00

Miter Saw

Model CM10GD 10-inch, 15 amp

Bosch

$600.00

TBD

$3,500.00

15" Bandsaw, 3HP, Model JWBS-15-3

Jet

$1,850.00

Belt and Disc

Jet 708598K

$1,500.00

SP600J1 6.5" with 55" guide rail

Makita

$569.00

Model 4350FCT 6.3 amp

Makita

$539.00

Cordless Drills (3)

DeWALT

$520.00

Hand-Held Router

DeWALT

$340.00

Dremel Sets (2)

Dremel

$660.00

Pneumatic Brad Nailer (dedicated for CNC router lab)

Makita

$90.00

Casework and Cabinetry (outfeed table for table saw, counter for miter saw) Band Saw Combination Sander Hand-Held Circular Track Saw Hand-Held Jigsaw

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.33

Operating (Estimat

Recommended Tools and Equipment - Phase 3

Basic Specifications

Brand

Cost

Laser 32"x18" NailingCutters Hammers (5) capacity (1)

32"x18" capacity curved-claw

Universal Stanley or Pittsburgh

$25,000.00 $40.00

Laser Cutter 48"x24" capacity (1) Dead Blow Hammers (5)

48"x24" capacity neon orange plastic

Universal Pittsburgh

$32,000.00 $45.00

96"x48" capacity wood handle

ShopBot Stanley or Pittsburgh

$25,000.00 $27.00

Ultimaker Ironton

$7,500.00 $120.00

Quick Adjusting Groovelock

Form Irwin3

$5,000.00 $100.00

Quick-Grip steel

Roland Irwin

$2,400.00 $56.00

Contingency (installation, shipping, accessories, spare parts, Socket Wrench sets (1) warrantees)

64-piece SAE & Metric

Pittsburgh

$2,100.00 $35.00

Wrench Sets - Open and Ratchet Ends (1)

20-piece combination Total Craftsman ratchet/openDigital end, Fabrication Tools SAE & Metric

$99,000.00 $60.00

Allen Key Sets - Long Reach (2)

36-piece SAE & Metric

Pittsburgh

$16.00

Power Tools - Wood Shop Allen Key Sets - T-Handle (2)

18-piece SAE & Metric

PIttsburgh

$36.00

3 HP, 36"flat T-glide fence. 12-piece and phillips

Sawstop Stanley

$3,049.00 $273.00

Model CM10GD 10-inch, PowerLock 35' 15 amp

Bosch Stanley

$600.00 $66.00

TBD 33-foot range

TBD Bosch GLL 55

$3,500.00 $150.00 $800.00

Band Saw Combination Squares (1) Carpenter's Contingency (shipping, accessories, warrantees)

15" Bandsaw, 3HP, Model JWBS-15-3 12-inch

Jet Stanley

$1,850.00 $10.00 $200.00

Combination Sander Contingency (shipping, accessories, warrantees)

Belt and Disc

Jet 708598K

Furnishings Total

$1,500.00 $466.00 $1,000.00

Makita Small Tools Total

$569.00 $1,500.00

Item

DigitalSmall Fabrication Tools Tools

CNC Router (1) (3) Rubber Mallets 3D Printers - Extrusion Pliers - 6-piece sets (4) (3) 3D Printers (1)sets (5) Joint Pliers -- SLA 2-pack CNC Vinyl Cutter Vise Grips (4)

Table Saw Sets (3) Screwdriver Miter Saw Tape Measures (3) Casework and Cabinetry (outfeed table for table saw, Laser Leveling Tools counter for miter saw)(1) Miscellaneous furnishings, replacements, repairs

Hand-Held Circular Track Saw Hand-Held Jigsaw

SP600J1 6.5" with 55" guide rail

Makita

$539.00

Cordless Drills (3) Mechanical Systems Replacement Parts

DeWALT TBD

$520.00 $300.00

Hand-Held Router Air Compressor Maintenance Contingency (shipping, parts, hardware)

DeWALT TBD

$340.00 $800.00 $100.00

Dremel Baileigh

$660.00 $600.00 $400.00

Makita Baileigh

$90.00 $400.00

Fixtures

Model 4350FCT 6.3 amp

Dremel Sets (2) Unit Filters (Shop) Dust Collection Pneumatic BradUnit Nailer (dedicated Dust Collection Filters (CNC) for CNC router lab) Contingency (misc. maintenance, parts, shipping, accessories)

Fixtures Total

TOTAL - ALL CATEGORIES Mechanical Systems Total

Furnishings

4.34 >> West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019

$1,200.00

$51,500.00 $3,000.00

Operating (Estimate

Carpenter's Combination Squares (1) Contingency (shipping, accessories, warrantees)

12-inch

Contingency (shipping, accessories, warrantees)

$466.00 Phase 3 - Recommended Tools and Equipment $1,500.00 Small Tools Total

Stanley

Small Tools Total Basic Specifications

Item

Mechanical Systems Digital Fabrication Tools Mechanical Systems

Air Compressor Maintenance

$10.00 $466.00

$1,500.00

Brand

Cost

TBD

$800.00

Laser Cutters 32"x18" capacity (1) Air Compressor Maintenance Dust Collection Unit Filters (Shop)

32"x18" capacity

Universal TBD Baileigh

$25,000.00 $800.00 $600.00

Laser Cutter 48"x24" capacity (1) Dust Collection Unit Filters (Shop) Dust Collection Unit Filters (CNC)

48"x24" capacity

Universal Baileigh Baileigh

$32,000.00 $600.00 $400.00

96"x48" capacity

ShopBot Baileigh

$25,000.00 $400.00 $1,200.00

Mechanical Systems Total

Ultimaker

$7,500.00 $1,200.00 $3,000.00

Form 3 Mechanical Systems Total

$5,000.00 $3,000.00

Roland

Furnishings

Contingency (installation, shipping, accessories, spare parts, Furnishings warrantees) Miscellaneous furnishings, replacements, repairs

$2,100.00 $800.00

Digital Fabrication Tools Total

Contingency (shipping, accessories, warrantees) Miscellaneous furnishings, replacements, repairs

Furnishings Total

Poweraccessories, Tools - Wood Shop Contingency (shipping, warrantees) Table Saw

3 HP, 36" T-glide fence.

Sawstop Furnishings Total

$3,049.00 $1,000.00

Bosch TBD

$600.00 $300.00

TBD

$3,500.00 $100.00

Jet TBD

$1,850.00 $300.00 $400.00

Jet 708598K

$1,500.00 $100.00

15" Bandsaw, 3HP, Model JWBS-15-3

Combination Sander Contingency (shipping, parts, hardware) Hand-Held Circular Track Saw

$800.00 $1,000.00

Model CM10GD 10-inch, 15 amp

Casework and Cabinetry (outfeed table for table saw, Fixtures counter for miter saw) parts, Contingency (shipping, hardware) Band Saw Replacement Parts

$99,000.00 $200.00

$200.00

Fixtures

Miter Saw Replacement Parts

$2,400.00

Belt and Disc

Fixtures Total

SP600J1 6.5" with 55" guide rail

Makita Fixtures Total TOTAL - ALL CATEGORIES

Hand-Held Jigsaw

Model 4350FCT 6.3 amp

Recommended Tools and Equipment - Phase 3

Makita

$569.00 $400.00

$51,500.00 $539.00

Cordless Drills (3)

DeWALT TOTAL - ALL CATEGORIES

Hand-Held Router

DeWALT

$340.00

Dremel Sets (2)

Dremel

$660.00

Pneumatic Brad Nailer (dedicated for CNC router lab)

Makita

$90.00

$520.00 $51,500.00

West Valley College Cilker School of Art & Design Fabrication Lab Planning Report >> Kent Wilson, Consultant >> June 2019 >> 4.35

Operating (Estimat