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Visit us on facebook and Twitter facebook.com/artcenter.edu twitter.com/art_center

messagefromthepresident

03 aroundtheworld Smartproducts,books,exhibitions,

projectsandventuresbyArtCenteralumniandfaculty.

08 inthestudio Avisualessayonarecentclassproject.

features14 Ian Sands: Hybrid Thinker,

Imaginative Realist Atrailblazerinthefieldofinteraction

design,IanSandsPROD95reflectsonhisprofessionalexperiencesandhiscurrentprojectwithBillGates.Plus,detailsonthenewInteractionDesignprogramatArtCenter.

20 Designing from the Inside Out: Environmental Design at Art Center

Withanewgraduateprogramintheworks,wetakealookattheEnvironmentalDesignDepartment’sfaculty,alumniandstudentswhohavebroughttheirexpertisetoprojectsrangingfrombarstoolstoapublicparkforunderservedteens.

28 inmemoriam Celebratingthelifeof

DonaldR.Kubly,1917–2011.

31 dotnews Campusnews:augmentedreality

101,alumnibenefits,studentwinners,newtrustees,“80for80”update,rememberingEdHanak.

35 spotted Wereyouthere?Recentevents

bothonandoffcampus.

Fall 2011Dot magazine is published by the Department of Marketing and Communications

Art Center College of Design1700 Lida Street, Pasadena, CA 91103artcenter.edu

Editor : Vanessa SilbermanSenior Writer : Mike Winder Art Director : Winnie LiDesigners : Eliana Domingez, Winnie Li, Miguel Ramirez Production Manager : Audrey KraussOnline Programmer : Chuck SpanglerOnline Consultant : Roman Jaster

President : Lorne M. BuchmanSenior Vice President, Development and External Affairs : Arwen DuffyAssociate Vice President, Marketing and Communications : Wendy ShattuckDirector, Public Relations andCommunications : Jered GoldDirector, Design Office : Ellie Eisner

Cover: (Front) 160 Stool. (Back) Humo Piggy Bank, Humo Hurricanes and Humo Side Table. All objects by Sami Hayek ENVL 96, part of his Espacio Sami Hayek line.

© 2011 Art Center College of Design. All rights reserved. Dot, Art Center, and Art Center College of Design are trade-marks of Art Center College of Design.

Student works reproduced or referenced in this publication are for educational purposes only. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.

Printed on Utopia 1X: Green with 20% post-consumer waste and Classic Crest, both FSC-certified Mix.

Comments? Suggestions? Send your ideas to editor@artcenter.edu.

Experience Dot online.

scan QR code for instant access.

SamiHayekSamiHayekENVL96sandsanHumoPiggyBank,anobjectfromhisnewEspacioSamiHayekline.Thebank,hurricanesandcocktailtable(backcover)areallcraftedfromhumo,aclaynativetotheMexicanstateofOaxaca.CreatedincollaborationwithMexicanartisans,theobjectsinHayek’slatestline—includingthe160Stool(frontcover)—blendlocalcraftsmanshipandoldworldmaterialswithnewworldtechniquesandacontemporaryaesthetic.

ReadmoreaboutHayekandEnvironmentalDesignonpages20–27.

espaciosamihayek.com

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OnePartStrategy,OnePartRevelryChristiane Holzheid Mfa MDP 09

Lastspring,SidLeeCollective—the“culturalandcommercialincubator”armofMontreal-basedcreativeagencySidLee—heldacontestinwhichapplicantsfromaroundtheworldappliedtoSidLeeBootCamp.Thepurposeofthecamp?Tobringtogethereightcreativesfor10daysunderoneroof—aformerindustrialworkspacetransformedintoacamp-likeenviron-ment—torebrandthenextdecadeofFatboy,theNetherlands-basedcompanyfamousforitsbeanbagfurniture.AmongthechosenfewwasBerlin-basedChristianeHolzheidMFAMDP09,

whospentmostofhertimedesigningartinstallationsandexperiencesforvisitorstoFatboy-brandedevents.Don’tbefooled;itwasn’tallhardwork.Campactivitiesincludedpillowfights,divingthroughpaperwallsandslidingonafloorwhilewearingthreelayersofstockings.Despitetherealityshowelementsofthecamp,Holzheidsaidalltheparticipantsconnectedeasilyandweretoobusycollaboratingtogetineachother’sfaces.“Therewasnodramaatall,”saidHolzheid.“SidLeeputaconfessionboothinourspace,butnooneeverusedit.”

youtube.com /sidleetv

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Art Center’s Public Programs offer more th

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250 innovative classes in art and design e

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for adults, kids and teens.

Learn more: artcenter.edu/makeithappen

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RubberSoleGrant Delgatty PROD 95, faculty, Product Design

NeverheardofUrshuz?Youwillsoonenough.That’sthenameoffacultymemberGrantDelgatty’sPROD95newlineoffootwearthatallowsconsumerstomixandmatchashoe’suppersandsolesintoavarietyofmaterialandcolorcombinations.Delgatty’shistoryinthefootwearindustryincludesstintsdesigningforK-SwissandleadingthedesignteamsatDVSShoesandVans.Urshuz(pronounced“yershoes”)featuresapatent-pendingU-ringfasteningsystemtoconnecttheirupperstotheir100percentrecyclablesoles.Launchedearlierthisyear,theywereavailableinitiallyatselectretaillocations—MuseumofContemporaryArtChicago,DNAFootwearinBrooklynandShoeLabinRosemère,Quebec—butUrshuzrecentlyhitthebigtimeandcannowbepurchasedatUrbanOutfittersretailstoresnationwide.

urshuz.com

ThrowYourHandsintheAirClaire Gerhardt Ms INDU 07

It’shardtobelieve,butwe’recomingupontheoneyearanniversaryofMicrosoft’sreleaseoftheKinect—thatmotion-,face-,voice-,distance-recognizingXbox360accessorythatletsplayersmovetheirbodiesinlieuofholdingagamepad.Launchingwiththetagline“Youarethecontroller,”theKinectnotonlyreceivedaccolades(The New York TimescalledlaunchgameDance Central“puregenius”)butitalsobecamethefastest-sellingconsumerelectronicsproductofalltime.AndaccordingtoMicrosoftUserExperienceDesignerClaireGerhardtMSINDU07,whowaspartoftheteamresponsiblefortheKinect,thisisonlythebeginning.Inadditiontoanever-growinglistofcompatiblegames—KinectStar Wars,Mass Effect 3,Forza IV—thedevicehasalsofosteredanenthusiastichackingcommunitythat’stweakingthedeviceforeverythingfrommedicalrehabilita-tiontoartinstallations.“There’sawholeworldwaitingoutthere,”saidGerhardt.

xbox.com/kinect

Sugah-liciousTara McPherson IllU 01

LastApril,TaraMcPhersonILLU01openedTheCottonCandyMachine,anartboutiqueandgalleryintheWilliamsburgneighborhoodofBrooklyn.FormerlyMcPherson’sstudio,theground-floorspacespecializesinaffordableart,includinglimitededitionprintsandserigraphsaswellasposters,shirts,books,toysandmorebyavarietyofartists.McPhersonwasdubbed“thecrownprincessofposterart”byEllemagazineforherworkwithrockbandslikeBeck,ModestMouseandTheStrokes.Thespaceishometomonthlyartshows,eventsandsignings.CurrentlyonviewareworksbyTravisLouieandChrisRyniak,inpartnershipwithCircusPosterustocoincidewiththeNewYorkComicCon.

thecottoncandymachine.com

AGrowingGardenPatrick Hruby IllU 10

Parentsoftoddlers,dowehavesome-thingforyou:AMMOBooksrecentlypublishedthesecondchildren’sboardbookbyartistPatrickHrubyILLU10,calledCounting in the Garden.It’shisfifthprojectforAMMO,acollaborationthatbeganjustdaysafterhisseniorshowwhenHruby’scolorfulandgraphicillustrationscaughttheeyeofAMMOCo-OwnerandArtCenterfacultymemberandalumnaGloriaFowler

ENVL87.Createdwithhissister,thewriterEmilyHruby,Counting in the Gardenisadelightfuldeparturefromtheusualfare—onions,turnipsandthistlesallmakeappearances—andthere’sasenseofexcitementasthegardenfantasticallymultiplieswitheachturnofthepage.Bestofall,itwillhaveyourlittleonesrecitingtheirnumbersinnotime.

ammobooks.com

AnAncientUrnofWhoop-AssTarsem singh fIlM 90

DirectorTarsemSinghFILM90(The Cell, The Fall)hasgoneonrecordassayinghisupcomingfilmImmortalscanbebestdescribedasCaravaggiomeetsFight Club.Canyousay,“Hades,yes?”ThefilmpitslegendaryGreekheroTheseus,playedbyHenryCavill(The Tudors,SupermanindirectorZackSnyder’sFILM89forthcomingMan of Steel),againstthebloodthirstyTitangodHyperion,playedbyMickeyRourke(The Wrestler),whohasamassedanarmyofimprisonedTitansandseekstotosstheOlympiansoffMountOlympusforgood.ThefilmalsofeaturesFreidaPinto(Slumdog Millionaire)asPhaedra,theSybellineOraclewhoassistsTheseusinassemblinghisfollowers,andLukeDavis(Clash of the Titans)andJohnHurt(Harry Potter and the Deathly Hallows)astheyoungandelderZeus,respectively.Themantowatchfor?RobertMaillet(Sherlock Holmes),whoplaystheMinotaur,themythologicalhalf-man,half-bullandTheseus’mostinfamousadversary.

immortalsmovie.com

still from Immortals, 2011. Courtesy Universal Pictures and Relativity Media.

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TheAdventuresContinuescot Drake TRaN 98, faculty, Entertainment Design

DisneyphilesandJedi-knights-in-trainingalikehavereasontocelebratetherecentreopeningofStar ToursatCalifornia’sDisneylandandDisney’sHollywoodStudiosatFlorida’sWaltDisneyWorld.The1987Star Toursattraction—ajointcreationofDisneyImagineeringandGeorgeLucas’IndustrialLightandMagic—tookvisitorsonasimulatedthrillridethroughtheStarWarsuniverse.Therideclosedin2010inordertoupgradebothitstechnologyandstoryline.ArtCenterVisual CommunicationsinstructorandcurrentDisneyImagineerScotDrakeTRAN98workedextensivelyontheride,fromthefirststoryboardspresentedtoLucas,allthewaythroughconceptdevelopmentastheattraction’sartdirector.Nowin3DandredubbedStar Tours: The Adven-tures Continue,thenewridetransportsvisitorstorandomlyselectedworldsandscenarios—fromthebattleofHothtoanunderwaterencounterinNaboo—foratotalof54possibleridecombinations.

facebook.com /starTours

Afterward,Then,Beforealexis Teplin Mfa aRT 01, Visiting faculty, Graduate art

Desireandtheaesthetics/politicsofthefemininedrivetheworkofCalifornia-born,London-basedcontemporaryartistAlexisTeplinMFAART01,whoselatestpaintingsandsculpturesgoonviewnextmonthintheone-womanshow,Seashells and So On,atCarProjectsinBologna,Italy.Herpaintingsareinfusedwithvibrantcolors,animatedbrushwork,arthistoricalreferencesandapreoccupationwiththefigure(orlackthereof),whilehersculpturesoftentransformfoundobjectsintotemplesoffeminineseduction.Theshowincludesnewunstretchedpaintingsoncanvas,includingThree Women(afterPicasso’s1908masterpiece),whichhangslikeacostumepinnedtothegallerywallandrevealsTeplin’songoingexplorationsintothetheatricalqualitiesoffabricandfashion.

carprojects.it

GoodbyeRangeAnxietyfranz von Holzhausen TRaN 92 / bernard lee TRaN 97 / Nadya arnaout PROD 00

DevelopmentofTeslaMotors’long-awaitedModelS,apremiumall-electricmidsizesedan,iswrappingupandcustomerscanexpecttobegindrivingtheirzero-emissionvehiclesbymid-2012.The$56KModelSwillrunonthesametechnologyasitsmoreexpensivecousin,the$109KRoadster,andfeaturesthreebatterypackoptionstoappeaserangeanxiety:160,230or300milesper45-minutecharge.Theadventurousdesign,whichboastsaleadingelectricpowertrain,ashowstopping17-inchinfotainmenttouchscreenandtop-notchaerodynamics,wasconceivedbythreeArtCenteralumni:ChiefDesignerFranzvonHolzhausenTRAN92,LeadExteriorDesignerandformerArtCenterfacultymemberBernardLeeTRAN97,andLeadInteriorDesignerNadyaArnaoutPROD00.

teslamotors.com

Eco-friendlyChoicefortheAudiophileDan ashcraft PROD 73

Wouldn’titbecoolifyourheadphoneswereconstructedfromrecycledguitarsandeventheclothingarticlesofmusiciansfromaroundtheworld?DanAshcraftPROD73thinksso.AsPresidentandChiefDesignerofAshcraftDesign,herecentlylaunchedtheAriaHeadphone,abeauti-fullycraftedandeco-friendlychoiceformusicmavensthatpacksaseriouspunch.DevelopedbyLeadDesignerBrittAshcraft(Ashcraft’ssonandaformerArtCenteratNightstudent),theheadbandiswrappedinreclaimedwoodfrommusicians’acousticguitars,thespunearcupsaremadefromrecycledaluminumandtheleatherliningsarereclaimedfromthebags,jacketsandclothingofmusicians,bringinglistenersonestepclosertothesource.Titanium-plateddriversdeliverextremeclarity,ensuringastellarlisteningexperience.

ashcraftdesign.com

StarklySpeakingfrances stark Mfa aRT 93

ThefallscheduleofcontemporaryartistandwriterFrancesStarkMFAART93issuretoimpressevenveteranartworldinsiders.Her11-episodevideoMy Best ThingiscurrentlyonviewattheVeniceBiennale54thInternationalArtExhibition,ILLUMInations,throughNovember27.BackontheWestCoast,StarkisthesubjectofasoloexhibitionattheMillsCollegeArtMuseumin

Oakland,Calif.,wherehermultipartwork,the whole of all the parts as well as the parts of all the parts,exploresthespacebetweentext,drawing,PowerPoint,musicalscore,film,randomvideochats,animation,installationandliveperformance.AndnextmonthinNewYork,PerformahascommissionedanewStarktheatricalpieceforits11thBiennial.

labiennale.org / mcam.mills.edu /

performa-arts.org

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stick, 2010. Plaster, oil paint, metal, industrial felt, book (Martha Graham, 1937). Courtesy of the artist; Mary Mary, Glasgow.

On view at the Mills College art Museum: (Top) Chorus member in special position, 2008. (bottom) frances stark, I’ve also Had It! (performance still), 2010. Courtesy of frances stark ©frances stark.

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in the studioby Mike Winder

(Top) a brainstorming session for team Moments.

(Upper middle)Purina represen-tatives watch a student presentation.

(lower middle) students explored the competition’s products.

(bottom) faculty members Gerardo Herrera, sherry Hoffman and Candice-leigh baumgardner.

Last spring, Art Center hosted Purina Remix, a transdisciplinary studio sponsored by the Nestlé Purina PetCare Company. For 13 weeks, 15 students from five different majors met each week at South Campus to create Purina’s new “it” brand for Generation Y pet owners.

Led by instructors Candice-Leigh Baumgardner, Gerardo Herrera and Sherry Hoffman, the students were split into four teams and charged with developing a new brand that considered every aspect of the consumer experience —from the food itself to packaging, merchandise, retail and its leverage of digital and social media.

As is the case with all Art Center industry-spon-sored studios, Nestlé Purina had the opportunity to purchase students’ final work, and one concept was purchased.

In the end, all of the teams’ solutions were inno-vative and tackled the challenge from a variety of angles. We sat down with the students prior to their final presentations to hear their thoughts on working with students from other majors, the pressures of sponsored projects and what makes Gen Y tick.

01

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CarolinaHernandezProductDesignChiyoBenignoProductDesignMichelleHanGraphicDesignTylerKandelPHOT11PhotographyandImaging

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RyanMullinGRPH11GraphicDesignJustinWangAdvertisingJasonSunProductDesign

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AdamBordowPhotographyandImagingKenjiHuangProductDesignLillyGrigorianAdvertisingLilyHuGraphicDesign

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CameronYoudsEnvironmentalDesignToddMartinPHOT11PhotographyandImagingChiao-YingWenProductDesignShantiShiueGraphicDesign

The Teamstop to bottom

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“Purina wanted us to take a stand and go strongly in one direction. They really liked our idea of moments that strengthen the bond between you and your pet. So we said, ‘Okay, let’s run with that and take it as far as we can go.’”Cameron Youds Team Moments

“There’s a thrill to working with an actual client. There’s extra pressure to get everything right by the end of 13 weeks. That’s the most challenging part, but it’s also the most enjoyable part.”Jason sun Team Embark

“At the end of the day, we want you to visually like our brand. That’s part of Gen Y, we respond to things visually. Computers aren’t about writing code anymore. If we see an icon, we can touch it. That’s how we approach things.”Tyler Kandel Team Real

Team EmbarkLivingwithapetisajourneyfilledwithcountlesschoices,andpoorchoicescanbreakthebondbetweenpetsandtheircaretakers.Tonurturelastingbonds,teamEmbarkcreatedanexperienceinwhichpetownersreceiveinformationthroughsocialmediaoutletsinvitingthemtobringtheirpetstoagrass-filled“urbanoasis”pop-upretailshop.AttheEmbarkshop,customerscanplaywiththeirpets,packagecustomiz-ablefoodandgetadviceoneverythingfromphysicalactivitytopottytraining.

Team MomentsTeamMomentsbelievedbothpetsandtheircaretakerswishtheycouldspendmoretimewithoneanother.Toturnthisintoareality,theyproposedtrans-formingmealsintospecialmoments.Theycreatedavarietyofsmalltreatsthatcouldbesharedthroughouttheday—fancyachamomilechickenJell-O“nightcap”beforebedtime?And,inlieuofspendingmoneyonSuperBowlads,theyproposedbuildingmodular,interactiveurbandogparksforcustomerstoenjoy.

Team RealTeamRealassertedthey“believeinthereal:”realfood,realcats,realdogs,realissuesandrealcauses.Theycreatedaboldvisuallanguage,inspiredbystreetart,thatrevolvedaroundplayfulblack-and-whitephotographsofeverydaypets.TheteamalsoproposedPurinatackletheissueofpetobesitybyofferingindividually-packagedsingleservingsandthatthecompanycreateanonlinepointssystemforcustomerstoseehowtheirpurchasescontributetoavarietyofsocialcauses.

01 02 03 04Project Kickoffweek 01

Research & Discoveryweeks 01–03

Opportunity Definitionweeks 04– 06

Midterm & Refinementweeks 07–12

students were split into four teams and spent the first month brainstorming, researching and presenting their initial findings to Purina.

The teams next explored unique brand experiences, from Moments’ kiosk and snack shooter (top), Embark’s social media-driven pop-up retail stores (middle), to Real’s street art-inspired visuals (bottom).

for the midterm, the teams trans-formed a portion of the studio to showcase their product ecosys-tems, advertising campaigns and overall brand strategy.

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05Final Reviewweek 13

During the final, each team pre-sented to Purina their products and services, from Embark’s customizable servings (left), to Moments’ modular dog park (middle), to Real’s single-portion containers addressing pet obesity (right).

“The biggest challenge is the process of elimination. We have to find what works best within our brand. If it doesn’t work, even if it’s a great idea, we have to say ‘no.’”adam bordow Team 7th & Madison

Team 7th & MadisonPurinawassoimpressedwithteam7th&Madison’stakeonGenYpetfoodthattheypurchasedtheirprojectoutright.ThiswasgreatnewsforbothPurinaandforthestudentswhoworkedhardfor13weekstocreateasellablebrand.Theonlydownside?Detailsabouttheirdeliverablesareallnowkeptsafelyunderlockandkey.Sufficeittosay,theteam’sprojectventuredintounfamiliarterritoryandisunlikeanythingcurrentlyongroceryshelves.

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IAN SANDS:HYBRID THINKER,

IMAGINATIVE REALIST

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Ian sands in Microsoft’s prototyping lab, testing an early version of its Touchwall concept, which was later built at full scale (28'x 8') in the company’s Envisioning lab.

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Starting this fall, a small cohort of 9th-grade teachers and students in classrooms across the U.S. are participat-ing in a bold experiment in education: the first phase of the Big History Project. ThebrainchildofBillGatesandDavidChristian,theprojectaimstomake“bighistory”— afieldofstudythattakesaholistic,multidisciplinaryapproachtothestoryoftheuniverse—freeandaccessibletohighschoolstudentsandteacherseverywhere.

Inadditiontodrawingconnectionsbetweenthehumanitiesandsciences,andhopefullyinstillingafierceloveoflearningamongstudents,theprojectalsostandstodeliveronthepromiseofonlinelearning.Thecourseistextbook-freeandinsteadreliesonengagingcontentandmedia,deliveredthroughamodernsoftwareuserexperience.Andwhoisleadingtheproject’sdesign,userexperienceandtechnicalvision?NoneotherthanIanSandsPROD95,co-founderofthevisionandstrategyfirm,IntentionalFutures(iF).

ForthosewhoknowSands,itshouldn’tcomeasasurprise.Afterall,hehasbeenexploringthepotentialoftechnologytocreatemeaningfuluserexperiencesformorethan15years.He’salsoamaverickwithanentrepre-neurialflair:AsanArtCenterstudent,Sandsconvincedfacultytolethimcharthisownacademicpathininter-actiondesignwhennosuchmajorexisted.AsadesigneratMicrosoft,hebrokenewgroundwhenhecreatedandledadesignresearchgroup,aptlycalledEnvisioning,whicharticulatedthelonger-termpotentialofMicrosofttechnologiesthroughprototypes,scenariosandstorytelling(e.g.,thebuzz-generating2019video).

AsArtCenterpreparestolaunchaB.S.programinInteractionDesignnextfall(andcontinuestoexploreinnovationsinonlinelearning),theworkofSandsisparticularlytimelyandrelevant.Hissystems-basedapproachemphasizingtheentiretyoftheuserexperience—whetherit’sawebsite,futuristicscenarioordynamiclearningtoolonline—hasmadehimamuchsought-afterinteractiondesigner.

SandsvividlyrecallsthemomentheknewhehadtoattendArtCenter.Itwasthemid‘80s,andhecameacrossanArchitectural DigestarticleaboutArtCenter’sTransportationDesignprogram.“Thearticlewasahugeturningpointinmylife,”saidtheBayAreanative.“Irealized,Iwanttobeacardesigner.”

Fastforwardseveralyears,andSandsdiscoveredthathisdesigninterestsstretchedbeyondcars.WhiletakingdesignclassesatUCDavis,hewasacceptedbyArtCenter’sProductDesignprogram.Oncehere,heembarkedonintensestudyoftheergonomicchallengespresentedbythephysicalworld.Butincreasingly,hewasdrawntothedigitalspace.Thisbeingtheearly1990s,thepotentialtocreateinteractiveexperiencesoncomputerswaswideopen.Hetookcoursesonvarioussoftwareapplica-tionsinthecomputerlabandremem-bersaSamsung-sponsoredprojectfocusingontheinteractivepotentialofTVdisplaysasbeingparticularlyinfluential.Sandssensedtremendousopportunityforyoungdesignerstotackle“two-dimensional”designchallenges,andbyhisseventhterm,hesetouttodevelopaportfoliothatwouldshowhisstrengthsinthebur-geoningfieldofinteractiondesign.

Sands’interestininteractiondesignfacedaformidableobstacle,however:ArtCenterdidn’tofferamajorinthisarea.Undeterred,Sandsandafellowclassmate,BrandonSincockGRPH95(whorecentlyjoinediF),enlistedthesupportofthen-DepartmentChairMartySmithandfacultymemberslikeNormSchuremanPROD85.Withtheirblessing,SandsandSincockcreatedaself-madecurriculumemphasizingcomputersoftware,3Dmodeling,industrialdesign,motiongraphics,graphicdesignandphotography.

Sands’enterprisingapproachtohiseducationpaidoff.Withinweeksaftergraduatingin1995,hewasinter-viewingatahalfdozencutting-edgetechnologyfirms.

OneoftheseinterviewswaswithMicrosoft’sAdvancedTechnologyGroup,apredecessortoMicrosoftResearch.Muchtohisamusementnow,SandsrecallsthatMicrosoftwaslowonhisradar(Windows95wasstillmonthsaway).“It’sfunny,becauseIalmostdidn’tapply.Microsoftwasn’tlikeAliasorSoftimage—thesereallyhotcompaniesatthetime,”hesaid.

Andyetthejobsoundedliketheperfectfit:adesignpositionfocusingonscenarioexplorationandthefutureofinteractiveTVasbroadbandmediabecamemoreprevalent.“It’slikethejobwastailor-madetowhatI’dbeendoingatArtCenter,”Sandsexplained.Healsosenseda“gobuildit”attitudethroughoutthecompany,whichappealedtohisentrepreneurialside.“Wewereallempoweredtoexploreourideasandexpressthem,”hesaid.

Sandsaccepted,andwithinweekshewasexploringthepotentialofinter-activeTVonbehalfofthisfledglingtechnologypowerhouse.Today,wetakeforgrantedthingslikestreamingvideosenabledbylightningfastdataconnections.But15yearsago,thistechnologywasjustgettingofftheground.Duringthistime,Microsoftwiredacoupleofcommunitieswithfiberoptics,sodatacouldbestreamedataspeedallowingforfullmotionvideo,impressiveevenbytoday’sstandards.“Ourapproachwasfairlyholistic,”hesaid.“Wehadtoimaginethekindsofcontentthatwouldbeappropriate,andwhattheinteractionwouldlooklike.”Forexample,Sandsexploredhowremotecontrolscouldbeusedtonavigatecomputer-likeexperiencesonTVscreens.

Hisexplorationscontinuedforseveralmonths,butastheInternetwavekickedintohighgearinearly1996,Microsoftreorganizedmanyofitsteams,Sands’included.Suddenly,hischargewastotackletheInternetfromauserexperienceperspective,orashedescribed,“defineit,inventit...seeitthrough.”

Transparent displays, multi-touch sensors and an electronic newspaper are just a few of the technologies explored in Microsoft’s 2019 video, developed by sands and his team in 2009.

-CHARTING

HIS OWN PATH

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-“DEFINE IT,

INVENT IT … SEE IT THROUGH.”

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software.Bridgingthisgapmeantincreasingsalesandproductplanningwithaneyeontomorrow.

Togenerateexcitementforthesecutting-edgetechnologies,bothinternallyandexternally,Sandsbelievedtheirpotentialneededtobearticu-lated.Furthermore,Sandsrealizedthatspecificcustomersegmentscouldbemoreeffectivelyaddressed.Automobilemanufacturers,forexample,haveadifferentsetofsoftwareneedsthan,say,doctorsinamedicalofficeorbankersinaretailbranch.

By2002,Sands’entrepreneurialinstinctsledhimtodevelopabusinessproposalforanewgroupcalledIndustryInnovations(laterEnvisioning),whichwouldhelpteamsanalyzetheirplansandstrategiesthroughproto-types,storytellingandtechnologyinvestigation.

Atfirst,hisproposalmetconsider-ablepushback,whichSandscomparedto“pushingbouldersuphill.”ButasinhisArtCenterdays,Sandspersevered.Onnightsandweekendsherefinedhisproposal,whichslowlygainedtractionamongexecutives.Atonepoint,aVPsuggestedhebuildaprototypetoillustratethepotentialofacertainMicrosofttechnology.

Sands,alongwithKevinRuss(oneofhisemployeesatthetimeandnowapartneratiF),chosetheMicrosoftTabletPC,whichlaunchedin2002,andexploredhowitmightchangethefaceofhealthcare.Havingworkedwithhealthcarecompaniesinhiscustomer-facingrole,Sandsknewthatdoctorswereunderstandablyappre-hensiveabouttheuseoftechnologyintheiroffices — thatitcouldunderminepatientcareifthedoctorwaspreoc-cupiedwithascreenattheexpenseofthepatient.

Sandsbelievedthatifdesignedwiththerightuserexperienceinmind,thetabletcouldintegrateintoadoctor’swork-flowasseamlesslyaspenandpaper.Hedevelopedaprototypethatshowedwhattheexperiencecouldlooklikelongerterm,withalotofothertechnologiesinvolved.

MicrosoftexecutiveswereimpressedandgaveSandsthegreenlight.(Sands’instinctswereprescient;manyphysi-cianstodayembracetheiPad.)Hesoonassembled“acrackteamofmulti-facetedfolks,”wherethedevelopersweren’tnecessarilyonlysoftware

Withinthecourseofawhirlwindyearandahalf,SandshelpedlaunchthreemajorMicrosoftonlinebusinesses:Slatemagazine,MSNBC,andtherelaunchofMSNasitwentfromapro-prietarysitetoabroadlyavailableuserexperience.ThelaunchofMicrosoft’sfirste-commercesite,Shop.Microsoft.com(todayknownasMicrosoftStore),soonfollowed.Hisinvolvementincludedartdirection,brandingandinformationarchitecture—anythingimpactingtheuserexperience.

SandscreditsArtCenterwithgivinghimtheconfidencetosucceedinsuchadynamicandintenseenvironment.“IknewIhadthetoolstodoitandcouldvoicemyopinionsonthestrategy.ArtCentertaughtmethatIcouldhandlethepressureandstilldoagoodjob,”hesaid.HelaterheldakeyroleintheoriginalMicrosoftbrandexperiencestore,microsoftSF,inSanFrancisco’sMetreonCenter,leadingthedesignofinteractivedisplays,videocontentandlifestyleareasshowcasingdifferentusesofthesoftware.

SandswasthrivingatMicrosoft,andafterspendingseveralyearsinacustomer-facingadvancedtechnologyorganizationhesawanuntappedopportunitytorethinkhowMicrosoftanditscustomersconversedaboutthefuture.Infact,hesawanopportunitytosparkadialoguethatwasn’tyethappening.

Oneofthechallenges,Sandssaid,wasthatcompaniescouldn’tenvisionhowsomeofMicrosoft’smostadvancedtechnologiescouldapplytotheirbusinessneedsinfiveor10years.Therewasadisconnectbetweentheresearchgroups,whichweredevelop-ingadvancedMicrosofttechnologies,andthesalesforce,whichwasworkingwithcustomersandtryingtoexpressthelong-termpotentialofMicrosoft

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SinceanearlypilotjustlaunchedinSeptember,Sandscouldn’tgetintospecificsaboutthedesignoftheinter-activematerials,astheseareboundtoevolvewithstudentandteacherfeedbackoverthenextyear.But,togetasenseoftheirgenerallookandfeel,SandsreferencedanonlineTEDtalkfeaturingaBigHistorylessongivenbyChristian.Sandsandhisteamcreatedthedazzlinggraphics,timeline-basedmetaphorsanddeepinteractiveelementstoilluminateChristian’spresentation.

Ultimately,thegoaloftheBigHistoryProjectistomakethecourseavailabletoeveryonefreeofcharge,lifelonglearnersaswellasstudents.Somedaythesolutionsbeingdevelopedforthiscoursemightexpandbeyondthesubjectsofhistoryandscience,toalldisciplines,includingartanddesign.AsSandsembarksuponthisnewchallenge,itwillbefascinatingtowatchhowcaptivating,informativeandaes-theticallyrichinteractiveexperiencesredefineonlinelearning.u

sands and his team at Intentional futures are devel-oping the software and user experience design for the big History Project, which launched last month.

Art Center and the Future of Interaction Designart Center will launch a new undergraduate program in Interaction Design in fall 2012. Cutting across many industries and disciplines, the field of interaction design is experiencing a period of tremendous growth and expanding career oppor-tunities. art Center’s program will provide an essential bridge between the physical and digital worlds and will enable students to craft meaningful dialogues through engaging screen and tangible interactions. whether designing a mobile app or a gestural interface for an exhibition, a new consumer electronics product or a rich informational website, students will learn to think deeply about the user’s experience and to push new boundaries through technological innovation —while never losing sight of the emotional and aesthetic role of high-quality design.

The new b.s. program will take advantage of art Center’s location in southern Cali-fornia, a hub for media communication, entertainment, advertising, branding, transportation, consumer products and environmental design. It also draws upon art Center’s Graduate Media Design Program, a leader in the field of interaction design and known for its NETlab Toolkit, a powerful resource that enables designers to quickly create physical interactions and combine them with media.

For more information on the Interaction Design program, please visit artcenter.edu/ixd.

In2010,eagertoreinvigoratehisentre-preneurialside,Sandsandacoupleofpartnersbegandevelopingtheframe-workforanewvisionandstrategyfirmthatcouldbebothaspirationalandgrounded.HepackedhisbagsandleftMicrosofttostartIntentionalFutures.

Earlyon,theywerecontactedbybgC3(theprivateofficeofBillGates)todiscusscontributingtoGates’newpassion:theBigHistoryProject.Subsequently,thisbecamethefirstendeavorofSands’newlymintedfirm.“Itwasthechancetonotjustenvisionapossibility,buttoactuallygoandbuildit,”saidSands.

Sandshadalwaysjumpedatthechancetomarrycurrentandfutureproblemswithtechnologyandgreatdesign,andtheBigHistoryProject—withitsgoalstofosterbigpicturethinking,promotecross-disciplinarylearning,andrevolutionizeonlineedu-cation—hookedSandsfromthestart.Whiletherewerenumerousinstanceswheretechnologywasalreadylever-agedintheclassroom,Sandsbelievedonlinelearningcouldbemuchmoreinspirational,excitingandintunewiththecurrentgeneration.

Thesyllabusfortheprojecteschewstextbooksinthetraditionalsense(althoughexcerptsfrompublicationsarestillused)infavorofinteractiveandimmersiveonlinelearningmaterials,whicharebeingdesignedbySandsandhisteamincloseconsultationwithprofessorslikeCo-FounderDavidChristianandBobBain.Andyetthecourseisn’tlimitedtovirtuallearning:theprojectoffersnumerousin-classactivitiesandgrouplearningexercises.“Thegoalistoempowertheteachersandengagethestudents,”saidSands.

“[ Big History ] was the chanceto not just envision a

possibility, but to actually go and build it.”

expertswhocouldworkonprototyp-ing,butwerealsogoodatsolvinghardwareproblems.Thedesignerscouldtraversefrominteractiondesigntoarchitecturetomotiongraphicstootherspaces.AndtheMBAscoulddomarketandtrendanalysisandcustomerinvestigations.

Overtheyears,Sandsandhisteamdevelopedlong-termscenariosforavarietyofindustries.In2004,theybegancreating“visionvideos”forcertainindustries—includingretailshopping,retailbanking,automotivemanufacturingandhealthcare—whichbecameapopulartoolinshowinghowfutureMicrosofttechnologiesmightbenefitthesesectors.“Filmissuchanamazingvehicleforstorytellingandoffersawaytoconnectonanemotionallevel,”explainedSands.WiththereleaseoftheMicrosoft 2019videoin2009,Sandsexploredthefutureuseoftech-nologyforinformationworkers,andintroducedadesignlanguagethathadwide-reachingimpactonthecompany’soveralldirection.

The2019videowastheresultofanexpandedroleinthecompanyandaleadershippositionwithOfficeLabs,whereSandsdrovethelong-termvisionandstrategyfortheMicrosoftBusinessDivision.Alongwithvideos,histeam’stoolkit-to-inspirecontinuedtoexpandwithtechnologyprototyping,immersivephysicalinstallationsandapatentportfolio.

Bythistime,theinitialresistanceSands’teamexperienceddisappeared.TheEnvisioningGroupwasaskedtobecomemoredeeplyinvolvedwithdesignandproductplanningexercisesacrosstheentirecompany.

Inside the Microsoft Envi-sioning labs. Images courtesy Microsoft Office labs.

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Environmental Design at Art Center

AskEnvironmentalDesignstudentsatArtCentertodescribetheirareaofexpertise,andyou’lloftengetalistofthingsthatthey’renot.They’renotarchitects,thoughthetwodisciplinesarerelatedendeavors.They’renotinteriordesigners,thoughtheycandesigninteriors.Andthey’renotecologicaldesigners,thoughthesedayssustainabilityisalwaysamajorconsideration.

Sowhatexactlyisenvironmentaldesign?EnvironmentalDesignChairDavidMocarski,principalofArkkitFormsDesignandanArtCenterfacultymemberwhorecentlycelebratedhis100thtermteachingattheCollege,definesenvironmentaldesignasadisciplinethatencompassesthetotalspatialexperience. “Fromthefirstmomentofencountertothelastmomentofinteraction,itiseverythingthat touchesyouonavisual,tactileorsensorylevel,” saidMocarski,whoexplainsthatdesigningfurniture,fixturesandinnovatingwithmaterialsareallactivitiesthatstemnaturallyfromdesigningatotalexperience.“Welookatwhat’sgoingoninside.Welookatthesocial,cultural,emotional,psychologicalandphysicalneeds.Andthenwebuildthatprojectfromtheinsideout.”

Thinkenvironmentaldesignerscoveralotofground?You’reright.EnvironmentalDesignstudentsatArtCenterworkonprojectsthatrangefromexhibitions,residences,restaurants,retailspaces,hotels,furniture,lighting,graphicsand,increasingly,brandstrategy.Andthatlistissuretogrowasthedepartmentexpandsinthefallof2012withanewgraduateprogramthatwillgivestudentsthetimeandresourcestopursuepersonalareasofinterest.

Onthefollowingpages,wegiveyouasneakpeekatthedepartment’sfutureandintroduceyoutoEnvironmentalDesignfaculty,alumniandstudentswhohavebroughttheirdesignskillstoprojectsrangingfromabarstooltoapublicparkforteens,fromapop-upretailspaceinBerlintolaundrysolutionsforimpoverishedneighborhoodsinChile.

By Mike WinDer

01This Circuit lamp by Product Design student albert lee was shown at salone Internazi-onale del Mobile 2011 in Milan.

02 as a student, Environmental Design instructor Chris adamick ENVl 07 designed this audio stack-ing chair for bernhardt Design.

03Environmental Design alumni Jamie Haewon Kim ENVl 10 and bohee Park’s ENVl 09 Meme, a mass transit installa-tion and community space.

04Environmental Design alumna shelly shelly’s ENVl 07 warehouse Collective, an “urban hotel” live-work space.

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e M O T i O nMocarskilikestocomparethestrategybehinddesigninganemotionalandmeaningfulexperiencewithinaspace—beitaresidence,exhibition,restaurant,hotelorpublicspace—tothemannerinwhichfilmmakersstructureamovie.“Amovie’sopeningsceneintroducesyoutothesubjectmatterand,asthestoryevolves,thefilmengagesyouframebyframe,”saidMocarski,whoaddedthatit’sactuallythenuancesandencountersalongthewaythatprovidetherealimpact.“Whenyouhittheendoftheexperience,whatareyouthinking?Whatistheemotionaltake-away?”

EnvironmentalDesigninstructorEmilMertzelthinksonewayfordesignerstoachievethatemotionaltake-awayistoletdeeperculturalmeaningsinformtheirdesigns,ratherthanengageinformforform’ssake.Mertzel,whocofoundedLookinglassArchitecture&Design,saysaspaceshouldalsotellastory,butnotsomethingsostraightforwardthatthedesigner’sintentionsareconveyedabsolutely.“Ideally,thedesignofaspaceshouldencourageotherstoseethattherearemultiplepossibleinterpretationsofaspace,”saidMertzel,wholikenstheexperiencetolyingdownonalawnandseeingshapesinthecloudsabove.

Forhisfirm’s2008proposalfortheCheongnaCityTowerinIncheon,SouthKorea,Lookinglasstookinspirationfrom“SongsofFlyingDragons,”anepicpoemofheroictalesandKoreanmythologycommissionedbyKingSejong(1418–50)duringtheearlyyearsoftheChosonDynasty(1392–1910),anerasignificantforboththecountry’ssci-entificandtechnologicalinnovationanditsindependencefromforeignrule.Theirdesignincorporatedimageryfromthepoem—thedragonstooktheformofsixintertwining,skyward-reachingstrandsandthetowerbaseevokedtheformofKorea’sinnovative“turtleships”—tosubtlypay

homagetothepastaswellasassertSouthKorea’semerginginfluenceintheworld.“Lookingatthetower,youwouldneverknowthatallthatcontextisinthere,”saidMertzel. “Butit’sanexampleofhowresearchondeepercultural influencescanfocusadesign.” 

ForEnvironmentalDesignstudentIniArchibong,whowonthefirstBernhardtDesign+Stylus’“StudentDesigneroftheYearAward”in2010,thecontexthe’smostinterestedinexploringcomesfromwithin.Archibong’sphilosophytowarddesigninvolvesputtingasmuchofhimselfaspos-sibleintotheobjectsandspaceshecreates,withthehopethatotherswillseesimilaritiesbetweenhisexperiencesandtheirown.“IwanttotakewhoIam,andallthethingsthatmakemedifferent,andtransformthemintosomethingthatshowsthatI’mactuallynodifferentfromanyoneelse,”saidArchibong.

Archibongpointstohisfourth-termproject,aconceptforaninstallationcalledDestiny—whichdrawsinspirationfrombothThe Hero with a Thousand Faces,writerJosephCampbell’sexaminationofthearchetypalhero,andthe“FortressofSolitude,”Superman’ssecretcrystallineArcticheadquarters—asanexampleofhowhewantstousehiscreationstoshareandengagewithothers.IntheSuperman films,throughtheuseof“memorycrystals”insidehisheadquarters,thetitularheroisabletoaccessholographicmemoriesfromhishomeplanet,mostmemorably,recordedmessagesfromhisdeceasedfather.ArchibongconceivedDestinyasacollapsible,roving21st-century“FortressofSolitude.”ThestructureitselfresemblesSuperman’shideaway,withlargeglassslabsjuttingoutoftheground.Projectedontotheseslabsarevideosdepictingarchetypalheroesthroughouttheages,fromKingArthurtoLukeSkywalker,interspersedwithvideosofreal-lifeindividualswhohavevisitedDestinyandhaverecordedtheirownstoriesofheroism,whateverthatmeanstothem.Thetake-awaymessage?“Heroesaren’toneinamillion,heroesareeverywhere,”saidArchibong.“Heroesarewithineveryperson.Youjusthavetodecidetobeguidedbywhatyoubelievetoberight.”

05 an advanced spatial rendering of Z bar by then Environmental Design student bohee Park ENVl 09.

06 faculty member Emil Mertzel’s lookinglass architecture & Design proposal for the Cheongna City Tower in Incheon, south Korea, drew inspiration from a Korean epic poem.

07 Environmental Design student Ini archibong’s Destiny installa-tion concept was inspired by superman’s “fortress of solitude.”

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Thinkaboutthelastresidentialspaceyoumovedinto.Howdifferentdidthatspacelookbeforeyoumovedin?Howdidyourselectionoffurniturechangeitslook,feelandfunctionality?Andhowdramaticallycouldyourchoiceofnaturallight,candlesorLEDbulbstolightthespacealtertheexperience?Thinkinthesetermsandyou’llgetasenseofwhatenvironmentaldesignersbringtothetablewhenitcomestodesigningfurnitureandlighting.

Buttheabilitytocomplementorradicallyredefineaspaceisonlythebeginning.“Welikeourstudentstothinknarratively,sothattheobjectsandspacetheydesignengageandtellastory,”saidEnvironmentalDesigninstructorCoryGrosserENVLPROD01,whoserecentredesignoftheiconicArtModerneAirlineChairforTheWaltDisneyCompanyexemplifiesthisphilosophy.“Furnitureisagoodwayforstudentstounderstandhowtheirprojectsshouldtellstories,evenifit’sasingleobject.”

Furnitureisalsoagoodwayforstudentstoconsiderthemass-marketappealoftheirdesigns.Since2005,BernhardtDesignhassponsoredfivestudiosthroughthedepartmenttaughtbyGrosserandMocarski,inwhichstudentsdesignchairs,stoolsandtableswiththegoalofhavingtheirpieces

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“SevenyearsagoIwasgiventheextremeprivilegeofrebuildingthisdepartmentfromscratch,”saidMocarski,who,withthehelpoffacultyandothermembersofthedesigncommunity,tookadvantageoftheoccasiontotakeacloselookatemergingenvironmentaldesigntrends.“Someofthebiggestopportunitieswereinthehospitality,newretailandexhibitiondesigncategories.Atthattime,therewerenoexistingundergraduateprogramsfocusingonthoseareas.”

That,ofcourse,wasthen.Today,askEnvironmentalDesignstudentstonametheirfavoritecourse,andmanyofthemwillpointtoEnvironmental Design 4,afourth-termcoursetaughtbyinstructorandalumnusRobBallENVL83andcommonlyreferredtoas“ExhibitionDesign.”Inthecourse,studentsdesignanexhibitionbasedonatopicstemmingcompletelyfromtheirownpersonalinterests.

LookingbackonherArtCentercareer,recentgraduateJessicaPellENVL11pointstoherKimono: Culture and Constructionexhibitasherfavoriteproject.“Itwasmyfirstopportunitytobemoreboldwithmyarchitecturallanguageandmoves,”saidPell,whoseexhibitionexploredhistoricalvariationsontheiconicJapanesegarmentbroughtonbyculturalfactorsrangingfromwartoWesterninfluencestowomen’sliberation.

Pell’sdesign,whichevokestheflowingcurveofakimonosleeve,wasconceptualizedastakingplacewithinLosAngeles’JapaneseAmericanNationalMuseumandwonhertheAngeloDonghiaFoundationScholarship.ForPell,thisprojectwasthemostdramaticexampleofhowherlovefortextilesoftenemergesinherwork,whereherspace’sformlanguagetakesonafabric-likequality. “Often,studentsgointoacomputerlabandmodelallday long.Mydesigncamefromfoldingfabricoverpaperand doingsketchmodelsforeightweeks.” 

EnvironmentalDesignstudentBrandonKimfondlyrecallshisEnvironmental Design 2classco-taughtbyDanielGottliebandPennyHerscovitch.Duringthefirstweekofclass,studentswereinstructedtoreturnthefollowingweekwiththreeuniquefoodcreations.Theclasswouldthenvoteontheirfavorites,andthatmenuitemwouldinformthedesign.

“Besidesdrawinganddesigning,cookingisoneoftheactivitiesIenjoymost,”saidKim,whoprideshimselfonthemanyrecipeshe’screatedovertheyears,includinghis“ricedog,”aremixofthetried-and-truecorndogthatswapsthehotdogforsausageandreplacesthecornmealbatterwithfriedrice.Theclasslikedhis“ricedog”andpointedoutthat

selectedforBernhardt’sproductline.AtlastMay’sInterna-tionalContemporaryFurnitureFair(ICFF)inNewYork,25currentandformerArtCenterstudentswerehonoredinaretrospectivethatcelebratedtheproductionfurniturecompletedinthesestudios.

AmongthestudentsincludedintheretrospectivewasrecentgraduateErikaKövesdiENVL11,whosetaperedVanishbarstoolgoesintoproductionthisfallandfeaturesagentlycurvedseatwithavanishingbacklip.“Asstudents,weareusedtocritiquesandpeoplejudgingourwork,butitwasgreattoworkwithanactualcompany,”saidKövesdi,whosaidherstudio’svisittoBernhardt’sNorthCarolinafactory,wherethereisstillagreatdealoffocusonhand-makingobjects,openedhereyestohowfurnitureisactuallycon-structed.“Wefollowedonechair,asitpassedfromonepersonwhoinspectedthelegstothenextpersonwhosandedtheback.”

Howproductsaremadecanbeacompellingstoryuntoitself.ButforalumnusSamiHayekENVL96,it’smorethanastory—it’samission.Atthecoreofthedesigner’snewEspacioSamiHayeklineofproductsliesthreegoals:payskilledMexicanartisansameaningfulwage;teachnewskillstothesesameindividualssothattheycaninnovateandformtheirowncompanies;andsaveabitofaculturethatisrapidlycrumbling.“Iaskedoneofthesecraftsmen,‘Whatisyourultimategoal?’Hetoldme,‘ItwillbefantasticifmyfamilyandIcaneatthreetimesaday,’”saidHayek.“Whenahumanbeingwithgreatskillssaysthat’stheirgoldendream,that’sprettysad.”

Thecollaborationhaswieldedsomestrikingresults,includingarearugsmadeentirelywithpalmleaves,adiningtablemadeofhumo,anativeOaxacanclay,andHayek’spersonalfavorite:acredenzafeaturing300,000glassbeads—hand-laidonebyone—juxtaposedagainstamodernredlacquer.“Thatpieceismyfavoritebecauseitisthemergeroftwocultures,”saidHayek.

thefoodcouldbecategorizedasafusionitem,asitmixesEasternandWesterntastes.Kimranwiththatideaandincorporatedtheconceptintothedesignofhisrestaurant,whichhenamedGlaze.“Thelanguageoftherestauranttooktwodifferentshapesandcombinedthemtocreateanewform,”hesaid.

Thispastsummer,Kimgothisfeetwetintheworldofshort-termsalesspacesknownaspop-upretail,aparticu-larlyadventurousnewarenaforenvironmentaldesigners.Hewasoneof15ArtCenterstudents—sevenofwhomwerefellowEnvironmentalDesignmajors—whotraveledtoBerlinaspartofthefourthiterationofTestLab,anexperimentalstudy-abroadeducationalmodelthatMocarskiandNikHafermaas,ArtCenter’sdeanofspecialprograms,createdasawayforstudentstoputtheirdesignskillstothetestinaforeignenvironment.

WorkinginBerlin,theworld’shotbedofpop-upretail,thestudentscollaboratedwithacorporatesponsortodesignpop-upretailstorescenteredaroundhealthandwellnessproducts.Ifanyofthedesignsarechosen,theycouldwindupbeingbuiltatBikiniBerlin,anambitiousretailprojectthataimstoturnamassiveseriesofofficebuildings(knownasBikiniHouse)builtin1950sWestBerlinintowhatMocarskicalls“thefirstpop-upretaildepartmentstore.”

WhydidKimsignupforTestLab?AfewmonthspriorhehadbeeninMilan,exhibitinghisVersotableattheSaloneInternazionaledelMobilewithhisfellowEnvironmentalDesignmajors,whenheexperiencedanepiphany.“IrealizedtheworldwasmuchbroaderthanIthought,”saidKim.“IfeltlikeIneededtogooutandbecomeinspiredbydifferentculturesandsurroundings.Eventually,I’mgoingtobedesigningforpeopleallaroundtheworld,andIneedtohaveabettersenseofwhoI’mdesigningfor.”

08 The Humo side Table by sami Hayek ENVl 96 juxtaposes tra-ditional Oaxacan craftsmanship with more contemporary aesthetics.

09 faculty member Cory Grosser ENVl PROD 01 designed this art Moderne airline Chair for The walt Disney Company.

10 Erika Kövesdi’s ENVl 11 Vanish bar stool goes into production this fall at bernhardt Design.

11 Jessica Pell’s ENVl 11 Kimono exhibition design reflects her love for fabric and textiles.

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C H A n g eEnvironmentaldesigners,withtheirabilitytolookatexperi-encesholistically,areincreasinglybeingcalledontoaffectsocialgood.Why?Becausewhetherdesigningrestaurants,boutiquehotelsorairlines,theykeeptheexperienceoftheconsumerattheforefront.Simplychange“consumer”to“enduser,”andenvironmentaldesignerscanrealigntheirskillsandprocessestosuitnonprofitandhumanitarianefforts.Well,perhapsit’snotquitethatsimple.“Withhumanitarianprojects,studentsneedtomeetthepeople,doresearchandunderstandthewholesituation,”saidMocarski,whoaddedthatsuchcomplexprojectsrequirestudentstoelevatetheirlevelofengagement,asaproblemisn’tgoingtobesolvedwithaestheticsalone.“Historically,therearealotofprettyideasthatdon’tfunctionandweren’twellthoughtoutinthefirstplace.” EnvironmentalDesigninstructorChrisAdamickENVL07thinksanotherreasonenvironmentaldesignersarebeingcalledontocreateforsocialimpactisthatspaceisbecom-ingincreasinglyscarce.“Ifyoulookattheworld,thelargertrendisthatwe’rebecomingurbanized,”saidAdamick.“Morethanhalfofusliveinurbancenters.Asspacedecreases,thequalityofthatspaceneedstobecomebetter.”AnassociatedesigneratthemultidisciplinaryRiosClementiHaleStudiosinLosAngeles,AdamickisworkingontheCivicParkprojectindowntownLosAngeles,whichaimstoreinvigorate12acresoflandbetweentheMusicCenterandCityHallbymakingthemmorepedestrianfriendlyandlushwithgreenery.TheLos Angeles TimesspecificallycitedtheurbanfurnitureAdamickdesignedfortheparkasastrikingelementbothfortheirhotshadeofmagentaandthefactthattheycanbemovedfreelyaroundthesite. ThedepartmentoftenpartnerswithDesignmatters,theCollege’ssocialimpactinitiativethatgivesstudentsopportunitiestodevelopreal-worldsolutionsforlocalandglobalcommunities.Thispastsummer,AdamickandfellowEnvironmentalDesigninstructorJamesMeraztaughtTeen Art Park: A Place for Self Expression,atwo-termDesign-matterscourseinwhichEnvironmentalDesignstudents,splitintothreeteams,conceptualizedandbuiltfull-scale20-by-20-footprototypesofaparkforunderservedteenagersinEastPasadena.Intheclass,studentsreceivedfirst-handexperiencedealingwithmultipleconstituents—ArtCenter’scommunitypartnersforthisprojectincludedLearningWorks!CharterSchool,FlintridgeCenterandtheArmoryCenterfortheArts,amongothers—siteissuesandtherealitiesoffundingandbuildingaprojectforagrouptrulyinneed.Thecompletedparkswerepresentedtolocalteens—manywhohadprovidedinputtothestudents—duringthelastweekoftheterm.Featuressuchasmovablespray-paintfriendlycanvases,loungefurnitureconstructedoutoffoam

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F u T u R eAdistinguishingtraitofArtCenterisitsnimblecurriculumthatenablesfacultytoadjustcoursesandevenadepartment’sdirectionasartanddesigndisciplinesevolve.ForMocarski,thisflexibilityiscrucial,especiallyinafieldthatchangesasrapidlyasenvironmentaldesign.“WhenItalkwitheducatorsfromaroundtheworld,oneoftheirbiggestfrustrationsisthatitcantakethemyearstomakeadjustmentstotheircurriculum,”hesaid.“Here,thosesortsofchangesaremadesometimesthroughouttheterm.” Sincedesignerstodaydon’tworkthesamewaytheydid10yearsago,whyshouldeducatorsteachtheirstudentswhatwasappropriateadecadeago?Mocarskibelievesheandhisfacultymustcontinuallyevaluatewhatsortofeducationalprofilestheirstudentsneedtohavewhentheygraduate.“Weratcheteduptheintensitylevelofourundergraduateprogramaboutasfarasyoucanpossiblypushit,”saidMocarski,whopointsouttheworkonviewintheCollege’sstudentgalleryistheworkoffirst-term—notfirst-year—students.“Afterseeingthatwork,peopleconstantlyaskme,‘Ifthisisundergraduatework,whatdoyoudoinyourgraduateprogram?’” WhichbringsustothenewEnvironmentalDesigngraduateprogramcurrentlyunderdevelopment.Scheduledtolaunchinthefallof2012,themaingoalsoftheprogramwillbetoallowstudentsinterestedinenvironmentaldesigntodelveintopersonalareasofinterest,andtohelpensureArtCenterstaysattheforefrontofinnovationandleadershipinthefield. Whatwillthisprogramlooklike?Itwillbecomposedoftwodedicatedtracks:onefocusedonspatialexperience;andanotherfocusedonfurnitureandfixtures.Prospectivestudentswillinterviewwithanadvisorynetwork,anddependingontheirexperienceandinterests,mayfocusononetrackornavigatebetweenthetwotracks.Thedepartmentwillalsorestructureitsundergraduateprogramtomatchthisnewtwo-tracksystem,meaningthatinthefallof2012,allincomingstudentswillchoosetheirareaofinterest.Andifplanstomovethedepartmenttoanewlargerspacebecomeareality,allstudentswillhaveaccesstotechnologythatwillenablethemtoexperiment,innovateandbuildfull-sizeprototypesoftheirdesigns. “We’vebuiltastrongfoundationwithourundergraduateprogram,andwefeelverysatisfiedwiththeeducationaloutcomesourstudentshave,”saidMocarski.“Atthesametime,theworldiscontinuallychanging,sotakingthingstothenextlevelwithagraduateprogramisanaturalandlogicalevolution.” For details on the new graduate program in Environmental Design, visit: artcenter.edu/gradenvl.u

poolnoodles,andaminiaturehalf-pipeforskateboardingwerewarmlyreceived.“Someoftheseteensdon’thavetheopportunitytoreturntopublichighschool,”saidAdamick.“Alotofthemareinterestedinart,musicanddance,buttheydon’thaveaplacetoeitherpracticeortobeshownthattheircreativityisanopportunityintheirlives.” InFall2009,thedepartmenthostedatransdisciplinary,Designmatters-sponsoredstudiocalledSafe Agua Chile: Using Design to Improve Life,inwhichstudentsfromtheEnvironmentalDesign,ProductDesign,GraphicDesign,TransportationDesignandFilmDepartmentstraveledtotheslums,or“compamentos,”ofChiletodeveloptools,systemsandmethodsforstoring,usingandconservingwater.ThestudentswereledbyEnvironmentalDesigninstructorsDanielGottliebandPennyHerscovitch,ProductDesigninstructorLilianaBeceraandUnTechoparamiPaís,anon-profitthatassists“compamentos”residentsthroughthebuildingoftransitionalhousingandsustainablecommunities.“Wespenttwoweeksdoingfieldresearch,talkingwiththefamiliesweweredesigningfor,”saidrecentEnvironmentalDesignalumnaStephanieStalkerENVL11,whodesignedMiLa,acommunitylaundryfacilitywhichwasactuallyputintoproductionandhasprovensuccessful—particularlyinthewakeofChile’sdevastating2010earthquake.“Wedevelopedstrongbondswiththefamilies,andwefeltobli-gatedtocomeupwithsomethinggreatandactionable.”

12 The fifth art Center bernhardt studio was com-posed of recent graduates Jessica Pell ENVl 11 and Erika Kövesdi ENVl 11; final term Product Design majors David Kim, steve Oh and Jennifer Kuca; and Grad ID student Pengtao Yu.

13 Upper-term Environmental Design student alexandra Yee designed this PUMa branded hotel.

14 soo Kwon PROD 09 designed her licht desk and floor lamps in ENV Topic studio: lighting/“bounce.”

15 Part of Design-matter’s safe agua Chile project, stephanie stalker’s ENVl 11 Mila community laundry facility reduced the amount of hours that women in Chile’s impoverished neighborhoods spend washing clothes.

16 faculty member Chris adamick ENVl 07 designed movable urban furniture for the Civic Park project in downtown los angeles.

View videos of spatial environ-ments created by art Center Environmental Design students.

• 29 aRTCENTER.EDU/DOT• 28 fall 2011

inmemoriamDonald R. Kubly 1917–2011Alumnus, faculty and Art Center’s second president

“All of life is change and adapting to change. In educating young people that is even more evident. We must be willing to be flexible, to continue to improve on the past, to be ready for the future, to be open to the new and untried.”

Thissentiment,expressedmorethan40yearsagobyArtCenter’ssecondpresident,reflectstheleadershipstyleofDonKubly.BetweentheremarkableachievementsrealizedduringhistenureasArtCenterPresident(1969–85),andhiscontributionsasanalumnus,facultymember,mentorandbelovedfriend,KublyhasleftanindeliblemarkontheArtCentercommunity.

Kubly’sinvolvementwithArtCenterspanned47years—firstasanadvertisingstudentbeginningin1939,whenhewasoneofsixstudentsfromacrossthecountrytoreceiveafour-yearartscholarship.In1941,KublyinterruptedhisstudiestoenlistintheArmyAirCorps,whereheservedasanA-36fighterpilot,completed82missionsandwaspro-motedtotherankofMajor.Afterthewar,KublyreturnedtoArtCenter,wherehemethisfuturewife,Sally,whowasalsostudyingadvertising.Followinggraduationin1949,hesoonlaunchedasuccessfulcareerasanaward-winningartdirectorwithN.W.AyerandSoninPhiladelphia.In1963,hewasaskedtoreturntoArtCentertoteachadvertisingandtopreparetosucceedfounderE.A.“Tink”Adamsaspresident.

EarlyoninKubly’stenureaspresident,heoversawseveralwatershedmoments:attainingnonprofitstatusfortheschool,therebyopeningthedoortophilanthropicsupport;andreceivingaccreditation,enablingtheawardingofdegrees.Toreflectthesehistoricchanges,Kublychanged

ArtCenter’snamefromtheArtCenterSchooltoArtCenterCollegeofDesign.KublyalsoestablishedmajorsinFineArt,EnvironmentalDesignandFilm,createdanewgraduateprogramandguidedArtCenter’senrollmentgrowthfromapproximately700studentstoover1,200full-timestudents.

Toaccommodatethisgrowth,Kublyrecognizedtheneedforexpandededucationalfacilities.Forthenextseveralyears,hededicatedhimselftofindingArtCenteranewhome.In1972heoversawthepurchaseofthe167-acrePasadenapropertythatwouldbecomeHillsideCampus,andselectedCraigEllwoodAssociatestodesignit.Atthe1976dedication,wherethenow-iconicsteel-and-glassstructurewaspubliclyunveiled,Kublyremarked,“Itisnotthearchitectureofacollegethatmakesitsuccessful,butwhatisinit.”

Highlightsfromtherestofhistenureincludethedevelop-mentofaEuropeancampusinVevey,Switzerland,andexpandingcorporatesponsorships.FollowingKubly’sretirementin1985,hecontinuedtoofferhisinsightsonavarietyofCollegeprojects,andwithhiswife,Sally,estab-lishedtheKublyFamilyScholarshiptobenefitstudents.

TheArtCentercommunity,togetherwithKubly’sfamilyandfriends,gatheredforapubliccelebrationofKubly’slifeonJuly30attheCollege,atestamenttothelargeimprinthemadeonpeople’slives.Aninspirationalleaderwhoinfluencedmany,Kublylivedlifetothefullestandwillbegreatlymissed.—Vs

“We must be . . . ready for the future, to be open to the new and untried.”

—Don Kubly July 1969

(l > R) Donald Kubly, circa 1980.

Kubly and an art Center student pose behind a model of the pro-posed art Center campus in Pasa-dena, circa 1973.

Kubly (right) speaking with Charles and Ray Eames during the groundbreaking event for Hillside Campus, November 15, 1974.

Don and sally Kubly outside their Craig Ellwood-designed home in Pasadena, 2003. Photo by steven a. Heller PHOT 85 Mfa IllU 98.

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• 31 aRTCENTER.EDU/DOT

AugmentedReality101

Thispastsummer,ArtCenterwelcomedbackitsfirstVisionaryinResidence,sciencefictionauthorandcyberpunkpioneerBruceSterling(Islands in the Net, Schismatrix, The Caryatids)toco-teachanaugmentedreality(AR)designcoursecalledAugmenting Reality.

WhatexactlyisAR?Sterlingdefineditfortheclassroomasasoftwareprogramthatmeetsthreecriteria:1)Itmixesthevirtualwiththereal;2)It’sinteractiveinreal-time;and3)Itregistersinthreedimensions.

Tohelpillustratetheconcept,SterlinglaunchedapairofiPhoneapps—onewhichcreatestheillusionofagreenmonsterwalkingacrossaclassroomdesk;theotherwhichletsuserscustomizeandwalkaroundavirtualsneaker—asexamplesofthetypesofapplicationsthatcompaniesarecurrentlydeveloping.

see/k by Graphic Design students Josh finklea and Nico sala, and recent grad Jason Yeh GRPH 11, takes users on a digital and real-world journey to discover a pop-up retail store.

Inthecourse—hostedbytheGraphicDesignDepartmentandsponsoredbyAmsterdam-basedLayar,acompanywhoseARplatformclaimsmorethanonemillionactiveusers—studentsacrossarangeofdisciplinesworkedinteamstodesignprogramsthatrangedfromvirtualpetstoanappthathelpsindividualswithfoodallergiesvirtuallyscanaproduct’singredients.

Thinkthisisallstartingtosoundalittlesci-fi?You’renotalone. “Thethingthatinterestsmeabout(AR)isit’ssome-thingexceedinglysciencefictionalthatreallyisbecomingagenuineindustry,”saidSterling .

Anindustrywhichdesignerscanhelpshapewiththeirunderstandingofthepsychologybehindbranding.That’ssomethingAugmenting Reality co-instructorGuillaumeWolfknowsathingortwoabout.“WhatmakessomebodywanttopaymoreforapairofNikeshoesthanagenericbrand?”asked

Wolf,whoexploressimilarquestionsindepthinhisCommunication Design 4psychographicsclass.“Bybeinginthisclass,Iremindedthestudentsthattheirgoalisproductcreation.”

Thereminderseemstohaveworked.TakeSee/kbyGraphicDesignmajorsJoshFinkleaandNicoSala,bothintheirfinalterms,andrecentgraduateJasonYehGRPH11,aprojectthatturnsalimitededitionperfumepop-upretailstoreintoajourneyofdiscoverythatspansboththedigitalandrealworlds.

 “Whywouldsomebodywanttoseetheworldthroughacellphonescreen?”askedSala,whosaidhisteamwasn’t interestedincreatingjustanothernovelty. “Ultimately,theexperienceisabouttheessenceofsearching.Whichinturnisthecoreofaugmentedreality,thedesireforsomethingnewbeneaththeordinary.”—Mw

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large or small, your gift to Art Center’s Annual Fund provides critical support toward

the education of today’s most promising artists and designers.

Learn more: artcenter.edu/giving

watch final project videos by students in the augmenting Reality class.

• 32 fall 2011 • 33 aRTCENTER.EDU/DOTA

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(far left) seth astle’s Cadence prosthetic and pedal won a gold IDEa.

Vinh Pho won a bronze award for his funKtion portable skate helmet.

The solista digital interface musical instrument by German aguirre captured a silver IDEa.

CarlBass,JeffreyGlassmanandPeterMullinJoinBoard

ArtCenter’sBoardofTrusteesrecentlywelcomedthreenewmemberstoitsranks:CarlBass,JeffreyGlassmanandPeterMullin.Inmakingtheannounce-ment,ArtCenterPresidentLorneBuchmansaid, “WeneedagreatBoardtorealizeourambitiousstrategicplan,andtheappointmentofthesethreeindividualstakesusalongwaytowardmakingthathappen.” 

BassisthepresidentandCEOofAutodesk,Inc.,aleaderin3Ddesign,engineeringandentertainmentsoft-ware.Previously,asAutodesk’schiefoperatingofficer,hewasresponsibleforworldwidesales,marketingandproductdevelopment.HeisaboardmemberoftheRockyMountainInstituteandisalsoamemberoftheExecutiveAdvisoryBoardsofCornellComputingandInformationScienceandUCBerkeleySchoolofInformation.

Glassman,whohaspracticedlawforover30yearsspecializinginestateplanning,probateandtrustadministra-tion,istheCEOofCovingtonCapitalManagement.HeservesontheboardsofAmericanJewishUniversity(chair-man),theWallisFoundation,JewishHomefortheAging,theLosAngelesPoliceFoundation,LosAngelesSportsandEntertainmentCommissionandtheInternationalFoundationforElectoralSystems.GlassmanalsoservesontheBoardofRegentsofLoyolaMarymountUniversityandisamember(formerlyco-chair)oftheAdvisoryBoardoftheUCLASchoolofPublicAffairs.

Mullin,afinancialservicesentre-preneur,hasconsultedonexecutivecompensationandbenefitissuesformorethan30yearsacrossavarietyofindustries.Arenownedcarcollector,heisthefounderandchairmanoftheMullinAutomotiveMuseuminOxnard,Calif.,andhis1934VoisinC-25Aero-dynerecentlywonBestofShowatthe2011PebbleBeachConcoursd’Elegance.Hecurrentlyservesonnumerousboards,includingAveryDennison,GeneAutryHeritageMuseum,GuggenheimFoundationandtheUCLAFoundation.HeischairmanoftheMusicCenterFoundation,aswellaspastchairmanoftheBoardofVisitorsofUCLA,theAndersonGraduateSchoolofManagement.—Vs

StudentsRackUpIDSAAwards

ArtCentertoppedthelistofcollegewinsatthe2011Inter-nationalDesignExcellenceAwards(IDEA),consideredbymanytheOscarsofdesigncompetitions.Acelebrationofdesignexcellenceinproducts,sustainability,interactiondesign,packaging,strategy,researchandconcepts,IDEAispresentedeachyearbytheIndustrialDesignersSocietyofAmerica(IDSA).Sincetheawardsbegan31yearsago,ArtCenterhaswon59IDEAs—morethananyotherschool,andinthetop10ofanyotherinstitution,corporateoreducational. Thisyear’sfivewinningstudents,whocompetedagainstarecordnumberofstudententries,includeproductdesignersSethAstle,whowonagoldawardforCadence,aprostheticandpedalforcyclistswhoarebelow-thekneeamputees;GermanAguirre,whowonasilverforSolista,adigitalinterfacemusicalinstrumentenablinguserstosimultaneouslycreateandsharesongs;andVinhPho,whowonabronzeforhissimpleyetelegantportableskatehelmet,FunKtion.GraduateIDstudentsKooHoShinwonabronzeforNestr,asustainablemodularbeddingsystem;

art Center’s new branded network on behance, a beta version of which is pictured, is free to art Center students, alumni, faculty and staff.

Carl bass

Jeffrey Glassman

Peter Mullin

andPengtaoYuwonabronzeforMoenLoft,anall-in-onebathroomworkstationidealforsmallurbanspaces. Intheprofessionalcategory,thedesignstrategyforDesignmatters’Safe Aguaprojectwonabronzeaward,honoringtheworkofMarianaAmatullo,ElisaRuffino,DavidMocarski,KarenHofmann,LilianaBecerra,PennyHerscovitchandDanGottlieb. ArtCenteralsohadmanyfinalists,includingGermanAguirre,CentaurHighPerformanceQuadRugbyWheel-chair;KCChoandJackieBlack,Safe Agua:ReLavaKitchenWorkstation;JessicaYehandNarbehDereghishian,Safe Agua:DuchaHaloPortableShower;StéphaneAngoulvant,DexterWorkSled;JoelGreenspan,OpleiTransitionalRun-ningShoe;JinKim,FlameingoSustainableFireExtinguisher;JoeyWang,LienSustainableFuneraryRitualforTaiwan;MarkHuang,OrbitalModularSportPerformanceEyewearforPOC;MikeWang,STACKTrafficControlProducts;MatthewLim,SennheiserEco-VinylTurntable;andPengtaoYu,U-HaulEmergencyResponseConversionKitfortheAmericanRedCross.Congratulationstoallforthesewell-deservedhonors!—Vs

ArtCenterLaunchesBrandedNetworkonBehance

Whenitcomestoorganizingandpromotingcreativeworkonline,artistsanddesignersoftenfaceaquandary:howtoensuretheirlatestprojectsreceivemaximumexposureandarestreamlined,up-to-dateandinstantlysynchedacrossdigitalandsocialnetworkingplatforms—withouthavingtoinvesthugeamountsoftimeattheexpenseoftheirproductivity. It’sanissuethatwasseizedasanopportunityfouryearsagobyScottBelsky,whofoundedastart-upnamedBehanceNetworkwiththeambitiousgoaltoorganizethecreativeworld’sworkonasingleplatform.Today,Behancehasgrownintoapremieronlinecreativecommunityboasting10millionvisitorseachmonth.And,beginninglastmonth,ArtCenterjoinedthefunwhenitlaunchedabrandednetworkwithinBehancethatisopentoArtCenterstudents,alumni,facultyandstaff—freeofcharge. Thegoal,accordingtoKristineBowne,directorofArtCenter’sAlumniRelations,istoenabletheArtCentercommunitytoeasilyorganizeandsharetheirwork,managetheircareers,network,searchfortalentandconnecttoaglobalcommunityofcreatives.“WearethrilledtooffertheArtCenter

communityourbrandedArtCenternetworkwithintheBehanceplatform,”shesaid.Inadditiontouploadingandorganizingtheirownprojects,membersoftheArtCentercommunitycansortandsearchthroughmillionsofprojectsbasedonallkindsofcriteria—thetoolsusedtocreatetheprojects,thedesignorartdiscipline,thenamesofcollabo-ratorsandclients,theyearofArtCentergraduation,andmore. BehanceenjoysanexclusiverelationshipwithLinkedIn,allowingBehanceuserstheabilitytolinktheirtext-basedLinkedInprofilewiththevisualworkoftheirBehanceprofile.Inaddition,thesitehostsbrandednetworkswithprofessionaldesignorganizationslikeAIGA,AdWeekandIDmagazine. BownebelievesArtCenter’sbrandednetworkisawin-winfortheCollegecommunityandoffersmanyadvantagesoverinCircle,ArtCenter’scurrentalumnionlinenetwork,whichwillbephasedoutbynextspring.InadditiontoconnectingtheArtCentercommunitywiththelargerartanddesignworlds,itcanhelpfosterpotentialcollaborations,internshipsandjobs.“Plus,”addedBowne,“itwillhelpusinternalfolksdiscoveralltheincredibleworkbeingcreatedbytheArtCentercommunity.”—Vs

Join Art Center

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ScholarshipInitiativeExceedsGoal

ArtCenterrecentlycompletedits“80for80”scholarshipinitiativewithmorethan$3.1millionraisedtosupportstu-dentsintheCollege’sundergraduate,graduateandpublicprograms.The18-month-long“80for80”exceededits$2milliongoalby56percent.

ArtCenterlaunched“80for80”in2010,tocoincidewiththeCollege’s80thanniversary.Thegoal?Tosecuretheequivalentof80$25,000scholar-ships.SaidArtCenterPresidentDr.LorneM.Buchman,“Welaunched‘80for80’indirectresponsetothepressingfinancialneedsofourstudents.It’sanimportantstepaswestrivetomakeArtCenteraccessibleandaffordabletostudentsregardlessoftheirsocio-economicbackground.”

TheCollege’scommitmenttoensureaccessthroughscholarshipsandotherformsoffinancialaidcon-tinuestobeapriority,asoutlinedinArtCenter’s2011–2016strategicplan,Create Change.Tolearnmore,visitartcenter.edu/createchangeorcall626.396.4216.—Vs

FoodLabelsReimagined

InpartnershipwiththeUCBerkeleyGraduateSchoolofJournalismandGoodmagazine,arecentDesignmattersstudiochallengedfourundergraduatestudentstoredesignnutritionfoodlabelstomakethemmoreuser-friendlyandvisuallyappealing.Picturedbelowis“RuralRoad”byGraphicDesignstudentJimBogenrief,whichfeaturesatrans-parentsilhouetteintheshapeoftheanimalandkeynutritionalinformationonthefrontofthepackage.Learnmore:artcenter.edu/designmatters.—Vs

RememberingEdHanak1928–2011

ItiswithgreatsadnessthatwenotethepassingofEdwardPaulHanak—formerArtCenterseniorvicepresident,secretaryoftheCollege’sBoardofTrustees,TrusteeEmeritusandkeyCollegefundraiser.HanakpassedawayonJuly1attheageof83.

AnativeofOhioandgraduateofOhioUniversitywithadegreeinbotany,Hanakfoundedandservedasthepresidentofhiscollegefraternity.HejoinedthearmyafterWorldWarIIandservedinJapan,thenwasdraftedintotheArmyandservedintheKoreanWar.

Afterthemilitary,heattendedcollegeontheG.I.Bill.HewentontoworkwiththeGreaterClevelandGrowthBoard,anarmoftheClevelandChamberofCommerce,beforemovingtoPasadenatojoinCaltech’sdevelopmentgroupin1966.

HanakjoinedArtCenterasvicepresidentofdevelopmentin1969—apivotalstageintheinstitution’shistory.Inthisrole,HanakspearheadedthedrivetoraisefundsfortheCollege’s

Ed Hanak in art Center’s sculpture garden, 1986. Photo by steven a. Heller PHOT 85 Mfa IllU 98.

variousprojects,inparticulartheplantobuildHillsideCampus.Hanakworkedcloselywiththen-presidentDonKublytofindandpurchasepropertyinthefoothillsofPasadena(havinginspectedcloseto40properties).HestrengthenedArtCenter’srelationshipwithCityofPasadenaofficialsandnegotiatedthetermstoerectthebuildingdesignedbyCraigEllwoodAssociates.

Bestknownforhis“Hanak-isms”anddrysenseofhumoraroundcampus,HanakwasabelovedmemberoftheArtCentercommunity.

FollowinghisretirementfromArtCenterin1986,HanakcontinuedtoserveontheBoardofTrusteesassecretaryandwaseventuallyhonoredasTrusteeEmeritus.

AttherecentmemorialcelebrationhonoringthelifeofDonKubly,HanakwasacknowledgedfortheimportantroleheplayedinArtCenter’shistory.Hanakissurvivedbyhislong-timepartner,MichaelBorysewicz.—Vs

• 34 fall 2011

PORTlaND alumni event, Uliko studio

(l > R): Product Design Chair Karen Hofmann and

Janene larson of Uliko studio.

HaIfa, IsRaEl alumni dinner. front (l > R): Tally Kelner-Gazit GRPK 85, Cecilia Vitas-Kasher ENVl 98, art Center President lorne buchman and leon botner PHOT 74. back (l > R): Dan Porges PHOT 72, Dori Regev TRaN 87, Micha shelef PHOT 69 and Zev Harari aDVT 72, art Center’s Israel alumni ambassador.

HIllsIDE CaMPUs spring 2011 Grad show Preview. (l > R): lori Ervin GRPK 80 and faculty member Richard Pietruska TRaN 70.

PORTlaND alumni event, Uliko studio:

lynn latta aDVT 88, co-chair of the

Portland alumni chapter, and her

husband Dan.

wIllIaMsON GallERY opening reception for “Hyperbolic.” (l > R): TRaN Chair stewart Reed, Christine wertheim, stephen Nowlin, Margaret wertheim and Palencia Turner.

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HIllsIDE CaMPUs spring 2011 Illustration graduates(l > R): sae Ra Hwang, Gihun Houng, leslie Hung, williana sarwono, Eastwood wong, brianna Harden and Junyi wu.

VEVEY, swITZERlaND art Center (Europe) reunion: lars andermann PROD 95.

PORTlaND alumni event, Uliko studio (l > R): Matt Rhoades PROD 93 and Grad ID student Kevin bethune of the Pensole Project.

PORTlaND alumni event, Uliko studio (l > R): Jack Heiter aDVT 56, Kristine bowne, director of alumni relations, and Chris soter aDVT 58.

VEVEY, swITZERlaNDart Center (Europe) reunion: Claudio Prisco COMM 96 (center) and Michael sans PROD 97 (right).

VEVEY, swITZERlaND art Center (Europe)

reunion (l > R): Drew smith COMM 90, Marlise

Zimmerman COMM 92, former aC(E) faculty

member and Jacques binggeli PROD 93.

wIllIaMsON GallERY opening reception for

“Hyperbolic” (l > R): Mary ann Clayton,

aleah Holakoui and her mother, san Marino

league member Margit Holakoui.

VEVEY, swITZERlaND art Center (Europe) reunion: Charlotte bourdeix COMM 94.

VEVEY, swITZERlaND art Center (Europe) reunion (l > R): Kerstin bornholdt COMM 93 and Dominique Kracht COMM 93.

lOs aNGElEs legacy Circle reception (l > R): faculty member Ramone Muñoz aDVT 77 Mfa aRT 90, scott ferguson IllU 77 and Ricardo Caillet-bois at the home of Katie sprague GRPK 91.

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