Art Center College of Design — FALL 2013

02around the worldWhat’s new? The latest in art and design—products, awards, books, exhibitions and social impact—from Art Center alumni and faculty.

07power in partnership: industry collaboration prepares students for successSponsored projects and other designer-meets-real-world courses, a proven educational model pioneered by Art Center more than 50 years ago, challenge students creatively and professionally, opening doors to new opportunities.

19dot news$15 million gift from Peter and Merle Mullin; Fletcher Jones Foundation supports 870 Building renovation; New Trustees bring expertise to Art Center; Grad ID student wins IDEA gold medal; Illustration majors take top prize in Disney Imagineering competition; Designmatters partners with LAUSD.

24spottedWho’s who? A photo round-up of recent events both on and off campus.

12courage, compassion, creativity: military veterans making a difference at art center and beyondThroughout the College’s history, veterans have distinguished themselves as students and alumni, bringing discipline, adaptability, leadership and a global perspective to their work. New campus resources include scholarship assis-tance to help bridge the financial gap many veterans face.

EXPERIENCE DOT ONLINE! ARTCENTER.EDU/DOT

“By making these sorts of archaic physical objects that one has to walk around and be near to experience, I’m attempting to call attention to your physicality in a world that is more and more in a cloud of information,” says artist Lynn Aldrich GART 86. Out of Ink, In the Dark (featured on our cover) might at first glance be mistaken for an assemblage of digital-era devices. Instead, it’s a classic Aldrich creation, as sly as it is seductive—made of old-school ink pads. One of only three MFA students in the Graduate Fine Art program when she arrived, she remembers Art Center as a “much smaller place in the ’80s, and it felt like an intimate family.” Starting out as a painter, she was strongly influenced by the College’s making environment and gradually evolved into an object maker. “It was like scales fell off my eyes and I realized the potential for what could be done.” Her mentors Jeremy Gilbert-Rolfe and Stephen Prina “both helped me realize that fine art was something philosophical and critical of the status quo, and yet something that could be beautiful and pleasurable and generous to the viewer.” This fall she spent time in the Williamson Gallery installing recent works including Hydra Hydrant and My Niagara (Transcendental Cascade), seen on this page and our back cover.

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•3AROUND THE WORLD•2

around the world

FALL 2013 — artcenter.edu/dot

Chinese Immersion David Schwarz GMDP 04

In the United States, if you want to push yourself physically there’s a competitive infrastructure in place, from t-ball to the pros, to help you achieve your goals. That’s not so much the case in China, says David Schwarz, creative partner at Hush, the New York-based design agency: “The minute percentage of the population that are seen as having ath-letic ability are whisked away at a young age and put on an Olympic track.” Schwarz’s award-winning studio, whose clients have included Nike, Google and Showtime, was recently hired by Under Armour to introduce its sports-wear and “Make All Athletes Better” mission to the Middle Kingdom. The solution? The Under Armour Experience which—inspired by installations by artists like Bill Viola and Doug Aitken ILLU 91—brings the sights, sounds and adrena-line rush of competitive sports to Shanghai audiences via a 270-degree immersive architectural and film experience. “It’s located inside a glossy new luxury mall, but it sticks out like a sore thumb—in a good way,” laughs Schwarz about the visceral affair, which features Michael Phelps, Saul “Canelo” Alvarez and Chinese athletes like soccer player Long Tan and continues for the next five months. “It’s an enclosed, highly designed mystery that exudes sound and light of epic proportions.” —MW underarmour.com

aboveAn immersive experi-ence that’s part of a campaign in China created for Under Armour by David Schwarz and Hush Studios. (Photo cour-tesy of Hush Studios)

rightOn set during the shooting of John X. Carey’s record-break-ing Internet com-mercial, Dove’s “Real Beauty Sketches.” (Photos courtesy of John X. Carey)

Plain Jane Austen John X. Carey FILM 11

Even the savviest of semioticians might have a hard time decoding the sources of inspiration informing John X. Carey’s approach to Dove’s “Real Beauty Sketches,” the most watched Internet commercial of all time. Carey drew his ideas from a diverse and unexpected set of creative touchstones, from social impact documentaries to Jane Austen, to create the commercial in which a police sketch artist draws two portraits of a series of women—one based on their descriptions of themselves and another based on a stranger’s perceptions. Carey, who grew up on a Missouri farm and transferred to Art Center’s Film Department after studying art, literature and mythology at the University of Missouri, continues to rely on his background in liberal arts as a creative wellspring. “My whole treatment for ‘Real Beauty Sketches’ was full of images from Pride and Prejudice,” says Carey. “That whole book is about women sitting around their house dealing with emotional issues as filtered light streamed through the windows. That’s why I wanted to set this piece in that big light-filled loft.” Carey’s first taste of national acclaim came courtesy of Voices from the Field, a Designmatters documentary he made about HIV prevention programs in Zambia. “It was an eye-opening experience,” recalls Carey. “I’d make a funny spec commercial and it wouldn’t get any views and then I’d make an emotional doc and it would get 100,000 views. People are craving meaning in their content.” —CS realbeautysketches.dove.us

left belowChristine Park, lead exterior designer for Cadillac, with the 2013 Cadillac XTS. (Photos courtesy of General Motors)

leftMarine Preserve, 2010, is featured in the Williamson Gallery ex-hibition Lynn Aldrich: Un/Common Objects. This piece is made of sponges, scrubbers, scouring pads, mop heads, brushes and plastic gloves on wood panel. (Photo courtesy of the artist)

Critical Wit Lynn Aldrich GART 86

What lily pads were to Claude Monet, scouring pads are to Los Angeles-based artist Lynn Aldrich. Finding inspiration in the aisles of The Home Depot, she transforms everyday objects—from cleaning supplies and toilet plungers to garden hoses and rain gutters—into evocative sculptures that reflect playfully, often provocatively, on domestic architecture and consumer culture. “Credit Aldrich with assigning an alternate use for cleaning tools whose sprightly colors (lime, silver, copper, hot pink, lavender, magenta, lemon and more) defy the drudgery with which they’re usually associated,” wrote Leah Ollman in the Los Angeles Times. A contemporary master of assemblage, the widely collected artist longs for epiphanies, intellectual as well as spiritual, to celebrate. “I tend to tap into a suburban anxiety rather than urban angst. L.A. has a soft fluffiness to it that cushions it against real angst,” she says. Currently on view at Art Center’s Alyce de Roulet Williamson Gallery, Lynn Aldrich: Un/Common Objects is the first compre-hensive midcareer survey of the artist’s influential body of work. Accompanied by a newly published monograph, the exhibition runs through Jan. 19, 2014. “Lynn’s work reframes the visual white noise made by the ubiquitous presence of mass-produced objects,” observes Christina Valentine, guest co-curator and Art Center instructor, “and turns it into an art experience.” — TB lynnaldrich.com

Creative Drive Christine Park TRAN 06

A natural artist who made a beeline to Art Center when she discovered the world of car design, Christine Park began her career at General Motors as an intern while still a student. After graduation, she transferred to the Cadillac Design Studio in Michigan, where she’s now a lead exterior designer for the luxury brand. “I love designing cars because they have a profound impact on our lives and our culture,” she told E! Online, which profiled her as a trendsetter. “It is so satisfying to create luxury experiences and driving environments that offer beauty, comfort and a seamless integration of technology.” Among her designs that have found their way into production and a showroom near you: the interior theme for the 2013 and 2014 Cadillac XTS. Park says being a designer is a 24-hour job and that inspiration can come from anywhere. “It's important to have a child-like curiosity and envision the possibilities that lie beyond the current state.” Her typical day is full of action—and interaction. “Designing a car is a collaborative process. My workday often includes trend research and looking for inspirational visuals, sketching cars, studio reviews with leadership and working closely with sculptors, engineers and supplier partners. The creative energy here is contagious, and we all push each other to create new and innovative vehicle designs.” — TB cadillac.com

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•5AROUND THE WORLD•4 FALL 2013 — artcenter.edu/dot

A Collaboration Across Time and Space Sharon Lockhart GART 93

Artforum called Sharon Lockhart’s meditation on the visionary work of Israeli dance composer and textile artist Noa Eshkol (1924–2007) an “intimate conversation of ideas simulated across the gulf of history.” The New York Times hailed the five-channel film installation a “subtle but virtuo-sic move.” And the Los Angeles Times described it as “a sensitive portrait of a formidable artist.” If you didn’t get a chance to experience the Art Center alumna’s acclaimed exhibition in person at the Los Angeles County Museum of Art (LACMA) in 2012 or at The Jewish Museum in New York earlier this year, the catalog presents an opportunity to delve deeply into the two artists’ unusual “collaboration.” Edited by LACMA’s Stephanie Barron and Britt Salvesen, Sharon Lockhart | Noa Eshkol (Prestel Publishing) features an in-depth interview with Lockhart; photographs of the installation and of Eshkol-Wachman Movement Notation spherical models; a selection of Eshkol’s wall carpets, scores and drawings; as well as several essays. It’s not the first time Lockhart has trained her lens on the work, and sometimes literally the labors, of others. In this case, Lockhart says she was drawn to Eshkol’s “radical” practice and the “labor of love” that Eshkol’s devoted students, many of them aging, enact in preserving and performing her rigorous compositions. —MW/SS lockhartstudio.com

Love and Love Jon Jon Augustavo and Mego Lin GRAD FILM

When Graduate Film alumnus Jon Jon Augustavo signed on to direct the music video for “Same Love,” the summer’s breakout hit by rap duo Macklemore & Ryan Lewis, he had no idea what a powerful impact the project would have on the nation. “As a filmmaker my mind was focused on telling a good story,” he says. Augustavo had previously directed videos for his fellow Seattleites’ massive hits “Thrift Shop” and “Can’t Hold Us,” both of which reached number one on Billboard’s singles chart. But as The New York Times reported, “Same Love” broke new ground as “the first song to explicitly embrace and promote gay marriage that has made it into the Top 40.” It went on to win MTV Video Music Awards’ 2013 Best Video With a Social Message. Today at 83 million YouTube views and climbing, the video’s rise coincided with the Supreme Court’s historic rulings striking down both the federal Defense of Marriage Act and California’s ban on same-sex marriage. Augustavo, who called in frequent collaborator and Art Center class-mate Mego Lin as his cinematographer, is proud of how the song has resonated so deeply with people. “The fight for marriage equality is the civil rights movement of our generation, and to see so many changes in the last calendar year has been earth-shattering,” he said. “A love story isn't only between man and woman—it is simply between love and love. I do think in some way I played a small part in changing some people's views. If that's so, then my job as an artist is complete.” —TB jonaug.com

Underhead Founder Is Tops Gary Goldsmith ADVT 81, ADVERTISING CHAIR

In celebration of its 50th anniversary, Graphic Design USA (GDUSA) asked its readers to name the most influential graphic designers, art directors and design firms—among other categories—of the past 50 years. Several Art Center alumni and faculty received kudos for their work, includ-ing alumnus Gary Goldsmith, recognized by GDUSA among the “Most Influential Art Directors of the Past 50 Years.” The creator of award-winning campaigns for ESPN, Everlast, Heineken, Mercedes-Benz, MTV Staying Alive Foundation, Sony, Volkswagen and many others, Goldsmith co-founded Underhead, a thriving New York-based firm that provides a range of creative resources to clients and agencies. Appointed chair of Advertising at Art Center in 2012, Goldsmith remains an active partner in Underhead and brings his industry perspective into the classroom—cajoling fellow experts to teach a class, bringing in big- name speakers and providing students the opportunity to pitch ideas to real-world clients through relationships with legendary agencies like Wieden+Kennedy, David&Goliath, and Goodby, Silverstein & Partners. His ultimate ambition: “to build the first truly modern advertising program in the world,” bringing the curriculum in step with the needs of today’s advertising industry. “We'll be adding more ‘visual writers’ and ‘verbal art directors’ to our complement of instructors,” says Goldsmith. “More than ever, our students will need to be strong in both.” —JG garygoldsmith.com underhead.com

aboveSharon Lockhart | Noa Eshkol presented at the Los Angeles County Museum of Art and The Jewish Museum of New York. (Photos courtesy of LACMA)

rightGary Goldsmith, named by GDUSA as one of the “Most In-fluential Art Directors of the Past 50 Years,” has created award-winning campaigns for clients including MTV Staying Alive Foundation. (Image courtesy of Gary Goldsmith)

leftAlumni Jon Jon Augustavo and Mego Lin collaborated on the MTV Video Music Award-winning “Same Love.” (Photos courtesy of Jon Jon Augustavo)

rightErik Mark Sandberg’s recent painting Untitled 3, 2012. Platinum palladium on Crane’s Kid Finish. (Image courtesy of the artist)

Razzle Dazzle’s Aftermath Erik Mark Sandberg ILLU 02

For Los Angeles-based artist Erik Mark Sandberg, the world’s supersaturation of alluring imagery presents contradictions ripe for exploration. “I was on my way to the Sierra Nevada mountains recently and thought, Gosh, look at that pristine pastoral landscape, when suddenly my view was obstructed by a billboard advertising Doritos Locos Tacos Supreme being available at the next gasoline station,” says Sandberg with a laugh. “And I thought Wow, those look good and I do need fuel.” Sandberg’s clients have included United Airlines, Absolut Vodka and TBWA Paris and his work has appeared in publications like Rolling Stone, The New York Times and Harvard Business Review. And if his work seems familiar, it may be because one of his “Hairy Children”—the artist’s metaphorical victims of “razzle dazzle” visual bombardment—graces the cover of the current Art Center at Night catalog as well as ads currently appearing on the L.A. Metro Gold Line. These days he is busily preparing There’s a Trapdoor in the Sun, his first pop-up solo exhibition in Los Angeles—which will include installations, sculptures, film and large-scale photographs. “That’s one nice thing about exhibiting in L.A.,” says Sandberg of Trapdoor, which opens this coming winter. “I don’t have to ship them overseas, so I can do larger scale works.”  —MW eriksandberg.net

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•7POWER IN PARTNERSHIP

POWER IN PARTNERSHIP:

aboveClump-O-Lumps are segmented plush toys that can be playfully recombined. (Images courtesy of Knock Knock)

Industry collaboration prepares students for successby Sylvia Sukop

The day Max Knecht pulled a squid, a walrus, a deer and a bunny out of a bright green vintage suitcase is the day he landed his first big deal as a designer. “It was a formal meeting in [Knock Knock company founder and CEO] Jen Bilik’s office,” recalls Knecht PROD 11, who was still a student at the time. “But bringing all those animal body parts in a suitcase broke the seriousness.” These were no ordinary plush toys. An imaginative take on swapping identities, Knecht’s bright-colored animals had a clever postmodern flair. Each one separated into three segments, and he demonstrated for Bilik how these “lumps” could be zipped together in any combination. She loved the crisscross-creature concept and offered Knecht a buyout on the spot. Today Clump-O-Lumps are available on Knock Knock’s website and at retailers nationwide. It’s tempting to call moments like this magic, the proverbial rabbit pulled out of a hat. Or a lucky break, all about who you know. But it was none of these. Instead, Knecht’s success, like that of so many Art Center College of Design students, was the result of personal drive and years of disciplined effort in a demanding yet supportive learning environment where some of the most valuable lessons come from designer-meets-real-world courses like instructor Mateo Neri’s GRPK 93 on taking ideas to market, which provided the introduction to Bilik. But Knecht would soon achieve an even more powerful leg up through an industry sponsored project.

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•9•8 FALL 2013 — artcenter.edu/dot POWER IN PARTNERSHIP

aboveGeneral Motors Turbine Car project launched a partner-ship with Art Center in 1960 that continues today.

belowDuring a 2012 Piaggio sponsored project, Transportation Design alumnus Miguel Galluzzi (far left), director of Piaggio's Advanced Design Center, discusses the concept vehicle of Product Design student Kevin Chang with colleagues Leo Mercanti, VP for product marketing, and Marco Lambri, VP for design.

leftSixty thousand acrylic lipstick cases were headed for a landfill. Rather than letting them go to waste, Johnson & Johnson used them, adding drops of red or white paint, to create a pixelated version of its logo. Max Knecht shows off the results. (Photo courtesy of Max Knecht)

belowFaculty member Chris Hacker (far left) reviews Knecht’s final presentation during the Johnson & Johnson sponsored project in 2010.

ALUMNI HELP LEVERAGE CORPORATE ENGAGEMENT Art Center boasts a long history of industry partnerships dating back more than half a century. Beginning with the General Electric Space Capsule project in 1960, followed that year by the General Motors Turbine Car project, hun-dreds of corporate-funded collaborations have taken place in the College’s classroom studios—indeed they are now woven into the very fabric of an Art Center education. A wide range of industries, from automotive and healthcare to food-and-beverage and consumer products, regularly tap into the College’s talent pool while providing intern-ships for its students, job opportunities for its graduates and other vital support to its top-ranked design programs. (See p. 11 for a partial list of corporate sponsors and donors over the past three years.) Such partnerships are often personally shepherded by Art Center alumni, among the most respected creative leaders in their fields, demon-strating on a daily basis the value that Art Center delivers. “Alumni are Art Center’s ultimate brand ambassadors,” says Alumni Relations Executive Director Kristine Bowne. “We depend on the corporate relationships they can help lever-age on behalf of Art Center. More than half of our sponsored projects get started through the initiative of alumni, and it’s a profoundly important way of giving back to the College.”

Growing up in Orange County, Knecht constantly “sketched and doodled, took apart and built things,” finding inspira-tion—and an eager audience—in his four younger siblings. He recognized early that “good design doesn’t just come from a random idea,” and in the eighth grade discovered the profession of industrial design. His cousin Anna Wolf PHOT 02, an Art Center student at the time, gave him a tour of the Hillside Campus and immediately he knew it was where he wanted to study. With his sights now set on a career and a college, Knecht never wavered. He finished high school at Orange County School of the Arts, took preparatory classes at Art Center’s Saturday High and at a community college and, while still a teenager, worked in an aunt’s advertising business, all the while building his skills and portfolio. Finally he applied and was accepted to Art Center, where his work ethic and positive attitude served him well. In his seventh term at Art Center, shortly before he sold his Clump-O-Lump toy concept, Max Knecht signed up for the 2010 Transdisciplinary Studio (TDS) sponsored by Johnson & Johnson Consumer Companies, Inc. (J&J). On the client side, the project was led by Chris Hacker, then-chief design officer for J&J, and on the faculty side, by Gerardo Herrera GRPK 91, Rob Ball ENVL 83 and Grant Delgatty ENVL 95—affectionately known as the “Three Amigos.” An exploration of the future of retail, the project took Knecht and his fellow students to France. Knecht did not speak French but that didn’t stop him and his team from diving into a project that involved on-the-ground research and interviews with shoppers in a Carrefour department store (“the Walmart of France”) and a detailed analysis of the store’s spatial environment. The team’s findings and the design concepts informed by them were eye-opening and innovative. The sponsor, J&J, was impressed.

“Students like Max are the reason Johnson & Johnson does sponsored projects,” says Hacker, who has hired and worked with many Art Center grads in the course of his four-decade career. “Max is amazing, dedicated and knows what he’s doing. From that first trip to Europe, he really got it.” The benefits of sponsored projects to partners and students are not only mutual, but measurable. J&J’s first partnership has led to five more, spanning three countries and gener-ating original design thinking from dozens of students. “For Johnson & Johnson, sponsored projects are an invest- ment from which the company gets a tremendous, tangible return. It’s different from a philanthropic gift that way,” Hacker explains. “We get great work from young designers who are more flexible, more creative and come up with more interesting solutions. Once you work inside a com-pany, you know what the boss wants. Students don’t yet have that bias.” For Knecht, the J&J project was life-changing. At 23, with a glowing recommendation from Hacker and one term to go till graduation, he received a full-time job offer from the company. Three years on, he continues to work as an industrial designer in Johnson & Johnson’s creative think tank in Manhattan, and lives in Brooklyn—not far from the cousin who first introduced him to Art Center. Hacker, a longtime client of sponsored projects, had always wanted to teach. This year he joined Art Center’s undergrad-uate graphic design faculty and led a course in Information Design, with a focus on environmental design; also this year he left J&J to join Herman Miller as vice president of marketing and design. (Though he is not teaching at Art Center this Fall, he will return in 2014.)

A VALUABLE RETURN ON INVESTMENT

Sponsored projects mirror professional practice. Students, often working in teams, are presented with a project brief that outlines a specific design challenge. Guided by faculty with feedback from the sponsor, they have 14 weeks to design solutions. Students own the intellectual property they create, and the sponsoring company has first rights to purchase it, within 90 days of the project’s conclusion. Two additional ways companies can engage with students: an immersive three-day DesignStorm� developed in colla-boration with Product Design Chair Karen Hofmann PROD 97 and, new this year, a week-long DesignFlash. “These industry engagements take our learn-by-doing pedagogy into action, simulating real-world conditions and requiring cross-disciplinary collaboration, so employers can see how students perform as a team,” says Executive Director of Educational Partnerships Elizabeth Collins. “They also bring students significant opportunities for mentorship, internships, networking and jobs—and, with a portion of sponsorship fees going to the Art Center Fund, much-needed scholarships as well.”

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•11•10 FALL 2013 — artcenter.edu/dot POWER IN PARTNERSHIP

above(L>R) Art Center faculty members Heidrun Mumper-Drumm and Marshall Hamachi have been collaborating with Nestlé Global Head of Industrial Design Christian Saclier on sustainability research.

below leftNestlé’s Christian Saclier and Kisun Kim (second and third from left) attend students’ presentation in the 2013 Purina Snacks Play spon-sored project.

below rightAlumni Kisun Kim, industrial designer, and Neeti Kailas, design strategist, in a meeting at Nestlé Purina U.S. headquar-ters, where they both work.

that doubles as a seat), says her undergraduate industrial design education in Korea emphasized concepting, not making through systems thinking. “Art Center was known for this, and it’s where I learned to take my ideas beyond the drafting table or the gallery into the marketplace.” Her Nestlé TDS was led by the “Three Amigos” faculty members, and she credits her mentor, Grad ID instructor Krystina Castella, with helping “toughen” students for the real-world business challenges they will face. After joining Nestlé Purina as an industrial designer, Kim was thrilled to return to Art Center on the client side for the “Purina Remix” TDS in 2010 and for Purina Snacks Play in 2013. Art Center also partners extensively with nonprofit and nongovernmental organizations, and Alumni Relations’ Bowne collaborates with the College’s social impact department, Designmatters, on developing a network of alumni mentors who play a critical role in bringing spon-sored projects to the College. “Throughout its institutional history, Art Center has been committed to making design relevant,” notes Bowne. “In earlier years that mainly meant relevant to industry. Today it’s also about social relevance. We’re not a research uni-versity, but we are an institution producing new modes of research through design.” Companies and organizations of every size can benefit from an engagement with Art Center. “But everything we do is in service of our students,” Collins emphasizes. “We have one goal and that is to prepare our students to have an impact in their chosen field. Art Center’s educational part-nership model is a rigorous and proven way to do that.” “Students’ success stories are not the stuff of fairy tales,” adds Product Design Chair Hofmann. “They are firmly grounded in reality—the real-world conditions that Art Center’s sponsored projects are designed to simulate. Where magic happens is in the hard work of students and faculty, and in the generosity of those who support them.”

STUDENTS AS RESEARCHERS, MAKERS, SYSTEMS THINKERS Design that goes beyond producing an artifact to become a tool for generating knowledge has been a centerpiece of Heidrun Mumper-Drumm’s tenure at Art Center. The director of Sustainability Initiatives teaches courses integrating design with sustainability and lifecycle thinking. She also serves as faculty advisor to the student-led EcoCouncil and was principal investigator of a Nestlé sponsored research project. With Christian Saclier, Nestlé’s global head of industrial design, and Marshall Hamachi, associate director of Art Center’s Color, Materials and Trends Exploration Laboratory (CMTEL), she co-authored a paper informed by faculty and student research that offers a breakthrough methodology and tools for making lifecycle assessment data—information critical to sustainable design—acces-sible throughout the design development process. Neeti Kailas INDU, who was one of those student research-ers, and fellow alumna Kisun Kim INDU completed Nestlé sponsored projects in 2011 and 2009, respectively, and the company bought the rights to the design concepts they each developed (the details of which remain confidential). Both went on to complete Nestlé paid internships and were subsequently hired by the Swiss-based company’s Purina division in St. Louis, Mo. Saclier, a designer with an engineering background, says next-generation designers like Kailas and Kim have “fresh, open, creative minds” and can help companies like his solve creative problems by making “non-obvious links.” He is consistently impressed with “the high quality of Art Center students’ ideas and presentations—pragmatic, output-driven and tied to industrial reality.” “The Industrial Design program, and Heidrun in particular, gave me the analytical tools I needed to build the case for why we need sustainable design,” says Kailas, today a Nestlé Purina design strategist. “There’s a big industrial demand for designers as skilled systems thinkers. It’s Art Center’s value proposition, if you will.” Born in India, Kailas (who speaks four languages) worked in motorcycle and cell phone design before coming to Art Center with a desire to “move upstream in the design pro-cess,” she says. “I’m a huge fan of real-world applications—commercial viability is what excites me.” Her participation in the College’s prestigious INSEAD partnership, which she describes as “half an MBA,” helped to further round out her big-picture perspective. Kim, creator of several innovative product designs (includ-ing a flavored drink-dispensing water bottle and a suitcase

Our partners in educating the design leaders of tomorrow From sponsored projects, philanthropic gifts and in-kind donations, to scholar-ships, internships and job opportunities, Art Center’s corporate partners provide vital support for our educational mission. Following is a partial list of partners in the past three years.

American Red Cross

Autodesk

Avery Dennison

Bernhardt Design

Boeing

Calty Design Research

Chrysler

City of Pasadena

Clemson University

CODA

Daimler Trucks

EcoMotors

FUJITSU TEN

General Motors

Honda

Hyundai

Johnson & Johnson

Jenny Craig

L'Oréal

Layar

Mazda

Metal Finishing Association of Southern California

Microsoft

Nestlé

Nike

Piaggio

Purina ONE

Purina Snacks

Quiksilver

Saatchi & Saatchi LA

Sennheiser

Teague

The J. Paul Getty Museum

Toyota

TPI Composites, Inc.

X Prize Foundation

Zero Motorcycles

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•13•12 FALL 2013 — artcenter.edu/dot COURAGE, COMPASSION, CREATIVITY

Art Center’s reputation, culture and even the school’s site in Pasadena have been shaped by the military veterans who have come through its doors. From the post-World War II student population burst, sparked by the GI Bill, that led the College to move from its Seventh Street location to the larger Third Street campus, to many notable alumni and faculty, Art Center’s his-tory has been enriched by individuals who honorably served their country.

Today, servicemen and servicewomen—whose discipline and desire to make a positive impact align closely with the College’s educational mission—continue to distinguish themselves as students and alumni.

U.S. Marine Sgt. Daniel Yorba PROD 10 came to Art Center after serving as a crew chief on CH-46 helicopters during the course of one tour of duty in Kosovo and two tours in Iraq.

“I chose the Marines because I had a deep desire to serve my country and because I wanted to be challenged and to expe-rience the satisfaction of overcoming adversity,” he says. “I chose Art Center for very much the same reasons. I knew this elite school would give me the chance to employ the skills I’d perfected in the Marines, including perseverance, drive and sacrifice, in a field where I was naturally gifted.”

Leveraging his experience with helicopter mechanics to create new concepts in other arenas, today Yorba has found success as a lead designer with helmet and sports gear manufacturer Pro-Tec.

The connection between the skills acquired in the military and skills demanded by the field of industrial design comes as no surprise to Karen Hofmann PROD 97, chair of the Product Design Department at Art Center. She counts veterans among her most tenacious students.

“Those who have served in the military share attributes with students who were competitive athletes before coming to Art Center,” says Hofmann. “Their discipline and experience in high-pressure environments quickly become apparent in the studio, as do their adaptability and leadership. They are able to change course or strategy when projects demand it, and they bring a spirit of camaraderie and teamwork that elevates the energy and work ethic of the class to another level.”

COURAGE, COMPASSION, CREATIVITY

PUBLIC SERVICE THROUGH ART AND DESIGN

On the surface, the difference between serving in combat and designing a kitchen appliance or a concert poster may seem as vast as the difference between hawks and doves. Yet many of today’s creative veterans view design careers as opportunities to further the public service commitment that drew them to the armed forces in the first place.

“The desire to help others that drives many men and women to military service fits well with where we are going as an insti-tution,” observes Jeff Hoffman, Art Center’s Dean of Students. “Increasingly, Art Center is offering more opportunities for students to give back to our communities—through classes and sponsored projects focused on social impact and social innovation—and to work directly with organizations dedicated to improving people’s lives.”

In 2012, then fourth-term Product Design student Cory Bloor took part in a collaboration between Designmatters and the Media Design Practices (MDP)/Field Track, in partnership with UNICEF, to conduct field work and design interventions for and with youth in Uganda. Bloor, a senior airman who served in the Air Force as a chaplain assistant, visited Ugandan villages and urban areas to learn more about the needs of the country’s young people.

“I discovered that young people there are amazing entrepre-neurs,” he says. “The streets are crowded with youth selling things. I met a 19-year-old who owned her own store in a mall. I also learned that every village has a business that sells bricks made of out clay they dig up from the ground.”

Seeing an opportunity to create a product with this readily available material, Bloor worked with village brick makers to develop a prototype for clay water filters that could be made locally and sold cheaply to provide clean water in homes.

“When I was in the military,” Bloor says, “one of the things that kept morale up was the knowledge that we were serving and sacrificing so that life could be better for others. When I dis-covered design, I realized that I could have a similar impact on

MILITARY VETERANS MAKING A

DIFFERENCE AT ART CENTER

AND BEYOND BY

MIKE PADILLA

Charles A. Potts PHOT 40, who chaired Art Center’s Photography Department from 1965 to 1984, earned national awards for teaching excellence. As a Navy lieutenant commander during World War II, he headed the photo team that covered nine battles in the Pacific, as well as the surrender ceremonies on the USS Missouri. Upon his passing in 1987 he was buried at sea from that same ship with full military honors; carrying his ashes was former student and fellow veteran James Caccavo.

World War II veterans Charles A. Potts (left) with fellow Art Center alumnus John Breeden PHOT 41 at Okinawa in 1945.

U.S. Marine Sgt. Daniel Yorba came to Art Center after serving as a helicopter crew chief in Kosovo and Iraq. Today he is a lead designer with helmet and sports gear manufacturer Pro-Tec.

•15•14 FALL 2013 — artcenter.edu/dot COURAGE, COMPASSION, CREATIVITY

Former Air Force chaplain assistant Cory Bloor conducted field work as a Product Design student at Art Center, working with village brick makers in Uganda on a project to provide clean water in homes.

James Caccavo PHOT 72 served in the Army’s 1st Cavalry Division in hostile-fire areas of the Korean Demilitarized Zone and earned inter-national recognition for his work as an American Red Cross photographer during the Vietnam War, his humanitarian efforts, and more than 40 years of exceptional contributions to journalism and advertising. He taught for 13 years at Art Center. Today he serves as a lieutenant colonel reservist with the California National Guard.

James Caccavo during his service as an Infantry Operations and Intelligence Specialist in the U.S. Army's 1st Cavalry Division on the Korean War armistice line (DMZ) in 1963. (Photo courtesy James Caccavo)

After serving in the Marines during the Vietnam War, Doug Claybourne FILM 75

had the unprecedented opportunity to work as a production assistant wrangling helicopters for Francis Ford Coppola’s Apocalypse Now. Eventually promoted to the main unit as Coppola’s assistant director, Claybourne went on to have a robust career as a film producer. His credits include Nights in Rodanthe, North Country, The Fast and the Furious, The Mask of Zorro and The War of the Roses. He lives and works in Brooklyn, N.Y.

Alum Doug Claybourne in Chu Lai, Vietnam, in 1968. (Photo courtesy Doug Claybourne)

the world. Art Center is guiding that impulse and putting me in contact with the right people to make that happen.”

Jake Emmert PROD 10, who served in the Marine Corps after high school as an aviation manager and rose to the rank of sergeant, shares that sentiment. “My design work is part of the way I fulfill my civic duty, both in a big-picture, humanitarian sense, and in a more intimate sense, while being true to my natural gifts.”

Today Emmert works as a freelance designer, and even something as seemingly simple as designing a new kind of popcorn ball maker for Jolly Time became, for him, an oppor-tunity to improve family life by encouraging family members to spend more time together. “I feel the product I created is more than just a commodity,” he says. “I believe it actually adds to the quality of people’s lives.”

NEW RESOURCES FOR VETERANS

Appreciating the unique experiences and attributes student veterans bring to the classroom, from leadership skills to a global perspective, Art Center is eager to reach out to prospective students who are veterans as it ramps up on-campus efforts to provide currently enrolled veterans with resources.

“With many more returning veterans in the pipeline resulting from the end of the Iraq and Afghanistan wars,” Hoffman says, “the discussion about how we might serve those who have served us deserves more energy, creativity and commitment from Art Center.”

It is a discussion that many feel has been left off the table for too long at too many college campuses.

“During Vietnam, the national mentality turned against veter-ans rather than against the government who led us into war. That mentality lingered for decades, including, I believe, at Art Center,” James Caccavo PHOT 72 says frankly. As a pho-tographer with the Red Cross during the Vietnam War, he

Marine Corps veteran Jake Emmert, an aviation manager who rose to the rank of sergeant, chose a design career to help improve the quality of people’s lives. Today he works as a freelance designer.

witnessed the war’s devastation up close. His stunning images now reside in the National Archives and the Library of Congress.

“If it wasn’t for the volunteers of today’s military,” Caccavo adds, “there would be a military draft. Young people at Art Center should understand and be grateful for that.”

The College’s staff, faculty and veterans are actively discussing ways to improve recruitment of veterans and provide on- campus resources after they enroll. Toward that end, the College has stepped up efforts to identify and track students who are veterans in order to better support them.

Then there is the financial component. While today’s Post-9/11 GI Bill provides support for returning veterans wanting to

pursue higher education, it often isn’t enough to cover the full cost of an Art Center education. “Assistance from the GI Bill gets used up quickly,” says Emmert, who had to take out student loans to enroll at Art Center—loans he was only able to get with the help of a cosigner.

Helping to bridge this financial gap is a recent grant to Art Center from The Ahmanson Foundation earmarked for the recruitment, education and retention of student veterans. The grant is part of the Foundation’s Ahmanson Veteran Scholarship Initiative, which aims to help students restart their education at private colleges and universities in California and assimilate back to their civilian lives.

•17•16 FALL 2013 — artcenter.edu/dot COURAGE, COMPASSION, CREATIVITY

Foundation President William H. Ahmanson explains the unique value veterans bring to the classroom this way: “Veteran students while deployed have acted as warriors, diplomats, supervisors, trainers and in some cases foster parents, all while in their 20s. They have world experience they can apply in a practical way in the classroom. Many students begin experiencing the ‘real world’ during college. Veteran students have already lived it.”

Desiree Sisneros ADVT 13, the first in her family to go to college, was among the first recipients of the Ahmanson scholarship at Art Center. Sisneros, whose tours took her to Iraq and Antarctica, joined the Navy in part to pay for school, which she completed in back-to-back terms without a break. “However, the funds from the GI Bill ran out after my sixth term,” she says. “I was terrified I wouldn’t be able to finish. The Ahmanson scholarship made that possible. I cannot fully express my gratitude for the generosity shown to a small-town kid from Colorado with a big dream.”

In a similar show of support, Nancy Player Legler and her sisters, Marguerite, Maureen and Sally, established in 2012 the Ross Dimond Player and Madelyn Maberly Player Endowed Memorial Scholarship, providing financial assistance for adult students enrolled in the College’s Public Programs, with a preference for veterans. The scholarship is a tribute to their father, Ross Player INDU 51, who served in the Marine Corps during World War II and attended Art Center on the GI Bill.

“Had it not been for the assistance he received, our father could never have afforded to pursue a design career,” says Legler. “When he returned from the Pacific to his hometown of Rupert, Idaho, he most likely would have had to go to work in the nearby sugar factory. Art Center gave him a leg up.”

Dana L. Walker PHOT 95, managing director, Public Programs, and director, Art Center at Night, knows how vital this type of support is. “Thanks to the Player family’s generosity,” she says, “Art Center at Night will be better able to assist recent veterans who want to take our continuing studies classes, especially those who are seeking to build their portfolios for admission to Art Center’s full-time degree programs.”

Donald and Sally Kubly outside their Craig Ellwood-designed home in Pasadena in 2003. (Photo © Art Center College of Design/Steven A. Heller)

Dean of Students Jeff Hoffman (left) talks with recent Advertising graduate and U.S. Navy veteran Desiree Sisneros, a recipient of the Ahmanson Veteran Scholarship, about one of her design projects at Art Center, shown on the poster behind them.

Wayne F. Miller PHOT 41 served as a Navy photographer whose indelible images of World War II included some of the first pictures of the atomic bomb-ravaged Hiroshima. He later chronicled the lives of black Americans in Chicago’s South Side in a series of portraits now held in the collections of the Museum of Modern Art, the Guggenheim Museum and the Smithsonian Institution. Miller was a member of Magnum Photos since 1958, and president of the collective 1962–1968. He passed away this year at age 94.

Wayne F. Miller, who later became president of Magnum Photos, was a U.S. Navy photographer in World War II. (Photo © Joan Miller, courtesy Magnum Photos)

Herman Wall PHOT 38, who taught photography at Art Center for 13 years, served as an Army photographic officer with the 165th Signal Photographic Company during World War II. The first Signal Corps casualty of the Normandy Invasion, he took some of the first images of the D-Day Normandy landings. His later work appeared in The Saturday Evening Post, Collier’s, Better Homes and Gardens and many other publications. He died in 1996.

Art Center alum and photography instructor Herman Wall (right), circa 1949.

Interested in creating a scholarship to support veterans at Art Center or to honor someone in your life who is a veteran? Call Maya Fredrickson at 626 396-2455.

RECOGNIZING VETERANS ON CAMPUS AND BEYOND

Wars are generational, which can make it easy to lose sight of our predecessors’ service. As a result, veterans too often have failed to receive the recognition they deserve. Art Center seeks to proactively honor veterans, on campus and beyond, while supporting those who are students in their transition to art and design careers.

In 2011, upon the passing of Art Center’s second president, Donald Kubly ADVT 49, the College recognized his Army Air Corps service in a tribute published in the Fall issue of Dot magazine

and at a campus event honoring Kubly, with a memorial display that included his uniform, medals and wartime photos. Kubly, who flew more than 80 combat missions during World War II, is remembered as an inspirational leader and exemplifies the impact military veterans can have at Art Center.

“There were many people at Art Center who touched our lives,” Caccavo recalls of his own College years. “But those whose leadership and teaching had great humanity and humility were often rooted in wartime experiences that challenged and tested their courage and compassion, and sealed forever a code of integrity and values that greatly benefited this school, and all our lives.”

dot news$15 Million Gift From Peter and Merle Mullin Will Enhance Industrial Design Programs Industrial and transportation design at Art Center received an unprece-dented boost with a visionary gift from Southern California philanthropists and classic car enthusiasts Peter and Merle Mullin. Their $15 million com-mitment, the College’s largest gift ever, will help fund construction of a new building, fuel campus growth and support future creative leaders.

The couple’s gift, says Peter Mullin, an Art Center Trustee, is “a chance to make a difference. I’ve been luckier than I ever expected in business and in my life. Los Angeles has been a great place for me. I was born here, stayed here, and I don’t have any intention of leaving. So our gift is also an expres-sion of gratitude to a great city that provided me with great opportunity.”

He notes the robust concentration of talent in Southern California, where every major carmaker in the world has established a design studio. “The fact that all of these studios are populated by graduates of Art Center is impres-sive and really means that Art Center is a jewel,” he says, “a worldwide center of elegance and excellence.”

“We are extremely grateful to Peter and Merle for their extraordinary philanthropic investment,” says Art Center President Lorne M. Buchman. “Their gift will make a transformational impact at the College for generations to come.”

How does an investment of such magnitude improve an industrial design program already renowned for graduating many of the world’s top designers?

At a time when industrial design produced by students and faculty has become significantly constrained at Hillside Campus, the Mullins’ gift will create new space for the College’s undergraduate programs in Environ-mental, Product and Transportation Design, and graduate programs in Environmental, Industrial and Trans-portation Design. The new building, currently in the planning stages, is a vital element of the South Campus expansion, and the community is engaged in robust discussion about the kinds of cutting-edge resources and new laboratories that will be built.

All of which, says Buchman, will reinvigorate the College educational experience and reinforce Art Center’s place at the cutting edge of design education.

“Expanding spaces for learning is a central element of the College’s Strategic Plan,” says Board Chairman Robert C. Davidson, Jr. “This generous gift from Peter and Merle will help make our dreams a reality.”

Peter Mullin is Chairman of M Financial, a national reinsurance company, and Chairman Emeritus of MullinTBG, the nation’s largest inde-pendent executive benefits services and solutions provider. He co-founded the Mullin Automotive Museum in Oxnard, Calif., with his wife Merle, and he serves as Chairman of the Petersen Automotive Museum in Los Angeles.

The Mullin Automotive Museum pays homage to the machine age and the art deco era; its renowned collec-tion features historic French automo-biles from the Bugatti to the Voisin, as well as decorative arts from the 1920s and 1930s.

At the Petersen Automotive Museum, a permanent exhibition is dedicated to Art Center’s legacy of leadership in transportation design education.

The Mullins have funded scholar-ships for Art Center students since 2005, including the Peter W. Mullin Endowed Scholarship, which

belowIn 2007, Peter and Merle Mullin (seated) challenged students to imagine a body for an unfinished Bugatti Type 64 Coupe chas-sis. Design studio participants: (L>R) Richard Pietruska (in-structor), George Yoo, Geoffrey Richmond, Garrison Gao, Thean-drew Clayborn, James Brown, Hans Jahng, Alex Marzo, Mario Bekas, John Narciso and Marek Djordjevic (instructor).

Here are just a few

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$11.2 million in scholarships

Health insurance for 100% of our students

Access to 600 internship opportunities

300 free student events per term

1.5 million pieces of equipment for checkout

All of this adds up to a phenomenal education for ART CENTER designers and artists.

CONTRIBUTE TODAY

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DOT NEWS •19

•20 FALL 2013 — artcenter.edu/dot DOT NEWS •21

rightA former postal facility at 870 S. Raymond Ave. will become home to the undergraduate Illustration and Fine Art Departments.

belowOne of several design proposals for the 870 Building by Darin Johnstone Architecture.

leftA health curriculum developed by Design-matters was piloted in classrooms through a partnership with the Los Angeles Uni-fied School District. “Daryl” is a fictional middle schooler whose life is derailed after he gets involved with guns. The educa-tional toolkit includes a life-sized cutout of Daryl and a series of videos featuring the character.

Designmatters Partners With LAUSD to Make Guns “Uncool”Los Angeles Unified School District (LAUSD), the nation’s second largest public school system, has joined forces with Art Center’s renowned social impact department, Design-matters, to implement Designmatters’ cutting-edge health curriculum, Where’s Daryl? Designed to get teens and tweens talking about gun violence in an effort to prevent it, the middle school classroom toolkit is part of Uncool: The Anti-Gun Violence Project, an award-winning program supported by the Nathan Cummings Foundation and dedicated to the memory of Norman Schureman PROD 85, a beloved Art Center instructor who lost his life to gun violence in 2010.

Four Art Center undergraduates—Thomas Banuelos, Damon Casarez, Alex Cheng and Rhombi Sandoval— created the core concept for Where’s Daryl? as part of a Designmatters studio led by faculty members Allison Goodman GRPK 95 (Graphic Design) and

Elena Salij (Advertising). Alumna Maria Moon GMDP 08 expanded that concept for classroom use, winning a 2012 grant from Sappi’s Ideas that Matter, a program that helps designers create print projects for charitable causes. Working closely with Designmatters Director Elisa Ruffino and with edu-cation experts including curricular specialists at LAUSD, Moon designed a comprehensive curriculum that meets California state health teaching standards while keeping kids engaged with the material.

It’s a great example, says Ruffino, of Art Center students and alumni “addressing public policy through design strategies.”

Eight stand-alone lesson plans revolve around “Daryl,” a fictional middle schooler who thinks firearms are cool—till his own life is derailed after he gets involved with guns. The toolkit contains materials like posters and preprinted worksheets and fact sheets (no photocopying required), as well as Where’s Daryl? stickers and buttons that students wear, teachers say, like a badge of honor. Lessons center on interactive storytelling through discussion, role playing and creating collages. The emphasis is on understanding personal influences, choices and consequences.

The curriculum also comes with a series of short videos and a life-sized, foam-board cutout of Daryl, who becomes something of a classroom mascot. Cutout Daryl also stars in the videos in which he is conspicuously, sometimes humorously, missing out on his own life when he faces criminal charges. The videos’ almost slapstick portrayal of his friends’ lives without him is at once funny and sad: Cutout

Daryl is repeatedly knocked down by a basketball when his buddies try to involve him in a game of pick-up, and his girlfriend experiences an awkward kiss with his foam-board substitute.

Humor aside, at-risk students fully grasp the seriousness of Daryl’s entanglement with guns. So far eight LAUSD schools have used the materi-als, reaching more than a thousand students, and preliminary results are impressive.

“A formal survey found that a majority of participating teachers had never addressed issues of gun violence in their classrooms,” says Ruffino, “and an even larger majority reported that the Where’s Daryl? curriculum was an effective tool in doing just that. The survey also showed that students’ knowledge and attitudes about guns and gun safety improved significantly after they completed the curriculum.”

“This campaign empowers students to foster their own actionable lan-guage, identify their trusted network of support and discover their own voice with regard to gun violence,” says Moon, who now works at Samsung Design America.

“Designers shape human experi-ence within a broader scope than ever before,” notes co-founder and Vice President of Designmatters Mariana Amatullo. “And they are increasingly recognized for their capacity to inno-vate in an uncertain world. Educa-tional initiatives that come out of the Designmatters program bridge the public and private sectors to create new forms of practice.”

Designmatters is now exploring possibilities for expanding the suc-cessful LAUSD pilot program.

Illustration Majors Take Top Prize in Disney Imagineering CompetitionIf you’ve always thought Imagineers —the creative elite who design im-mersive entertainment experiences for Disney theme parks and resorts—needed engineering or movie industry backgrounds, think again. In 2013, the annual ImagiNations Design Competi-tion, established in 1992, was swept by a team of four Art Center Illustration majors: upper-term students Jennifer Cho and Sunmin Inn, and recent

provides financial support to students majoring in Transportation Design.

Fourth-term Transportation Design student Christian Christensen del Rello received the Mullin Scholarship in Summer 2013. Along with financial assistance, the scholarship provided Christensen del Rello with an invalu-able sense of affirmation. “Learning that there is someone who believes in my effort was one of the most mo-tivating experiences I have had at Art Center,” he says.

“I’m fascinated with the brain, how art students think, their commitment, their curiosity—how they explore an idea, put it on paper and then turn it into a real object. That’s what Art Center students do so well,” says Peter Mullin. “Having an opportunity to help with the development of this new building dedicated to industrial design and knowing the tremendous impact it will have on the future of transportation design is an exciting project for both me and Merle.”

Fletcher Jones Foundation Supports 870 Building Renovation, Neighborhood Revitalization Recently acquired by Art Center, the former U.S. Postal Service (USPS) mail sorting facility at 870 South Raymond Avenue is undergoing extensive reno-vations as the College prepares for

the next phase of its South Campus expansion. With the help of lead funding from the Fletcher Jones Foundation, the 36,000-square-foot, two-story building will undergo a dra-matic makeover, from a bleak, vacant property behind barbed wire to a vibrant, inviting new venue. When the transformation is complete, the 870 Building will provide new classrooms, studios, a print shop, exhibition spac-es and a sculpture yard serving the needs of the College’s undergraduate Illustration and Fine Art Departments.

“With curricular innovation in both programs, student workspace needs have changed and dedicated spaces for making and viewing artworks are essential,” says Provost Fred Fehlau FINE 79, GART 88, whose experience as both an Illustration student and a Fine Art major deepens his excitement about the renovation project. “This facility will build synergy between the programs and significantly increase classroom space, while more than doubling the number of studios and

computer workstations available to students. It also provides a unique op-portunity for us to visualize the future of our community and to prepare for further growth.”

Acquisition of the 870 Building was made possible in large part by three seven-figure alumni gifts— from Richard Law MS INDU 58, Steven Rieman PROD 74 and his wife, Ruth, and Bruce Heavin ILLU 93 and his wife, for-mer Art Center faculty member Lynda Weinman—followed by a $1 million grant from the Ralph M. Parsons Foundation.

The $3.5 million renovation, cur-rently underway, is supported by a $500,000 grant from the Pasadena-based Fletcher Jones Foundation, continuing a 25-year relationship with Art Center, whose scholarship activi-ties and capital campaigns it has sup-ported since 1988. The Foundation, created in 1969 from the personal estate of mathematician and computer science pioneer Fletcher Roseberry Jones, focuses its grantmaking on private higher educational institutions, especially in California.

“We are profoundly grateful to the Fletcher Jones Foundation, along with our alumni and donors, for their enormous generosity,” says Fehlau. “Creating new spaces for learning is a central element of the College’s Strategic Plan, and doing it well takes communitywide participation. Through our shared governance model, faculty in particular have played a guiding role in the 870 Build-ing design process.”

Los Angeles-based Darin Johnstone Architecture has worked closely with the Illustration and Fine Art Depart-ments, and with the Facilities and Technology Committee comprised of students, faculty and staff, to design spaces and amenities that will best serve students’ needs. In addition to a significant increase in square foot-age, portions of which will be pro-grammed by students, both studio departments will gain a much more visible public presence in Pasadena, along the city’s Innovation Corridor. Move-in is scheduled to begin in early 2014.

Editor’s note: Find out how you can support the next phase of Art Center’s expansion. Call Maya Frederickson at 626 396-2455.

WATCH VIDEO ONLINE

•23DOT NEWS•22 FALL 2013 — artcenter.edu/dot

aboveArt Center Trustees Linda A. Hill and Greg Silverman.

belowAward-winning One Degree High Perfor-mance Dinghy Shoe designed by Nina Viggi. (Image cour-tesy of Nina Viggi)

aboveArt Center’s team in the 2013 ImagiNations Design Competition won First Place and Best in Show with their project “Disney’s Ukaipo Resort at Auck-land, New Zealand.” (L>R): Sophie McNally, Angela Li, Jennifer Cho and Sunmin Inn. (Photo © Disney. Photographer: Gary Krueger)

belowFrom the sketchbook of IDEA gold medalist Nina Viggi. (Photo courtesy of Nina Viggi)

generate “aspirational associations” in mainstream markets. As the sport transitions from a lifestyle brand to an outdoors brand, Viggi says, the industry remains behind the curve when it comes to thinking about equipment and performance. “More aerodynamic apparel could only be found in more accessible sports like surfing and windsurfing. Brands have been trying to chase sailors’ expecta-tions but always fall short.”

Art Center’s rigorous, transdiscipli- nary Grad ID degree program required that Viggi prove her ability to forecast a product’s growth opportunities over the next five to 10 years. “Never once,” she remembers, “was I juggling just product design without being re-minded of manufacturing constraints, sourcing materials and developing a brand strategy.”

The sleek One Degree shoe is light, flexible and equipped to drain effici- ently without sacrificing vital thermal capability. The neoprene lining is re-placeable, allowing for a longer-lasting shoe with easily interchangeable parts, versus the usual fast-deteriorating models that can’t be disassembled or repaired. Having worn out her share of sailing equipment, Viggi has the distinct advantage of knowing first-hand how desirable her product will be in today’s outdoors market.

Innovation in sustainability is a hallmark of the IDEA challenge. Recog- nition from IDSA has validated Viggi’s instincts, though it took one of her mentors, Grad ID faculty member Katherine Bennett GIDP 09 , to convince her to submit the design. “The IDEA awards program continues to be an effective witness to the state of

industrial design and design education today,” says Bennett. “The process of articulating their designs for a world-wide audience gives practitioners and students a forum for important causes we want to address.”

New Trustees Bring Business and Entertainment Industry Expertise to Art Center Art Center’s two newest Trustees, Linda A. Hill and Greg Silverman, work in different worlds but share a passion-ate commitment to a “learning-by- doing” education model that prepares students for careers in which leader-ship, innovation and collaboration will be keys to success.

Linda A. Hill is the Wallace Brett Donham Professor of Business Admin-istration at the Harvard Business School, as well as a best-selling author and expert on leadership develop-ment. Her latest book, forthcoming in 2014 from Harvard Business Review Press, is Collective Genius: The Art and Practice of Leading Innovation. In 2011 Hill was named by Thinkers50 as one of the top management think-ers in the world. She holds a Ph.D. in behavioral sciences and an M.A. in educational psychology, both from the University of Chicago, and has worked as a consultant to major cor-porations including General Electric, IBM, MasterCard, Mitsubishi, Baxter, National Bank of Kuwait and Reed Elsevier.

Hill first learned about Art Center in her research on innovation lead-ership. For Collective Genius she

interviewed renowned designer and Art Center Trustee Kit Hinrichs ADVT 63.

“Innovation is the competitive engine in our global economy,” says Hill, “and design thinking is at the heart of the innovative process. So business leaders need to become design thinkers and know how to build organizations where discovery-driven learning and integrative problem-solving can happen. I am eager to learn from masters—like those at Art Center—about how you do that and help others learn how to do it as well.”

Greg Silverman is President, Creative Development and Worldwide Production, Warner Bros. Pictures, a recognized industry leader at the global box office. In this role, he has full oversight of Warner Bros. Pictures’ development activities, global pro-duction and budget. The longtime production executive holds a bach-elor’s degree in communications from Stanford University.

Silverman recently spoke to The Hollywood Reporter in conjunction with the publication’s annual ranking that lists Art Center among the top film schools nationally. He said of Art Center: “There’s an intense visual aes-thetic. The students’ work shows how design can be central to all thinking processes.”

In the same article, The Hollywood Reporter notes that in the movie busi- ness, where competitiveness is the rule, “Art Center emphasizes compassion and teamwork” and “distinguishes itself with faculty who are all industry professionals.”

“We proudly welcome Linda and Greg to the Board of Trustees,” says Board Chair Robert C. Davidson, Jr. “We look forward to working with them to build on one of Art Center’s great strengths, our vital partnerships with business and industry.”

graduates Angela Li ILLU 12 and Sophie McNally ILLU 12. All on the Entertainment Arts track and already good friends, they collaborated on the project that won First Place and Best in Show in this prestigious competition designed to promote diversity and inspire curiosity about cities around the world.

The challenge was to identify one city anywhere on the globe and dream up an entertaining, recreational ex- perience for its citizens and visitors. Judges looked for submissions that incorporated a great story into the design. The Art Center team drew its inspiration from the majestic Agathis australis, or kauri, a tree endemic to New Zealand that can grow to 150 feet tall and more than 50 feet in girth. Once plentiful, this “conserva-tion-dependent” species now grows mainly in remote stands that proved inaccessible to loggers during a timber-industry surge in the early 20th century. The experience the team envisioned put visitors at the top of a kauri, where they would enjoy views of Auckland as well as appreciate the unique place of these ancient trees in New Zealand’s history and culture.

The team named the resort Ukaipo, a Maori word that describes nourishing or nurturing.

“The location was the key in this competition,” explains Cho. “None of us had ever visited Auckland, but we all want to go there! When we picked New Zealand, everything fell into place. It’s culturally rich and extremely environmentally conscious, and I

think those factors took our project from being a cool resort concept with a fun back story, to being something really meaningful.” Li imagines Auck-land to be “a place that brings many different people together, not just from all over the world, but locally, too.”

The students describe their pro-cess as a soup-to-nuts collaboration. The hardest part, they agree, was not determining what to include but rather figuring out what was best left out of their scheme. “We all had to listen to each other’s opinions,” says Cho, remembering certain sacrifices or compromises along the way. “I really feel we applied the term ‘collaboration’ to the fullest.”

The biggest eye-opener during the competition? “How close you can become with your competitors,” says Cho. “That was really unexpected and special.” Indeed, some of the toughest competition came from within: Art Center Entertainment Design major Jane Liu joined a team of Carnegie Mellon students, and their entry, an interactive boat ride they titled Leg-enda Emas at Jakarta, Indonesia, won second place in the stringent judging.

All the ImagiNations finalists were awarded a week of presentations and networking behind the scenes at Walt Disney Imagineering, where they met talent from other schools as well as a number of Art Center alumni who have became accomplished Imagineers.

The four women on the winning team went on to land summer intern-ships at Walt Disney Imagineering,

and Li says she now aspires to work in the entertainment field as a concept designer.

Grad ID Student Sails to Victory as IDEA Gold Medalist Since its inception in 1965, the Indus-trial Designers Society of America (IDSA) has recognized “positive impact” in design. In 22 years of competition, Art Center students have taken 70 medals in IDSA’s highly competitive International Design Excellence Awards (IDEA), and last year Art Center won the most IDEAs of any competing college.

When IDSA announced this year’s IDEA winners in July, they included—among Art Center’s eight finalists in the 2013 competition—three medal winners. Graduate Industrial Design student Nina Viggi took home a gold medal for her One Degree High Performance Dinghy Shoe, designed for competitive sailing. Product Design students also earned medals: Marc Dubui the silver for a hard-hat suspension system he calls Oblikk, which protects the wearer from lateral and rotational impact; and Shingo Mamiya the bronze for A Better Working Environment for Certified Nursing Assistants, a chair equipped with a built-in system that provides a safer, more efficient way to bathe elderly or infirm clients, as well as dispose of their waste.

Viggi, who has 10 years under her belt competing in high-performance fleets around the world, is intimately familiar with the sport. She recognized that the more traditional products created for the elite sailing market had not kept up with the sport’s evolution and growing popularity, as events like the America’s Cup

SPOTTED•24 FALL 2013 — artcenter.edu/dot

spotted RETIREMENT PARTY FOR BETSY GALLOWAY, VICE PRESIDENT, LIBRARY. PROVOST F

RED FEH

LAU WITH G

ALLOWAY.

PRESIDENT BARACK OBAMA IS PRESENTED WITH THE MOREHOUSE COLLEGE HONORARY DOCTOR OF LAWS BY ROBERT C. DAVIDSON, JR., CHAIR OF THE MOREHOUSE COLLEGE BOARD OF TRUSTEES AND OF ART CENTER’S BOARD OF TRUSTEES, AT MOREHOUSE’S 2013 COMMENCEMENT CEREMONIES.

ART CENTER, CALTECH AND NASA JPL HOSTED “VISU-ALIZATION: FROM DATA TO DISCOVERY” ON MAY 23, A NATIONAL SYMPOSIUM ON THE EMERGING SCIENCE OF BIG DATA VISUALIZATION CO-ORGANIZED BY INTERACTION DESIGN CHAIR MAGGIE HENDRIE (ABOVE).

DAY AT THE RACE: (ABOVE, L>R) MAYOR OF PASADENA BILL BOGAARD, ART CENTER PRESIDENT LORNE M. BUCHMAN AND PASADENA CITY COLLEGE (PCC) PRESIDENT MARK ROCHA. (LEFT, L>R) TEAM ZEPHER’S ZAROUHI MAZMANYAN, PCC STUDENT, WITH ART CENTER GRAD ID STUDENTS MARK HUMMEL AND ALEX LIVINGSTON.

8TH ANNUAL INTERNATIONAL FORMULA-E RACE ON AUGUST 8. (LEFT, L>R) STAN KONG PROD 83, ART CENTER AND PASADENA CITY COLLEGE FACULTY MEMBER; ED HONOWITZ PHOT 81, EDU-CATION POLICY ADVISOR FOR STATE SENATOR CAROL LIU; AND ANDY OGDEN TRAN 83, CHAIR OF GRADUATE INDUSTRIAL DESIGN.

ENJOYING THE SHOW: (L>R) TERRY LEMONCHECK, EXECUTIVE DIRECTOR, PASADENA ARTS COUNCIL; MARGARET WERTHEIM, SCIENCE WRITER AND DIRECTOR OF THE INSTITUTE FOR FIGURING; STEPHEN NOWLIN GART 78, DIRECTOR, WILLIAMSON GALLERY; AND ASTRIA SUPARAK, DIRECTOR, MILLER GALLERY, CARNEGIE MELLON UNIVERSITY, WHERE “INTIMATE SCIENCE” PREMIERED.

WILLIAMSON GALLERY OPENING RECEPTION FOR “INTIMATE SCIENCE” ON MAY 30

DREW GUESTS INCLUDING (RIGHT) SARA KAPADIA, FOUNDER AND EDITOR, STEAM JOURNAL, CLAREMONT GRADUATE

UNIVERSITY.

NEW YORK DESIGN WEEK 2013: (LEFT, L>R) ENVI-RONMENTAL DESIGN CHAIR DAVID MOCARSKI WITH FURNITURE DESIGNER INI ARCHIBONG ENVL 12 AND FACULTY MEMBER JAMES MERAZ. (ABOVE) IN THE BERNHARDT DESIGN LOUNGE AT THE INTERNATIONAL CONTEMPORARY FURNITURE FAIR, ENVIRONMENTAL DESIGN STUDENT JONATHAN WOOK KIM PRESENTS HIS “REMIX” CHAIR.

ART CENTER'S 3X3 LECTURE SERIES ON JUNE 26 EXPLORED "WEB DESIGN: PAST, PRESENT AND FUTURE." (L>R): GRAPHIC DESIGN FACULTY MEMBERS PETRULA VRONTIKIS AND JOHN CHAMBERS, FACEBOOK DIRECTOR OF PRODUCT DESIGN MARIA GIUDICE, AND MYSPACE CREATIVE DIRECTOR MARSHALL RAKE GRPH 09.

GRAD SHOW RECEPTION: (ABOVE) KENNETH CHAN GRPH 13 AND STANLEY CHEN GRPH 13. (RIGHT) ADVERTISING

STUDENT ELISABETH LEVIN AND DAVID FISCHER TRAN 13.

SUMMER 2013 GRAD SHOW PREVIEW BROKE ATTENDANCE RECORDS AND FEATURED WORK BY MORE THAN 120 GRADUATING STUDENTS INCLUDING SHANA TOROK GRPH 13 (ABOVE).

FULL STORIES ONLINE! ARTCENTER.EDU/DOT

NONPROFIT ORG.

U.S. POSTAGE

PAID

PASADENA, CA

PERMIT NO. 557

1700 LIDA STREET

PASADENA, CA 91103

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