Art Center College of Design — summer 2013 summer 2013 — artcenter.edu/dot

“Whitewash is Los Angeles at its most stripped down and honest,” writes Nicholas Alan Cope PHOT 07 in his new book of nearly 70 black-and-white photographs. 02 28 Born in Takoma Park, Md., Cope around the world teaching creativity first picked up the camera as a The latest news in art and design—products, books, Step inside the classroom for Art Center’s intensive teenager. After moving to L.A. films, exhibitions and social impact—from Art Center Creative Strategies class. Applying big ideas to simple and becoming a student at Art alumni and faculty. materials, students learn to break patterns, reframe Center College of Design, he problems and apply new conceptual thinking to their began photographing local work. architecture as a side project. That project steadily expanded and he wrote about it as part of an independent study, working with Photography and Imaging instructor David Strick. “I had maybe 20 images by the time I 08 transform, transcend, graduated,” says Cope, “quite a few of which are included in the transmedia book.” His work has been featured In the emergent field of transmedia design, Art Center in W, Interview, Dwell and New is leading the way. Upper-term students and faculty York magazines, among others, actively push boundaries in an experimental curricu- and he was selected for Photo lum that uses everything from data visualization to District News’ “30 in 2011.” Today spatial experiences to create conceptually intricate Cope splits his time between a and emotionally charged messages. growing commercial practice and personal projects, often col- laborating with fellow Art Center alumnus Dustin Edward Arnold, with whom he shares an L.A. studio. Incorporating sculptural garments of their own design, Cope and Arnold teamed up to create the evocative 2011 series Vedas (back cover). Read more about Whitewash on p. 2. 34 dot news Campus News: The Parson Foundation Grant and major gifts support South Campus expansion; Berlin hub expands; Designmatters student wins memorial design competition; Transportation students impress EcoMotors and Bill Gates; Dieter Rams addresses Spring 2013 grads; Alyce de Roulet Williamson named Outstanding Philanthropist. 15 39 annual report spotted There’s a growing awareness across the country of the Who’s who? A photo round-up of recent events both on power of art and design to invigorate our economy, and off campus. and Art Center’s educational model emphasizes the very qualities today’s business leaders seek. College donors are taking notice—helping to make 2012 a year of pace-setting growth at Art Center.

experience dot online! artcenter.edu/dot •2 summer 2013 — artcenter.edu/dot around the world •3

Home Is Where the Art Is around Neil Shigley illu 86 For the portrait artist, block printing is a particularly labor- intensive form. For San Diego-based Neil Shigley, it is a the labor of love. Shigley, who documents his adopted city’s homeless in search of “the most honest portrayal that I can get,” is among 48 artists whose work is included in the Outwin Boochever Portrait Competition, a juried exhibition world at The Smithsonian’s National Portrait Gallery on view through February 23, 2014. Shigley’s portrait chosen for the exhibition and published in the accompanying catalog features the smiling, deeply etched face of a man named Michael, or “Pastor Shelby” as he liked to be called. When they met, Pastor Shelby was using a branch to sweep the sidewalk where he lived. The two sat down together and talked, then Shigley snapped a few unposed photos. Shigley was impressed with the man’s confidence and above left Designing for a Demi-god Digital Humanities, enthusiasm, and with his commitment to helping others book co-authored by despite his own situation living on the streets for many years. Patti Podesta graduate art faculty Anne Burdick. After completing the four-feet-tall woodblock portrait back above right & below in his studio, Shigley returned to look for Pastor Shelby to Art museums aren’t only about the art. That immediately Views of Kubrick show it to him, but never found him. If you can’t make it becomes clear as film and television production designer installation at LACMA, designed by Patti to D.C., online visitors are invited to vote for their favorite Patti Podesta talks about her design of Kubrick at the Los Podesta. pieces as part of the People’s Choice Award. —ss Angeles County Museum of Art (LACMA). Podesta, an inte- npg.si.edu gral part of Art Center’s Grad Art faculty for more than 20 years, explains that her exhibition design emerged from Oh, the Digital Humanities! “the important notion that one is not seeing the films, which are the art. However, across images and intimate readings, Anne Burdick graduate media design chair via fracturing and intensification, through memory and association, one can arrive at a kind of Kubrickian perception. What are the digital humanities? That’s the question posed This is the kind of activity museums contextualize so well in a new scholarly book co-authored by Anne Burdick, chair and that I wanted to provide for my subject.” Featuring of the Graduate Media Design Department. And judging more than 600 objects, the Stanley Kubrick retrospective above by the critical response—from movers and shakers in the was originally organized by the Deutsches Filmmuseum North Hollywood, Everything Under the Sun January 2007, field like Lev Manovich, Dan Cohen and Alan Liu—it’s a in Frankfurt, Germany, in collaboration with the director’s photograph from the Nicholas Alan Cope phot 07 question many want answered. In Digital_Humanities (MIT estate. For its U.S. premiere, co-presented by LACMA and book Whitewash by Nicholas Alan Cope. Press), Burdick— along with metaLAB (at) Harvard’s Jeffrey the Academy of Motion Picture Arts and Sciences Nov. 2012 Nicholas Alan Cope sees Los Angeles as a city of contrasts, Schnapp and UCLA’s Johanna Drucker, Peter Lunenfeld through June 2013, Podesta completely reframed the show. right with “dueling public narratives of glamour and cynicism” and Todd Presner— explores geospatial analysis, data Winning New York Times raves for her “stunning installation” Michael 67 (Pastor Shelby), block print legible in its stark, modern architecture. In Whitewash, his mining, corpus linguistics and other non-traditional modes and its “striking visual tableaus,” she more than met the by Neil Shigley. new book of black-and-white photographs, he dramatizes of humanistic inquiry. Writing for Leonardo Reviews, media challenge. “Although Kubrick is revered worldwide,” she that contrast by making elegant use of the extremes of artist and scholar Dene Grigar raves that everyone should observes, “here in Los Angeles he’s a demi-god.” —JG light and shadow produced by the intensity of the Southern read Digital_Humanities, no matter their academic discipline, lacma.org California sun. The Maryland native did not grow up in L.A., as it describes an area of research that has “the potential of but living here since 2002 he has immersed himself in transforming higher education.” And in the Italian edition photographing the city’s schools, churches, homes, busi- of WIRED, Matteo “Mister Bit” Bittanti names the book one nesses and industrial buildings. Cope began work on the of his best of 2012 and recommends that every Italian series in 2006 as an undergraduate in the Photography and university student add it to their reading list. A free Open Imaging program, developing a systematic approach and Access edition of the book is available at the MIT Press a set of visual parameters for a project that ultimately last- website. —MW ed seven years. In April, powerHouse Books published the mitpress.mit.edu/books fruits of his long labor, with a foreword by California-born, Paris-based fashion designer Rick Owens, and celebrated with an exhibition of large-format prints at Mondo Cane gallery in Tribeca. —SS cope1.com •4 summer 2013 — artcenter.edu/dot around the world •5

right Cover of Metropolis Cars and the Future of SoCal magazine featuring Jason Pilarski and Kati Rubinyi gart 02 Steven Joyner.

below left Spearheaded by Grad Art alumna and former faculty Two of MachineHisto- member Kati Rubinyi, The Car in 2035: Mobility Planning ries’ projects. for the Near Future seeks to engage a broad readership in

below right the aesthetically and intellectually complex relationship Sin Palace: Horizontal between cars and the physical environment. More than a Section Cut by handful of Art Center folks have contributed to the book, Michael Webb, published in The Car which features essays by Graduate Transportation Design in 2035. Executive Director Geoff Wardle and Graduate Art Chair Jeremy Gilbert-Rolfe, among others, and illustrations by alumna Jiha Hwang GMDP 11. Published in March, the book and the issues it addresses became the driving force behind the creation of the nonprofit Civic Projects Founda- tion, founded and led by Rubinyi. Its mission—initiating projects for the public benefit that break down silos among professional disciplines—was inspired, in part, by Art Center. “My education and later experience at the College did nothing less than pry open my mind to new watch values and to other communities of practice, which was video online a much-needed antidote to my professional experience at that time,” says Rubinyi, whose background is in urban planning, architecture and art. Civic Projects welcomes collaboration and support from anyone who recognizes the Share a Story, Change the World Welcome to the Machine need for more creativity in positively shaping the future of urban and suburban Southern California. —JG Michael Freund film 07 John Savedra film 02 Steven Joyner ENVL 05 Jason Pilarski GART 97 civicprojects.org Struck by a single image of a community organizer using “We privilege no particular creative practice, which allows a handheld camera to document the plight of low-income us to explore the interests of our choosing without dis- workers in Los Angeles, alumni Michael Freund and John crimination.” That’s the fearless statement on the website Savedra took it upon themselves to create a Sony Electronics of MachineHistories, the two-man design team of Steven spec film (a self-funded project they did on speculation, not Joyner and Art Center instructor Jason Pilarski. Whether for hire), to honor mobile media’s power to create positive they’re creating undulating benches for the Los Angeles change. Further inspired by Common Ground founder Design Group, CNC-milling a bedframe out of white Corian Rosanne Haggerty, the duo’s 60-second video—a drama- for Pae White’s GART 91 Widow of a King installation, or tization—portrays a community organizer who captures a watch building for Chandelier Creative a chrome-pink 400-pound homeless woman’s story using Sony Electronics’ HD pocket video online “electronic baroque” door inspired by Rodin’s The Gates of camera, the Bloggie, as part of a successful effort to Hell, Joyner and Pilarski let their investigation of process secure funding to convert old, dilapidated buildings into drive their production. Those visible tool marks on the low-income housing. The theme of the video, titled Sony: above left finished product? Those aren’t accidental, they’re intended Change the World, resonates with Freund. “My role as Mirror, Mirror Michael Freund to point to the history behind its making. Also not acciden- storyteller is to move audiences by telling authentic stories directs an actor; and tal? That these two have been featured in several high-pro- that contain an element of hope,” Freund says. “Not in-your Doug Aitken illu 91 a still from the video Sony: Change the file art and design magazines recently, including landing -face happy endings, but subtle and powerful emotions. World. the cover of Metropolis. —MW Not hyped-up drama, but real-life stories.” It’s not the first Planning a trip to the Emerald City? Be sure to stop by machinehistories.com project Freund and Savedra worked on together, after the Seattle Art Museum to see Mirror, a new permanent above right bonding over their Art Center connection and high stan- installation by artist Doug Aitken that wraps itself around Doug Aitken’s Mirror for the Seattle dards for narrative visual storytelling. “Sony is the second the downtown museum’s northwestern façade. Unveiled in Museum of Art. of what I consider two very successful collaborations with March, the monumental LED display features a horizontal Michael,” Savedra says. (The first was a spec film for shoe band of projected images that dissolve into narrow columns and apparel maker New Balance.) “Not only because we of light running up and down the building. To create the have a common appreciation for showing people on-screen images, Aitken shot a vast archive of video footage of the who bond through life experiences, but because in my Pacific Northwest that can be choreographed—for Mirror’s eyes, we did it successfully.” —JG public unveiling, the work was synchronized to music by michaelfreund.net minimalist composers Steve Reich and Terry Riley—and that can also respond to the installation’s changing urban Editor’s note: The spec piece for Sony Bloggie was originally spotted on environment, meaning ephemeral factors like weather and Michael Freund’s Behance page. Art Center’s promotional partnership with Behance, one of the premier networking sites for creatives, allows traffic all help Mirror decide what to reflect. — MW alumni, faculty and students to develop online portfolios. artcenter.edu/ seattleartmuserum.org behance •6 summer 2013 — artcenter.edu/dot Career + Professional DevelopmenT

Sky High Design

Phil Hettema illu 81

Phil Hettema is bringing simple and elegant design to Glitter Gulch with the creation of the world’s tallest observation wheel, the High Roller at Caesars, stretching 550 feet into the Las Vegas skyline. “I think this wheel is really, from a design point of view, going to be stunningly beautiful. The whole thing is based on pure circles and spheres,” says Hettema, founder of The Hettema Group, an award-winning immersive design firm based in Pasadena whose projects include Universal’s The Amazing Adventures of Spiderman (opened in 2000 in Orlando) and the three-story observa- tion deck atop 1 World Trade Center (opening in 2015 in Manhattan). Key to creating an effective immersive envi- ronment, says Hettema, is to control the entire experience and tell a great story to engage the visitor in unexpected ways. “The more you become engaged,” he says, “the more powerful the memories become, and the experience becomes stronger, and it stays with you longer.” With variability built into the design, the team promises the adventure will never be the same experience twice. Visitors DOT journey through a media-saturated terminal lounge guided by a flight crew before boarding an enclosed glass cabin for the 30-minute ride revealing expansive city and desert views. The High Roller is set to open in early 2014. —TB caesars.com/thelinq above When the Bee Stings Photographs by Editor’s note: Hettema says Art Center’s own highest aspirations em- Zhe Chen (clockwise bodied in its strategic plan inspired him to establish a scholarship for from top): Self-portrait; Zhe Chen phot 11 Bees No. 022–03, Environmental Design students. “Creating a scholarship assures me 2010; Bees No. 007– that my contribution is going to make a direct impact on students for 04, 2010. Approaching her subjects from a deeply personal perspec- many years to come.” tive, Zhe Chen explores the possibilities—and the limits— right of photography. Going to Art Center “taught me to be CONNECT Conceptual illustration of the High Roller fearless,” says the Beijing-born artist who now lives in Los Connect to job listings, internship opportunities, freelance cabin. Each of 28 Angeles, and it shows. Her long-term projects evolve from cabins will hold 40 projects, calls for entry and more. Art Center’s new online passengers. (Illustra- the notion and mechanism of self-injury, its psychological tion: The Hettema effect on individual narratives and collective identity. In platform allows alumni and students to post their resumes Group) 2011 Chen received the prestigious Inge Morath Award, the only award that carries the imprimatur of Magnum and portfolios, giving the larger creative community direct Photos, given annually to a woman photographer under 30 to assist in the completion of a documentary project. access to Art Center talent. Bees, a provocative collection of her color photographs, was co-published by Beaugeste Gallery and made Feature Shoot photo blog’s “Top 15 Photo Books of 2012.” Chen feels a strong affinity for her subjects, many of whom she first connected with online—“a marginalized group of people in China faced with chaos, violence, alienation and irredeemable loss in life” who, she says, feel compelled to leave self-inflicted marks on their bodies. Her book takes its title from Virgil, who observed how bees, after stinging, “let the sting lie buried, and leave their lives/Behind them in the wound.” She credits her Art Center instructors with “letting me know that sometimes it’s okay to feel more than you can understand,” and asserts that her photo- graphs hold secrets, “information awaiting exposure and recognition—like an index page pointing toward all the @ unanswered questions.” — SS careers artcenter.edu • 626 396 2320 zheis.com artcenter.edu/connect •8 summer 2013 — artcenter.edu/dot transform, transcend, transmedia •9 A:06 It’s the final week of the Fall 2012 two ellipses face one another— A:01 FROM BOOKS... Graphic Design student term and “The Annex”—a nonde- one on the floor, the other on the Stanley Chen designed this catalog for Placep- tion—Phenomena of Per- script temporary building on the ceiling—as they project images of ception in Place, an exhi- bition he conceived with northern end of Art Center’s nature, architecture and words like fellow Graphic Design student Ka Kit Cheong in A:01 tran instructor Brad Bartlett’s Hillside Campus—is doing a good “renewal” and “emergence.” Advanced Graphic Studio (AGS) course.

job hiding the feats of alchemy A:02 What is going on here? These upper- TO POSTERS... occurring within its walls. Posters by Cheong for Plaception. As imagined, term Graphic Design students are the exhibition would focus on installation art- ists like Richard Serra Entering classroom A7 on the tweaking final projects they cre- and Yayoi Kusama who sfo utilize space as a medium. second floor of this battleship grey ated for Advanced Graphic Studio, A:03 TO INSTALLATIONS structure feels like stepping into a class that’s part of an ambitious Cheong designed this interactive installation for Plaception, in which Willy Wonka’s chocolate factory. undergraduate curriculum called a mirrored passageway reflects the viewer’s posi- In one corner, a student waves his transmedia within the Graphic tion in time and space from 10 seconds ago. rm,hands to stir into motion a field of Design Department. A:04 REPLACING THE OLD... For his AGS and Media- floating green particles. In another, tecture project, Graphic “The trans part of transmedia is Design student Daniel students walk through a mirrored Young imagined Transient States, an exhibition that that the designer transforms and focused on Metabolism, passageway that reflects their an avant-garde movement in Japanese architectural transcends media categories, and history that embraced the position in time and space from concept of replacing the by so doing, creates new media old with the new. Pictured exactly 10 seconds ago. Elsewhere, here is Young’s poster for A:05 categories,” says Nik Hafermaas, the exhibition. A:05 + A:06 ...WITHOUT SKIPPING A:02 chair since 2004 of the Graphic A BEAT Inspired by the Metabo- Design Department, who taught lists' idea of “living transce architecture” driven by biological processes, the changing the department’s first transmedia Young designed this interactive installation to accompany Transient face of course four years ago. States. Titled Rebirth, it animates in sync to the human heartbeat. Here, Graphic Design student graphic de- Transmedia is an experimental Geoffrey Brewerton inter- nd, sign curriculum that razes traditional acts with the work. barriers separating designer, artist A:03 and curator. It entails working across both emerging and tradi- tional media—everything from data visualization to spatial experi- ences—to create an emotionally resonant message. It’s a field in which Art Center is leading the charge, and an ambitious endeavor A:04 whose potential is being fulfilled BY in its students’ work. MIKE WINDER •10 summer 2013 — artcenter.edu/dot transform, transcend, transmedia •11 B:01 B:05 “This particular class is one of the hardest-working b:01 I’ve had in my 13 years of teaching,” says Transmedia PUSH AND PULL Design Director Brad Bartlett, who has cultivated the Graphic Design student Cindy Mai’s poster for Graphic Design Department’s transmedia curriculum The Pull: Atrophic and Creative Minds, an exhi- since it first launched. “We’re forcing them to work bition she conceived in outside their comfort zone, and in the process they’re Brad Bartlett’s Advanced Graphic Studio course discovering new things about themselves and the medium that would explore the they’re trying to push.” links between creativity and frontotemporal dementia. Pushing a medium to its limits is nothing new to Bartlett. A b:02 multidisciplinary designer whose firm won the 2012 Grand BRAINS AND BEAUTY Prize for Excellence in Design from the American Alliance To accompany The Pull, Mai created an interac- of Museums, Bartlett has explored the relationship between tive installation which media and culture since the mid-1990s, when his responds to the viewer’s proximity by projecting projection-based graduate work from Cranbrook MRI scans of different stages of brain deteriora- Academy of Art was presented at MIT. And Art Center’s tion onto plywood and transdisciplinary synergy has been a good fit for mylar “brain slices.” Bartlett, who has also taught Transmedia Design in the b:03 + b:04 College’s Graduate Media Design program—a course ACCESSING MEMORIEs Also for AGS, Graphic created by that department’s chair Anne Burdick. Design student Paul Hoppe imagined an exhibition titled ECHO: In Bartlett’s Advanced Graphic Studio, students select a The Fragility of Moments well-known or compelling subject of interest (say, a par- Suspended in Time, that would explore how mem- ticular artist or site of historical significance) and tackle ory works, both histori- cally and neurologically, it from multiple angles—a book, a series of posters and a vis-à-vis the ruins of a spatial interactive experience—in order to tell a powerful local turn-of-the-century tourist attraction. For the story that uses the attributes of each medium to their full project, Hoppe designed potential. posters, an exhibition catalog and an interactive installation, the latter “Transmedia is about reacting to and anticipating which he created in instructor Miles Mazzie’s the technological and social changes affecting Mediatecture course. how we interact with one another,” says Bartlett, b:05 who asks his students to project five to 20 years SUSPENDED IN SPACE Hoppe puts the finishing into the future. “We’re looking at not just how touches on his installation, content and visual language can flow from one medium to which uses a combina- tion of old media—an another, but also how new media can emerge.” potent parts and create a system of graphics,” says Mai of upside-down mountain her process. “But then the challenge is to figure out where constructed out of papier-mâché—and new For Cindy Mai, who came to Art Center in 2010 with a that system can live. With transmedia, it can live beyond media—digital projections bachelor’s degree in political science from UCLA, trans- traditional limitations of printed matter or a digital screen.” activated by a Kinect sensor—to achieve its media boils down to making a compelling argument and otherworldly effect. then discovering the best way to present it. “I start with Mai used Bartlett’s class as an opportunity to explore the a huge amount of information, pare it down to its most links between creativity and frontotemporal dementia B:02 (FTD), a disorder that affects the frontal and temporal lobes of the brain. Her project The Pull: Atrophic and Creative Minds, began with an interest in English artist Louis Wain B:03 (1860–1939), whose illustrations of wide-eyed cats became increasingly abstract as his brain deteriorated. “He obses- sively painted cats his entire life but his disease made his work really interesting,” says Mai. “I was fascinated by that give-and-take relationship.”

Mai envisioned The Pull as an exhibition at Culver City’s Museum of Jurassic Technology, and created an exhibition catalog that introduced Wain and the disease and whose structure mirrored the onset of the dementia. For the spatial interactive element, Mai fashioned a series of brain slices out of plywood frames and sheets of mylar and hung them from the ceiling. Then, using the Processing programming language and a motion-detecting Microsoft Kinect peripheral, she projected MRI images of different stages of brain deterioration onto the slices, which changed based on the viewer’s proximity to the installation.

“I hadn’t programmed before, so I wanted the interactivity B:04 to be simple,” says Mai. “If I were a master at coding I could have included so much more information.” •12 summer 2013 — artcenter.edu/dot transform, transcend, transmedia •13 C:03 But becoming a master coder is not the goal here, says over C:01 DATA TAKES FLIGHT Hafermaas. “We want our students to design experiences that airFIELD at Hartsfield- serve a purpose, so we encourage them to use unfamiliar Jackson Atlanta Interna- tional Airport turns flight media and to engage in open-ended experimentation.” traffic into conceptual art. Designed by Graphic Design Department Chair To see experimentation-with-purpose in action, just step Nik Hafermaas UEBERSEE, time a transmedia design firm. inside the International Terminal at Hartsfield-Jackson Photo: UEBERSEE Atlanta International Airport. There, in the center of the C:04 C:02 world’s busiest travel hub, you’ll find transmedia design firm IDEAS TAKE SHAPE UEBERSEE’s airFIELD, a dynamic sculpture 90 feet in length. Graphic Design instruc- tors discuss student Made of thousands of suspended liquid crystal discs that Geoffrey Brewerton’s change from opaque to transparent in wave-like patterns final project in the Type 5: Transmedia course. based on live Atlanta flight traffic, the sculpture was designed (L–R) Brad Bartlett, Brewerton, Sean Adams, by Hafermaas, founder of UEBERSEE, along with Art Center Hafermaas. alumni Jamie Barlow ENVL 05 and Dan Goods GRPK 02.

“You can just marvel in its beauty, but there’s also a display nearby that explains what you’re looking at,” says Hafermaas. “So it’s data visualization that functions on an emotional level.”

Student Paul Hoppe arrived at Art Center in 2009 from Azusa Pacific University, where he double-majored in fine art and graphic design. He came to the College to focus intensely on graphic design, but the more time he spent in the classroom, the more he found himself returning to C:01 his media-based installation roots. And it paid off. In late 2011, he won an Adobe Design Achievement Award for Exploratorium: Generative Identity, an algorithmically gen- erated typographical identity he created for Last December, Petrula Vrontikis, an instructor in the Graphic d:01 C:03 San Francisco’s Exploratorium museum as a Design Department who teaches advanced-level studio OUT OF THE PAST project in Bartlett’s Type 4 class. and career preparation courses, presented her current aca- In Hoppe’s installation, chapters on the rise and demic research at AIGA’s Design Educators Conference. In fall of “The White City” Now, one year later in instructor Miles Mazzie’s are accessed by moving her paper titled “Transmedia Design: Crossing Boundaries a red resin triangular Mediatecture course, Hoppe is accessing a for a New Kind of Graphic Design Practice,” she argued that prism along a projected image. visual database using an interface that looks like it was graphic design education was coming “face to face with its beamed down from the starship Enterprise. As he moves a irrelevance” and that adopting “an integrative practice that C:04 MOMENT OF TRUTH red resin triangular prism atop a table, he activates different crosses all media” and that fosters “cognitive ambidexterity” Hoppe presents his chapters on the rise and fall of a popular turn-of-the-century is necessary to keep up with a field undergoing rapid change installation during the final class of the Fall 2012 Pasadena tourist attraction atop Echo Mountain, which —the exact kind of practice occurring today at Art Center. term. came to be known as the “White City.” Destroyed by a series of fires, the resort comes back to life through sounds But, Vrontikis cautions, transmedia is not something that and via projections on the table and on an upside-down can be simply implanted into a program’s curriculum. C:02 papier-mâché mountain suspended above the table. “The reason it’s working so well here is that its roots were being developed years ago,” says Vrontikis, who attributes D:01 Echo Mountain, just six miles from Art Center’s Hillside Hafermaas' background in environmental graphics and INTO THE FUTURE Graphic Design student Campus, and the scenic mountain railway line that took spaces and his appointment of faculty directors in areas Charlene Chen proposed visitors there were the brainchild of Thaddeus S. C. Lowe, such as motion design and interaction—areas which had a means for the San Antonio Winery in down- a self-made scientist, inventor and Civil War aeronaut a cur- not existed within Graphic Design until recently. town L.A. to transform turned millionaire entrepreneur. “Lowe put his life, fortune its visitor experience via interactive digital projec- and everything into this project, but now all that exists are So now, when a student like Charlene Chen—whose fourth- tions in instructor Miles Mazzie’s Mediatecture the ruins,” says Hoppe. “I wanted to draw a correlation be- term Mediatecture project imagined how Los Angeles’ course. Chen’s San tween the remaining artifacts and the history of the place, San Antonio Winery could transform its brand experience Antonio Winery identity was developed in Com- as well as explore how memory works, both historically and by adding animated and context-sensitive distillation data munication Design 4: neurologically.” riculum to its wine bottles and barrels—arrives at the College, Transmedia, taught by instructor Guillaume she has all the necessary resources to help her excel in a Wolf. Hoppe imagined this installation—ECHO: The Fragility of burgeoning field. Moments Suspended in Time, which he co-developed in Bartlett’s Advanced Graphic Studio course—as the center- “Everything is in place for Charlene to take courses ranging piece of an exhibition co-presented by the Pasadena Muse- from interaction to motion, print to packaging, letterpress um of History and the UCLA Department of Neurology. And dis- to transmedia, and all taught by people who are top-notch while scanning historical images for his project, a glitch in their fields,” says Vrontikis, who then proudly adds, affirmed he was on the right track. “One of the scanners at “Other than right here, that doesn’t exist.” the library had a loose connection, and was creating weird distorted versions of the images,” he says. “And then it clicked. I thought, Oh, that’s how our brain works!” tilled Planned Giving Teaching Design for a Better Use your World IRA to support Art Center tax-free.

Congress recently reinstated the IRA 1 charitable rollover. If you are 70 /2 or older, you can donate up to $100,000 2012 from your IRA to Art Center without artcenter.edu/ Art Center having to pay income taxes on the distribution. plannedgiving Annual Report

Take advantage of this new planned 2012 giving opportunity. For more information, call 626 396 2455. •16 summer 2013 — artcenter.edu/dot annual report 2012 •17

Donors to Art Center know that their support has the power to transform students’ lives. They know, for example, that a scholarship gift can mean the difference between receiving a world-class art and design education and none at all. Yet the Boosting the impact our graduates ultimately make in society can be even more inspiring. From designing vehicles that will revolution- ize the transportation industry to developing clean water Way We Teach solutions around the globe, our students leave Art Center Philanthropically speaking, 2012 was a year of distinctly prepared to improve our world. pace-setting growth at Art Center. During the period starting July 1, 2011, and ending June 30, chris hatcher What gives our graduates the edge? In a recent essay on 2012, alumni, friends and other supporters helped creativity and the new economy, President Lorne M. Buchman the College surpass previous records for giving outlined some of the key attributes that distinguish an Art to capital projects, while growing unrestricted gifts to the Annual Fund and to annual scholar- Center education from that of other art and design colleges ships to higher levels than in any fiscal year and of liberal arts institutions. Our students, he notes, are since 2007. The school also had its strongest empowered by learning that emphasizes: showing for total gifts since 2006. Why the boost? President Lorne M. Buchman attri- • Tangible real-world outcomes and solutions that directly butes the increase at least in part to a growing improve people’s lives; awareness across the country of the power of art and design to invigorate our economy. “Business • Design placed in direct conversation with other fields such executives, policymakers and thought leaders as engineering, science, public policy and social health; increasingly are looking to creativity and creative fields to speed recovery, generate jobs, • Extending the learning experience beyond the classroom, adapt to the new economy and ensure the future relevance of our industries,” says Buchman. “Art into the community and around the globe; and Center’s educational model emphasizes the very qualities today’s business leaders seek, includ- • Partnerships with corporations, government agencies and ing transdisciplinary collaboration and problem community organizations. solving, social responsibility and adaptability —attributes that make our graduates highly above Policymakers and business executives are increasingly turning versatile and well-positioned to be key players An Art Center education prepares to designers for workable solutions to complex problems. We on the global stage.” students to contribute creatively to the new economy. Board of saw it at the most recent Clinton Global Initiative meeting, Our donors are taking notice—and investing which focused on the growing influence of design thinking to accordingly. In the following pages we highlight below four commitments from the past year that are Students engage Environmental Design faculty member James Trustees address the world’s most pressing social challenges. We saw enhancing the way we teach at Art Center. it again in the recent National Governor’s Association report Meraz (far right) in their project. Robert C. Davidson, Jr., Chairman Carl Bass on how arts, culture and design can invigorate economic Ronald I. Bension expansion. Douglas C. Boyd (tran 66) Lorne M. Buchman The support of our dedicated Art Center community—Trust- Wesley A. Coleman Jeffrey L. Glassman ees, alumni, faculty, staff, families and friends—allows the Linda M. Griego College to provide the kind of educational experience that William T. Gross ensures our graduates have a place at the table for our most Linda A. Hill Kit Hinrichs (advt 63) vital conversations. Charles Floyd Johnson Timothy M. Kobe (envl 82) For this, I join my Art Center colleagues in offering our George H. Ladyman, Jr. (tran 87) profound thanks. Samuel J. Mann Molly M. Morgan You enable us to teach design for a better world. I can think Peter W. Mullin of no greater investment. Bonnie R. Nash Charles E. Nearburg Reiner M. Triltsch Judy C. Webb Alyce de Roulet Williamson

robert c. davidson, jr. Chairman, Board of Trustees Art Center College of Design •18 summer 2013 — artcenter.edu/dot annual report 2012 •19

Connecting left EcoMotors Design Challenge (L–R): Ford’s Jack Telnack TRAN 58, Brian Internationally Malczewski (College for Creative Studies), Art Center student winners Sam and Emily Mann, $100,000, scholarship Bruno Gallardo and JJ Hwang, and outreach for international students John Colletti, COO of EcoMotors. below Ask any Art Center graduate to describe the Art Center student gives form to a hallmarks of his or her educational experience, design concept. and one attribute is likely to top the list: the opportunity to collaborate with and learn from other students with a rich variety of backgrounds and perspectives.

It’s also the emphasis of a recent gift from Art Center Trustee Sam Mann and his wife Emily that provides critical funding to matriculate European students in design programs and offer special opportunities for postgraduate study.

Provost Fred Fehlau describes the investment, which supports scholarships and grants for in- ternational students of particular promise, as part of a much broader effort by the College “to enrich our students’ educational experience by exposing them to a diversity of their peers from around the world. Having scholarship funds for students from Europe, which is home to many 2 College alumni and with which our school histor- ically has had strong ties, enables Art Center to assemble a student community that more fully reflects the broad range of cultures and market- places.” Partnering with

Learning from different world viewpoints doesn’t just make for good design. It’s also good busi- Industry for ness. As CEO Alan Mulally of Ford Motor Company writes, “The data clearly show that if your cus- Sustainability tomer base is global and diverse and you reflect their perspectives and their knowledge, you’re EcoMotors International, $75,000, Transportation 1 going to have a better chance for success.” Department Sponsored Project Many of the most invigorating classroom experi- ences at Art Center are co-created with industry partners. Last year’s sponsored projects included “Reshaping the Future,” launched with the support of EcoMotors, developer of efficient, clean, lightweight propulsion systems. The challenge at hand: to design vehicle concepts that would make effective use of the company’s opoc® engine, a horizontally opposed engine with pistons travel- ing in opposite directions within each cylinder.

above left According to Executive Director of Graduate Flags of many nations line the Transportation Design Geoff Wardle, “Reshaping,” “bridge” at Hillside Campus during Student Orientation Week. Interna- which spawned a successful design competition of tional students make up 20 percent the same name (see related story p.6), offered of Art Center’s student body. students a unique educational experience. “Generally, our Transportation Design students Such practical, project-based learning has power- left are asked by our sponsors to consider such human- ful implications for students as they prepare for Felix Hoyos Trauttmansdorff, centric business issues as new marketing oppor- their careers. “The EcoMotors project,” Wardle a Product Design major from Austria, is a recipient of the Sam tunities or vehicle segments,” he says. “This adds, “helped us underscore to the technical and Emily Mann Scholarship. project asked them instead to consider design world and to our students that designers can solutions around a groundbreaking technical make a much greater contribution to innovation innovation.” than just the style of products.” •20 summer 2013 — artcenter.edu/dot annual report 2012 •21

Building Bridges to Art Center Margaret A. Cargill Foundation, $383,000, applied to undergraduate and Public Programs scholarships

Preparing our future art and design leaders begins even before they enter Art Center. Through its Public Programs—Art Center for Kids for children in grades 4–8, Saturday High for students in grades 9–12 and Art Center at Night for adults— the College creates bridges with the community and provides educational opportunities to talented artists and designers at every stage of their development.

That means investing in much-needed undergraduate scholarships and scholarships for children, youth and young adults who have an interest in art and design, demonstrated financial need and a desire 4 to pursue higher education and eventually a professional design career. A recent gift from above Adele Binder’s unrestricted gift to Margaret A. Cargill Foundation is providing just the Art Center Fund offers flexibility such support. for innovation in teaching and new technologies, among other priorities. According to Dana L. Walker, managing director, Public Programs, and director, Art Center at below Night, support of adult learners attending Art Art and design practices evolve with Center at Night is especially important. “Many the changing needs of industry and society. people don’t realize that federal and state financial aid programs are not applicable to Art Turning on a Dime Center at Night tuition,” she explains. “Young Adele Binder, $50,000, Art Center Fund adults seeking the specialized courses that Art Center at Night offers are often left struggling What will teaching at Art Center look like in 10 to find ways to pay for classes that will help or 20 years? It’s impossible to know for certain. them get to the next level in their educational What we can be sure of is that our teaching goals at Art Center. We are especially grateful practices will continue to evolve—just like they to Margaret A. Cargill Foundation for helping us always have—in conjunction with the needs of to fill this critical need so that more aspiring industry and society. designers can dream big.” That’s where unrestricted gifts like Adele Binder’s commitment to the Art Center Fund come in.

“To keep abreast of developments in art and design education, Art Center needs to be able to respond quickly and effectively to new opportunities as they arise,” explains Trustee and Art Center 100 above right Founder Alyce de Roulet Williamson. “Contributions A gift from Margaret A. Cargill Foundation provides scholarship to the Art Center Fund provide extraordinary support for students of all ages, flexibility. They allow the College to address including those attending Art its areas of greatest need, implement cutting- Center’s Satuday High. edge programs, innovate new teaching methods, purchase technology and enhance facilities so below right that students always receive an education that Art Center for Kids nurtures creative young minds through a is relevant and forward-looking. In these ways, wide range of weekend classes and the College can turn on a dime so it’s always summer workshops. 3 addressing the highest priorities.” •22 summer 2013 — artcenter.edu/dot annual report 2012 •23

Gifts and Government Grants Gifts and Goverment Grants Art Center by Source by Purpose (IN DOLLARS) College of Design 52% Capital Improvement 8% Sponsored Projects 22% Other Current Expenditure* 5% Annual Unrestricted Expenditure Statement of Activities for the Year Gifts 11% Scholarships 1% Endowment Ended June 30, 2012 trustees 264,500 temporarily permanently alumni 5,106,007 unrestricted restricted restricted parents 19,500 (IN THOUSANDS OF DOLLARS) net assets net assets net assets total faculty / Staff / Administration 14,807 Operating Revenues other Individuals 271,600 corporations 3,015,677 net tuition and fees 66,290 – – 66,290 foundations 1,006,073 private gifts and grants 617 1,438 213 2,268 investment and other income 627 – – 627 9,698,164 sales and services of auxiliary enterprises 564 – – 564 Government Grants 2,500 other sources 1,633 – – 1,633 amounts released from restrictions 2,713 (2,713) – 0 total 9,700,664 total revenues 72,444 (1,275) 213 71,382

*Includes in-kind gifts, other Operating Expenses restricted, and seed money. education 46,837 – – 46,837 student Services 6,002 – – 6,002 Endowment and Quasi-endowment administration 8,479 – – 8,479 Market Values advancement 2,249 – – 2,249 Art Center’s endowment is made up of gifts from alumni, foundations and other friends. The Board of Trustees has designated income accrued through auxiliary Services 573 – – 573 careful enrollment management to Art Center’s quasi-endowment in order to generate additional scholarship awards for students. total expenses 64,140 64,140 (IN DOLLARS) increase (decrease) in net assets in operations 8,304 (1,275) 213 7,242 Endowment Funds June 30, 2011 52,026,000 Quasi-endowment (board-designated) Dec. 31, 2007 Dec. 31, 2010 June 30, 2012 43,182,000 42,869,000 48,480,000 Other Changes in Net Assets Dec. 31, 2006 Dec. 31, 2009 42,531,000 42,938,000 endowment income – 994 – 994 Dec. 31, 2005 Dec. 31, 2008 net change in actuarial obligations (239) – – (239) 35,748,000 33,432,000 net appreciation in fair value of investments 54 (1,471) – (1,417) loss on interest rate swap (6,000) – – (6,000) Dec. 31, 2004 22,077,000 donor re-designation – 72 (72) 0 other expenses (773) – – (773) – change in net assets from other changes (6,958) (405) 72 (7,435) Dec. 31, 2003 20,719,000 June 30, 2012 – change in net assets 1,346 (1,680) 141 (193) 10,000,000 net assets at june 30, 2011 41,474 11,615 44,670 97,759

June 30, 2011 net assets at june 30, 2012 42,820 9,935 44,811 97,566 0

The fair market value of Art Center College of Design’s endowment on June 30, 2012 was $48,480,000. •24 summer 2013 — artcenter.edu/dot annual report 2012 •25

Ramone C. Muñoz (advt 77, Fidelity Investments Charitable Rex Moen Ivan Chu and Hua Ling (envl 94) mfa art 90) and Tom Jacobson Gift Fund D. Harry Montgomery $999 and below Peter M. Chuang (prod 99) Nissan Design America Constance and Gordon Fish Tate Mosesian (illu 91) and Anonymous (4) Ralph T. Clark (phot 58) Honor Roll of Donors Pasadena Community Foundation Beverly E. Fitzgerald Sophia Gasparian Meredith Abbott (illu 62) Russ Cohen (advt 88) Ann Peppers Foundation Mary Alice (d) and Richard Frank Seeley W. Mudd Foundation Norman and Susan Abrahamson Francine Tolkin Cooper and July 2011–June 2012 Tavat Eyewear Garage Envy Dave Muhs and Jill Farrer Muhs (grpk 92) Herbert Cooper Anita Garnier Maggie Navarro Mary and Nicholas Alexander Frances Courtney (advt 34) Earl Gee (grph 83) Mary Adams O’Connell and Charles L. Allen, Jr. (prod 68) Roy Cripps (prod 60) The support of our generous donors makes all that we do at Art Center $2,500–$4,999 Peter A. Gelles Kevin O’Connell American Honda Motor Co., Inc. Karen and Leonard Crook possible. This Honor Roll acknowledges all contributors to the College in Adidas America Jo Ann and Walter H. Gollwitzer Peggy Phelps Natalie Anaston (advt 93) David Cunningham Helen M. Posthuma Ann Cutting (phot 87) and fiscal year 2011–12, including active pledges and gifts made from July 1, Ashoka (prod 63) David R. Arnold (adil 63) Anita and Michael (d) Bates Grand Avenue Capital Partners Judy and Ben Reiling Bryan S. Azorsky (film 88) Thomas Soulanille 2011, through June 30, 2012. On behalf of the Art Center community, we Stephen T. Daugherty (advt 71) Kelsey Browne Hall Winslow and Lynn Reitnouer June Otani Baensch (advt 56) (D) and Cynthia Davis thank you—our friends and supporters—for helping to make Art Center Dito Devcar Foundation Harry and Betsy Hathaway Gloria R. Renwick Robert Baensch Janet Stratford Davis (advt 74) Disney Consumer Products Carol and Warner Henry Roberta Huntley Robert L. Bailey (prod 60) JoAnn and William Dayton (prod 58) a global leader in art and design education. The Getty Foundation Alan S. Hergott Andrew Scott Robertson (tran 90) Katherine C. Ballard Kenneth R. Deardoff (illu 56) Matthew A. Haligman (advt 81) Yvonne and Wayne Herron Ronald E. Galella (phot 57) Joan and Robert Banning Vanakan Dickranian We have made every effort to ensure the accuracy of this document. If an error or omission has occurred, Mr. and Mrs. William D. Horsfall Ethie and Steve Hitter (prod 69) Thomas L. Safran Jeannie and Kurt Beckmeyer John R. Dickson please contact Donor Relations at 626.396.2490 so that we can correct our records. Contributions made ICON (Hitter Family Foundation) Ray and Janet Scherr Foundation Elaine Bell Rolf E. Dittmann (indu 89) by two or more individuals with different surnames are listed alphabetically by only one of the surnames; Johnson Controls, Inc. Adelaide Hixon Yvonne de C. Segerstrom Michael J. Belzil Michael J. Doyle II (grph 94) please check under all related surnames to find the acknowledgment. Judith G. Kelly Donald Huie (prod 62) David Shannon (illu 83) Delaney L. Bishop (advt 02) Beth Duffy and Erik Kistel Los Angeles Unified School District Wayne Hunt, Honorary Alumnus, and Orrin Shively (tran 84) and Peter L. Bloomer (phot 67) J. E. Duggan Frank L. Lanza (adil 57) Carla Walecka Marina M. Chang (grpk 79) Betty and Duane L. Bohnstedt (tran 51) Laine Dunham (illu 81) Wendy Munger and Leonard Gumport Ann Hazeltine Hyde Joni J. Smith Marsha and Vern Bohr Asa D. Dunnington Fujitsu Ten Corporation of America Elise Mudd Marvin (d) OluKai Inc. Barbara and Frank Jameson Barbara Mann Steinwedell Kristine Bowne Haruko Eann (advt 71) $1,000,000 and above Nancy and Jerry V. Johnson (advt 59) George H. Mayr Foundation Pasadena Arts & Culture Commission Avery and Fred Johnson Carol and Charles R. Swimmer Leo Branton Peggy Ebright Bruce Heavin (illu 93) and L’Oreal USA, Inc. McKelvey Foundation and the City of Pasadena Cultural Stephen A. Kanter, M.D. Ginny and David Sydorick Anita Bunn (phot 90) Elizabeth S. Edmunds Lynda Weinman lynda.com Lowell Milken Family Foundation Affairs Division Patricia H. Ketchum Clare and Christopher Tayback William P. Burchett Tim Effler (illu 79) Richard Kenneth Law (indu 58) Marketingwerkstatt and Professor Leah Toby Hoffmitz, Under Armour Thomas R. Korzenecki Laney Techentin M. Estelle Byrne (advt 58) Julien Egger (prod 98) Ruth and Steven L. Rieman (prod 74) Metal Finishing Association of Honorary Alumna Vans, Inc. Andrew Kramer (envl 73) Geneva and Charles Thornton, Jr. Barbara and Robert E. Cargill Gary M. Eggleston (illu 78) Southern California, Inc. Merle and Peter Mullin Joyce and Tom Leddy Steven A. Trank (phot 80) Bruce Carroll (phot 75) Eisenhart and Associates, Inc. Tomoko J. Miho (indu 56) (d) National Science Foundation Ronald and Elaine Lee Lorraine Triolo and Jeffrey Burke Julius Cassani (prod 67) Tom Ellison $100,000–$999,999 Pasadena Art Alliance Charles E. Nearburg $1,000–$2,499 Felix Lee Lerma Betty Urban Karen and Murray Chalmers Arthur W. Ellsworth (prod 57) Marie and Louis Jones Gary Wales Erin Chase Patricia (grph 85) and Stan Evenson The Ahmanson Foundation Quiksilver, Inc. NIKE, Inc. Anonymous (2) Jay Malloy (prod 84) Joyce Ward Kuan-Yu Victoria Chen (prod 90, (advt 74) Margaret A. Cargill Foundation Rapid Rack Industries, Inc. Kenneth T. and Eileen L. Norris Elaine and Peter Adams Meguiar’s, Inc. Carolyn Watson ms indu 94) Davis J. Factor III (phot 86) Jenny Craig, Inc. San Marino League Foundation Argonaut Charitable Foundation Richard Messer Waxie Sanitary Supply Catherine “Tink” Cheney and Jami (illu 92) and George E. Falardeau Johnson & Johnson Consumer Products Sodexo Wilhelm Oehl (prod 94) Gwen and Guil Babcock Gary M. Meyer (illu 59) Victoria and Norman Williamson Barry Jones Rose Friesen Faler (illu 82) Sam and Emily Mann State Farm Insurance Pagani Automobili S.p.A. Desdy Kellogg Baggott Stanley Mikolajczk (prod 55) Nina and Stephen Winterbottom Howard M. Cherry (envl 74) Natalie Montoya Farrow Nestlé Purina PetCare United Nations Population Fund Pan American Health Organization Rob Ball (envl 83) Fred A. Miwa (advt 57) Sam Wood Judy Chin Bill Ferris (phot 84) Nestlé S.A. (UNFPA) (PAHO) Catherine Baron Surdna Foundation, Inc. Alyce and Warren Williamson PolyOne Ann Dobson Barrett Judy C. Webb James R. Powers (tran 56) Pascale and Robert Bauer (tran 94) Joanna and Julian Ryder (advt 72) Chantal and Stephen Bennett $10,000–$24,999 Shoresh Foundation Paul Bielenberg (phot 98) $50,000–$99,999 Anonymous Jan and Larry Small Jeannie Blackburn Volunteer Leaders art center 100 art center partners legacy circle board steering committee advisory board Anonymous Kathleen and Frederick Allen Carole Spence Brand Visual, LLC Adele and Gordon Binder Allen, Matkins, Leck, Gamble, Studio Hinrichs Wendy West Brenninkmeijer Alyce de Roulet Williamson, Founding Betty Urban, Chair Daniel W. Ashcraft (prod 73), Co-chair Richard and Jean Coyne Family Mallory & Nastis LLP Tides Foundation David and Judith Brown Chair Linda Brownridge, Co-chair Gail Howland (phot 04), Co-chair Foundation Grace Ray Anderson Reiner and Michelle Triltsch Susan Brown (envl 76) Daimler Trucks North America LLC Linda and Douglas Boyd (tran 66) U.S. Fund for UNICEF Wendy Bruss Ann Dobson Barrett Ann Cutting (phot 87) Susan Brown (envl 76) EcoMotors International Lorne M. Buchman and Rochelle United Way Bruce Burdick (envl 61) and Bea Bennett Margi Denton Ophelia Chong (fine 89) General Motors Foundation Shapell Susan and Clark Valentine (prod 71) Susan Burdick Chantal Bennett Emily Hancock Timothy J. Delaney (prod 72) Wallis Foundation Boyd (d) and Jean (d) Higgins California Institute of Technology Susan and John Caldwell Hilary E. Crahan Cherie Harris Christian Denhart (prod 10) Hyundai Motor Company Wesley A. Coleman Wells Fargo Bank Sioux Cann Beverly E. Fitzgerald Christine Hessler Kristen Ding (grph 94) Lariat Companies Collectors Foundation Paul and Sherrill Colony Kelsey Browne Hall Avery Johnson Leah Toby Hoffmitz, Honorary Alumna Mazda Motor Corporation Faye and Robert Davidson Cooper-Hewitt, National Design Emily Hancock Sandra Law (adil 83) Richard Holbrook (tran 81) $5,000–$9,999 Showdown Displays Eight, Inc. Museum Betsy Hathaway Leslie Levy Wayne Hunt, Honorary Alumnus Électricité de France Sean A. Adams Hilary E. Crahan Marie Jones Jeanne Matthiessen Stan Kong (prod 83) Jeffrey Glassman ALIPH Dandelion Foundation Terri Kohl Peggy Phelps Gloria Kondrup (mfa grph 93) $25,000–$49,999 Bill Gross and Marcia Goodstein Amazon.com, Inc. Timothy J. Delaney (prod 72) Carolyn Oliver Thom Meredith, Jr. (grph 04) Design Studio Press Helen M. Posthuma Gary M. Meyer (illu 59) Anonymous Linda (advt 64) and Kit Hinrichs Carl Bass Linda Stewart Dickason Gloria R. Renwick Ramone C. Muñoz (advt 77, The Aerospace Corporation (advt 63) Calty Design Research, Inc. Jennifer Diener Joni J. Smith mfa art 90) Berlin Partner GmbH Honda Motor Company, Ltd. Joan and John Hotchkis Louise O. Dougherty Barbara Mann Steinwedell Katie Johnson Sprague (grph 91) Bettina Chandler Honda R & D Co., Ltd. Courtney and John Hotchkis (tran 86) Douglas S. Andelin (illu 87) Betty Urban Nathan W. Young (tran 87) Kristin D. Ellis Charles F. and Anne B. Johnson Hyundai Motor America Darian Dragge Andrea Van de Kamp Ford Motor Company Fund Tim Kobe (envl 82) Infiniti Division of Nissan North Terri and Jerry Kohl America, Inc. Arwen and Sean Duffy Leisa Vander Velde Stacy and George H. Ladyman, Jr. Joseph M. Lacko (grpk 87) Georgianna and Paul (d) Erskine Judy C. Webb (D)=deceased (tran 87) Melissa and Michael Lora Fred Fehlau (fine 79, mfa art 88) Georgina Whitford •26 summer 2013 — artcenter.edu/dot EDUCATIONAL PARTNERSHIPS William J. Finnegan Catherine R. and Erich O. Kugler Joseph H. Schmidt Tom Fong (prod 64) Yuko and Holger Schubert (prod 94) gifts-in-kind Maya C. Fredrickson Evelyn W. Kwoh (illu 91) Robert Schureman Erik A. Anderson Caren Furbeyre (fine 83, mfa art 90) Laird Norton Real Estate, Inc. The Schwab Fund for Charitable Giving Katherine Brown (illu 66) and Erle Furbeyre (adil 83) George Larkins II (phot 93) Joseph B. Seibold (prod 55) James Caccavo (phot 72) Elizabeth and Howard Galloway Daniel Lau David L. Sherman (envl 00) Brian Carter (film 78) Sandra (adil 83) and Chuck Law Mamoru Shimokochi (grph 70) Pamela (phot 75) and James Elyea Daniel Gambito (film 93) Anita C. Lawson Stephen Sieler (grph 80) (illu 73) Beverly (illu 57) and William Geck Elaine Lax Michele Slade Esko (phot 57) Rob and Leslie Levy Charles M. Smith The Gas Company Earl Gee (grph 83) Natalie and Glenn Levy (advt 66) Randy Smith Samuel Gonzalez, Jr. Glenn C. Gee (prod 73) David Ligare (illu 65) Gordon E. Smith (phot 50) Greater Los Angeles Auto Show Evelyn Geisler Beverly and Chester Limbaugh Erne Soos (envl 79) Paul T. Hauge (advt 58) We Don’t Douglas Geller (prod 76) (prod 58) Raymond Sova In memory of Matthew Jamgochian Bruce Geyman (prod 65) Helen R. Litt Brien Spanier (advt 88) Tyler C. Jensen Clifford R. Ghetti (tran 67) Jessica Lo (illu 03) William L. St. Clair (prod 56) Robert M. Kato (illu 87) Jason W. Gholston (film 00) Carol and Sarah Lobb Robin and Benjamin Stafford Los Angeles County Museum of Art Vern Gillum (advt 65) Tomas Loewy Pamela and Foster Stahl Lei Tao Judy Glenzer (advt 91) Eleanor Cohen Louis (illu 89) Wanda Gae Stefansson Joseph A. Llanes (phot 06) Lauren Gohara (fine 94) Douglas B. Mac Millan (phot 74) James R. Stephens, Ph.D. (phot 42) Dennis McCarthy Just Jered Gold Judy MacCready (d) Jillian D. Stern (advt 86) Neutral Posture Ergonomics Mrs. Douglas Goodan Peter M. Marino (tran 61) Michael E. Stern (phot 79) Ray Products Co., Inc. David Goodman Dorothy and John Matthiessen Brigitte and Frank Sterrett Jerry F. Rosenstock Paula Goodman Jeanne and John Matthiessen Fred Stesney (illu 86) Michael Sidney Joseph R. Henry and S. Stanley Gordon Melodie McDaniel (phot 91) Ginny Stever Lee Spray Paul L. Grab (illu 10) Kerny McLaughlin Tia Stoller (grph 87) The Family of Kevyn Wallace Tom Graboski (envl 71) Charles McVicker (illu 57) Erling Storvik (grph 83) (Erling Teach Dora A. and William H. Grover, F.A.I.A. Brian Merritt storvik Design) (prod 62) Robert Mesrop (advt 60) Petra and Sean Stratton (film 90) Alice S. Hall (phot 76) Pablo Meyer (prod 82) Fajar Suharyanto (tran 95) Thomas Hammel (film 75) Microsoft Corporation Khalil C. Sullins (film 96) Janet C. Hancock Barbara Lee Mingrone Amy and Mark Swain John Hanna (prod 62) Ross Moen Herbert W. Swain, Jr. (advt 76) Mitchell B. Harmon (advt 78) Toni Moran Delbert A. Swanson (prod 68) Best Cherie W. and Mark Harris Darryl Mori Ming W. Tai Charles Hassel (prod 67) Gale Morris (tran 58) Naomi (Hata) Taube (advt 79) Richard B. Hatch (prod 67) Marina Naito (prod 78) Karen L. Thomas (envl 81) Kathryn E. and Jack Hermsen (advt 72) Sean M. Nalaboff Leron R. Thomas (prod 64) Elise Hilbert (d) Mateo Neri (grpk 93) Keith Thorne (prod 70) Phyllis and Ronald Hill (tran 54) Tony Nguyen Susan and Michael Toth Karen Hofmann (prod 97) Laura and LeRoy Oakley (advt 57) Maximilian Toth (fine 03) Practices. David H. Holt (phot 62) Andrew P. Oksner Douglas C. Tubbs (prod 41) Patrick S. Hoo (advt 71) Sandra Faye Oppegard (phot 68) Palencia Turner Maura and Martino L. Hoss (advt 87) Harry L. Oppenheimer, Jr. (phot 66) A.T. Ueland (phot 89) David and Mickey Houk Ronn Osiecki (illu 58) Mitchell G. Ulrich Sally and John Howell Randy Oxley (illu 95) Steve S. Urban (phot 73) Gail H. Howland (phot 04) Mike Padilla Julie Veitch (phot 82) Cheryl A. Hughes (prod 81) Laura Phillips (illu 88) Darby and David Walker We Nancy Hulick Richard Pietruska (tran 70) Judith and Roger Wallenstein Diane M. Imori-Rodgers (advt 86) Barbara Kubly Plunkett (advt 48) Nancy E. Warner, M.D. Christopher Ince Frank Pocino Russell Waterhouse (illu 56) Norman K. Inouye (prod 68) Tom Price Ralph Waycott III (phot 78) Intel Foundation David L. Provan (prod 52) Alan K. Weber (phot 76) Philip Ishimaru (prod 60) Niki and Andy Rapattoni (Rapattoni G. Greeley Wells, Jr. (fine 69) Ted T. Itamura (phot 91) Corporation) Renee and Galen Wickersham Create Them. Megumi Itoh (illu 92) Barbara Davis Reynolds (illu 80) (tran 59) Jewish Community Fund Rob L. Richards (illu 84) George Windrum (prod 52) Kyle Jochai (illu 03) Ernie Rideout Robert Wolf Executive Education & Professional Development Tom Jungman (phot 58) Nancy L. Riegelman (fine 75) Laury Wolfe (advt 68) Andrew Kaiser Hector Robledo (advt 56) Gretchen Wustrack (prod 99) Kristin Keller (grph 04) Phillip Ross (grph 76) Celeste I. Wylie Rustam F. Khasanov Mark and Sherry Nicolai Russell Jo Ann and Edward Yamada (envl 66) Coming Soon Glen H. Killian (phot 82) (grph 86) Shim S. Yokoyama (envl 79) (Killian Photography) Robert G. Russo (illu 68) Lloyd and Marjorie Youngkin Gail Knight Tony Saenz Daniel Ko (grph 90) Bonnie Saland and Mark Beck Charles Kohlhase Karl Salskov (phot 74) Donna Kolb and Frank Masi Mel Sant (advt 64) Lisa and Stan Kong (prod 83) Leonard Schachner (prod 65) [email protected] •28 summer 2013 — artcenter.edu/dot teaching creativity •29 Teaching strategy. The intense pace of production—10 projects per student per term—is integral to Beisert’s teaching strategy. “At Art Center, we make things. It is in our DNA.

r The more you practice, the better you get. I found that e e this principle especially applies to creativity.” therb e

W / Students typically have a week to complete each project,

e which they present in class along with a visual guide of Chris Hatch — Jami their creative paths. For the 99¢ Cent Store assignment, — Beisert brings in a panel of guests to evaluate the finished projects and to put a “price” on each one. “We once got (2) photos story Creativity up to $9,000 on one concept,” he notes with pride. The course took years—and a master’s degree—for (1) (2) (3) Beisert to formulate. In 2006, he enrolled in Art Center’s In the Creative Strate- For an assignment to Asked to design a sur- Grad Industrial Design program to design a class in gies course, students design a product out real experience, Ian Breaking new ground are challenged to express of waste material, Tash Abinoja posted hundreds creativity and spent two years researching and proto- their design process Ushiyama developed of colorful fliers using a single sheet of a “green punk” line of around campus with his typing the course. But its original inspiration dates back paper. bags and portable ac- locker number and the in the classroom even further. cessories. This laptop combination to open it. case is made of mailing He filled the locker with and shipping materials. happy images of himself, “A student of mine years ago asked me if I could teach plus a disposable camera and in the marketplace for visitors to take her to be more creative, and that question has haunted pictures of themselves. me ever since—in a good way,” Beisert says. “I wanted to investigate if it was possible to teach creativity just like any skill that we learn at Art Center.” Beisert’s Creative Strategies course teaches students to break patterns, reframe problems and apply new conceptual thinking to their work.

In 30 minutes, Thirty minutes are now up, and students lay their paper visualize your creative process creations side by side on a long table for Beisert’s review. The finished products vary wildly—from what and recreate it using looks like a red, ruffled mountain to a fish-like skeletal an 8-and-a-half-by-11 piece of paper. sculpture in blue. One student, explaining how his broad blocks of thought gradually become more refined, holds This is the first assignment in Creative Strategies, a up a green page that’s been sliced with increasingly popular undergraduate Product Design course taught longer strokes until a rectangular strip curls into a tail. by instructor Fridolin “Frido” Beisert indu 08, faculty (1) director of Art Center’s Product Design Department. “I see, so this is meant to hang,” Beisert says. “You prob- ably anticipated we’d place the projects on this table. All 14 students accept the challenge. Walking to the What would have been better is if you had grabbed a front of the classroom, they each select a single sheet piece of string to hang it from the ceiling.” of colored construction paper and take a seat along the “At Art Center, row of bare metal tables. As a digital timer, projected “Creative Strategies challenges students’ existing onto the wall, starts ticking, the students immediately processes and design skills, and for some it’s a catalyst we make things. It is start cutting, tearing, folding and drawing. for forming their careers,” says Karen Hofmann prod 97, in our DNA. The more chair of the Product Design Department. “They learn It’s the sort of exercise students might remember from how to take something expected and common in the you practice, the grade school, but this time the message is quite differ- marketplace, completely rethink it and come up with an better you get” ent. “I want you to fail at least one of the assignments in idea that is novel, marketable and potentially ground- this class,” says Beisert. “That way you will know if you breaking.” — Fridolin Beisert — are reaching new conceptual grounds.” Associate Professor & Faculty Director, Product Design The rapid-fire, 14-week course uses 10 creative-thinking projects, from reimagining Valentine’s Day chocolates to repackaging items from the 99� Only Store® to sell See more projects at creative-strategies.com them at a higher value, each demanding a different (3) •30 summer 2013 — artcenter.edu/dot teaching creativity •31

creative

currency

Companies, too, are placing an increasingly higher premium on innovators who dare to think differently, according to IBM’s most recent global CEO study. The report, which surveyed 1,500 CEOs from 60 countries and 33 industries, found that 60 percent of these executives named creative leadership as the top orga- “It’s not a class about nizational need over the next five years. And more than a third said their companies invested resources into developing your skills developing these types of leaders, even during the but about thinking height of the global recession. differently. It’s trans- “Creativity is at the very core of an art and design edu- formed my approach to cation,” says Art Center President Lorne M. Buchman. “And in today’s economic environment our graduates design completely.” have both the ability and the opportunity to create new value on an increasingly global stage.” (6) — Andrew Kim — Indeed, some manage to do so even before they gradu- ate. Andrew Kim is a case in point. As a student in the Creative Strategies class in 2012, the Product Design major’s homework went viral. “Frido assigned a project where we rebranded popsicles. But I didn’t want to rebrand popsicles—I wanted to rebrand Microsoft,” says Kim of the project that was assigned last summer.

Prior to the tech giant’s launch of Surface and Windows 8, Kim created “The Next Microsoft,” a boldly minimal rebranding of the company across multiple platforms and devices. He then posted his concepts, which took three days to design, on his aptly titled design blog, Minimally Minimal. Within days, Hacker News, a website (4) that spotlights computer hacks and startups, picked up Kim’s designs. And Fast Company, The Wall Street Journal, TechCrunch and Business Insider soon fol- lowed suit.

“My blog got half a million hits in one weekend, and I have 8,000 followers on Twitter—basically all from this project,” says Kim.

Kim calls Creative Strategies the greatest course he’s taken at Art Center. “It’s not a class about developing your skills but about thinking differently,” he says. “It’s

transformed my approach to design completely, and I (4) (5) (6) can’t thank Frido enough for that.” Andrew Kim’s now- (Left) For the animal For an assignment to legendary Microsoft housing assignment, create a self-portrait rebranding project. Isaac Oaks created a in the form of a promo- Major online players started courting Kim, who again Kim applied his “slate” mobility device for tional piece, Jessica design to the company’s goldfish so that they Nordquist conceived made news when he announced on his blog he’d various products. can go for a walk. L>R: an interactive Jacob’s Tetsugaku Sasahara, Ladder. be joining Microsoft this summer, working as a visual Frido Beisert, James designer for products under the Xbox brand. Thornton, Mike Kim, Ross Koball and Oaks. (Right) Beisert and Sasahara watch the presentation. (5) •32 summer 2013 — artcenter.edu/dot teaching creativity •33

Technology, the College this year will launch The Design kick Accelerator, a 12-week immersive program for five selected startup teams with the goal of turning creative creativity ideas into viable, funded companies. “The Design Accelerator is unique among Los Angeles incubators in its focus on design-driven entrepreneur- ship and in the collaboration between design and tech- starting nology, represented by two of the world’s top schools in these fields,” says Mark Breitenberg, Art Center’s special assistant to the President. Beyond the classroom, Art Center is working to funnel funding into students’ creativity. The College teamed up The Design Accelerator will also pair the teams with with Kickstarter, a popular crowdsourcing platform, and mentors from the local business community, as well in February 2012 launched a curated page where Art as faculty from Art Center and Caltech. The Pasadena Center students, faculty and alumni can find backers for Angels and the Tech Coast Angels, two local venture- their projects. funding groups, have also signed on as partners.

Kickstarter’s invite-only curated pages allow organiza- “The work our students produce in courses like Creative tions—including YouTube, TED Fellows and Sundance Strategies has so much potential in the marketplace, Institute—to highlight projects for potential backers to but too often ends up just sitting in the portfolio. The browse, all in one place. Design Accelerator will give students and alumni yet another vital platform to get their creativity out of their “Our Kickstarter page shows the diverse and innovative portfolios and into the world of startups,” says Hofmann, work of our Art Center community,” says Alumni Relations who serves on The Design Accelerator advisory board. Director Kristine Bowne, who helped lead the Kickstarter “This new initiative will allow us to turn creativity into collaboration. “It’s a very powerful platform to both actual companies. Platforms like Kickstarter and our share these projects and support great ideas getting DOT Launch entrepreneurship program are enabling funded.” our students to take their ideas directly to market and perhaps launch their own businesses.” (8) So far, more than 45 ventures, mostly student-led, featured on Art Center’s page have raised nearly $1.5 million. Additionally, acclaimed designer and entrepre- neur, alumnus Yves Béhar PROD 91, recently raised $8.5 million through Kickstarter for Ouya, an Android- (7) powered game console. See more projects at creative-strategies.com

Other successfully funded projects, some of which are already for sale, include alumna Christine Park’s Pad- Faculty Commons: Design and Humanities & Sciences classes at the College. “The goal is to engage the Pivot, a tablet stand that fits in your pocket, and Portals, Raising the bar for art challenges and opportunities of art and a pair of boxes crafted by Media Design student Jayne and design education design practice in this new century by sup- Vidheecharoen that allow users to interact both physi- porting and initiating resources, efforts and cally and virtually. in the 21st century events that directly contribute to instruc- tors’ intellectual and classroom efforts.” It takes a village to educate the next In 2011, Gabriel Wartofsky trans 09 raised nearly $26,000 The next Summit is slated for fall, with a on Kickstarter to produce Conscious Commuter, a generation of artists and designers. With that in mind, more than 70 faculty mem- series of faculty workshops and events folding electric bike he designed while studying at Art bers from all departments pooled their sprinkled throughout the coming months. “The Design Accel- Center. resources and approaches to understand erator ... will allow us how best to support Art Center students. Art Center President Lorne M. Buchman has Wartofsky and serial entrepreneur Bob Vander Woude personally encouraged the development to turn creativity into co-founded Conscious Commuter Corporation in Port- Faculty Commons, which hosted its first of the Faculty Commons. “We are blessed land, Ore. Art Center’s Executive Director of Graduate “Teaching and Learning” Summit in October, with a group of gifted and talented faculty actual companies.” (7) (8) offers instructors a series of professional who collectively hold enormous knowledge Transportation Design Geoff Wardle soon joined the Gabriel Wartofsky Challenged to design development and research opportunities, capital, not only in what we teach but how — Karen Hofmann — advisory board. TRAN 09 developed the animal housing from Conscious Commuter the perspective of as well as common ground to share we teach, and tapping into that is critical Chair, Product Design electric bike. the animal, Herbert campus resources and practical teaching for an institution like ours committed to the “The best part of Kickstarter is that it allows everyone Hsu created a flat-pack approaches. highest level of learning and discovery. birdhouse (above) and who wants to, to be involved,” says Wartofsky. “But to German Aguirre a mos- Through the Commons, faculty gain from a make it work, it’s got to be a passion project. Everyone quito spa. “The Commons allows faculty to develop deep engagement with each other and, as a sense of community and share in the one of the world’s leading art and design [at Art Center] has a passion.” collective wisdom of the many, many schools, we raise the bar for the entire field.” smart and talented people who teach at Art Art Center is continuing to take creativity outside the Center,” says Sean Donahue GMDP 02, who Visit accdfacultycommons.com for more classroom. In partnership with the California Institute of teaches Graduate Media Design, Graphic information. •34 summer 2013 — artcenter.edu/dot dot news •35

building, The Parsons Foundation’s The 14-week Berlin transdisciplinary left Berlin is the backdrop grant signals to the community the summer studio—this year titled Reboot for Art Center’s new growing importance of the creative Retail—once again takes 15 students year-round studio and dot professions to the economy and our beyond a traditional study abroad alumni offerings. world,” he says. “We are profoundly program to give them an immersive bottom left grateful to our donors and to the experience in a cutting-edge retail Scale model of the foundation for sharing Art Center’s ecosystem. The studio is led by cutting-edge retail news complex Bikini vision of exceptional art and design Environmental Design faculty member Berlin. Image education.” Rob Ball and students from both courtesy of Bikini Berlin. During Buchman’s tenure, philan- Environmental and Graphic Design thropic investments in the College are participating. bottom right have grown significantly. In this past “At the center of a sophisticated Designers at work: Art Center Berlin Studio. year, the College more than doubled urban redevelopment initiative, BIKINI the average gift totals of preceding BERLIN is a uniquely innovative, years. In late 2012, the College’s hybrid retail complex,” says David Board of Trustees renewed Buchman’s Mocarski, chair of the summer studio’s contract as President and Chief host department, Environmental Executive Officer through 2017, citing Design. “It’s the perfect venue to the many significant achievements develop new ideas that combine the since his appointment in Fall 2009. best of digital, physical, media and Find out how you can support the spatial components.” next phase of Art Center’s expansion. This year alumni will also be part of Call Maya Fredrickson at 626/396-2455. the mix. “Capitalizing on the extensive networks of our expert faculty and above right that her organization’s philanthropic Art Center Berlin industry partners, we’re developing a Façade of South series of executive education programs Campus wind tunnel focus is to help create the best pos- Expands, Debuts Alumni building. sible Los Angeles. “Art Center College that will engage and benefit our mid- of Design is both a part of the Los Education Program career alumni in whole new ways,” says above Aerial view of South Angeles area and a part of the bigger Building on deep connections forged Elizabeth Collins, executive director Campus shows world. It has impact and reach much over the past decade with some of of educational partnerships, which doubling of size with expanded last fall to include the Office acquisition of new larger than our community,” she said. Berlin’s leading creative agencies, property outlined in “The Parsons Foundation began its educational institutions and civic of International Exchange and Study magenta. grant making in 1978. Since then, we leaders, Art Center College of Design’s Away. “With a strong, interconnected group of alumni in Europe, Berlin is right have given 5,000 grants, but only presence in Berlin is growing. View north from 33 of this size. These are very rare With the completion later this year the perfect place to begin the series.” South Campus roof- investments—our acknowledgment of the highly anticipated BIKINI BERLIN Renowned Berlin-based graphic top garden toward former U.S. Postal $6 Million in Philanthropic that the recipient institutions are Living Space, Art Center will establish designer Michael Sans prod 97 will Service building. Investments Support really cornerstone institutions. They a permanent, year-round studio for lead the alumni workshop. demonstrate excellence in all that Art Center students and, on June 29, Together Collins and Hafermaas are College’s Expansion they do.” welcomes Europe-based alumni for working with Art Center’s department Charitable gifts and grants totaling Art Center alumni have also professional education workshops chairs and corporate and education more than $6 million have fully funded responded to expansion plans in an and a reception. Alumni programs partners to plan further alumni and the 2012 acquisition of a former U.S. unprecedented manner, donating $5 and students’ project presentations student opportunities at BIKINI BERLIN Postal Service (USPS) property in million for the acquisition of the new are conducted in the exclusive BIKINI —”new opportunities,” says Hafermaas, Pasadena directly adjacent to Art property. Donations include seven- BERLIN showroom overlooking the “for us—and for Berliners—to discover, Center’s current South Campus at figure gifts from: Art Center alumnus center of Berlin City West. engage and create change.” 950 S. Raymond Ave. and award-winning environmental “Berlin is a dynamic hub for global In December The Ralph M. Parsons designer Richard Law MS INDU 58; exchange and inspiration, not only for Foundation awarded $1 million to Art alumnus and kinetic sculptor Steven students, but also for our alumni who Center in support of the expansion. Rieman PROD 74 and his wife, Ruth; have become leaders and entrepre- Additional gifts from three donors alumnus Bruce Heavin ILLU 93 and his neurs in the creative industry,” says with longstanding ties to the College wife, former Art Center faculty mem- Graphic Design Chair and Executive total $5 million. These investments ber Lynda Weinman, owners of the Director of Berlin Programs Nik Hafer- will enable the College to extend its innovative online learning company, maas. Co-founder of the communica- educational reach and resources and lynda.com. tions agency Triad Berlin, Hafermaas invigorate art and design education These developments are a direct studied, lived and worked in Berlin for in the local area and well beyond. The outgrowth of the five-year strategic 20 years before joining Art Center in expanded South Campus is expected plan, Create Change, spearheaded 2004, and since then has built a net- to be ready for use by students and by Art Center President Lorne M. work of relationships across sectors— faculty in January 2014. Buchman. “Building upon the unprec- creative, business, education and The Parsons Foundation president edented support of our alumni for government—that make Berlin a vital and CEO, Wendy Garen, explained the acquisition of the former USPS new satellite location for Art Center. •36 summer 2013 — artcenter.edu/dot dot news •37

In its coverage of the Challenge, left Dieter Rams, Spring Car and Driver magazine showcased Student Winners of 2013 commencement EcoMotors Design Chal- 23 concepts that “the feverishly speaker and recipient creative student minds produced.” of honorary doctorate from Art Center. lenge Hailed by Bill Gates It also cited the former Big Three To reduce global greenhouse gas design chiefs who served as the bottom (L–R) John Colletti, emissions, making cars more efficient competition’s judges—Ford’s Jack coo of EcoMotors, is a top priority. New “clean engine” Telnack TRAN 58, GM’s Wayne Cherry congratulates Silver technology is part of the solution. PROD 62 and Chrysler’s Tom Gale— Prize winner Bruno Gallardo on his pickup How might an engine half the size noting that “a more distinguished and truck design. With and weight of conventional motors discerning panel of judges would be David Scheinberg, revolutionize vehicle packaging and hard to find.” Pcgcampbell. design? Students from Art Center and Among the victors in a talented Detroit-based College for Creative field, Art Center’s Bruno Gallardo won Studies (CCS) took up the question the Silver prize for his full-size pickup with gusto in the EcoMotors Design truck design, and JJ Hwang took Challenge: Reshaping the Future, a home the Bronze for his new-concept watch Fall 2012 sponsored project. vehicle for emerging markets. James video During a Fall 2012 intensive online Designmatters studio class led by EcoMotors “is radically simplifying Leo Yamazaki earned an honorable Environmental Design instructor engines, leading to a footprint that is mention for his mid-size passenger James Meraz, six Art Center students smaller and lighter than a traditional car design. “Today’s main challenges are the developed memorial proposals and engine, but just as powerful,” Bill Gates “We were blown away,” said Don Dieter Rams Urges protection of the natural environment submitted them to the competition. wrote on his blog The Gates Notes. Runkle, CEO of EcoMotors Interna- Graduates Toward and overcoming mindless consump- Two of the students—Menard and her “But innovations like these are only tional. “These young designers have tion,” he said, urging graduates toward classmate J.D. Clark—were selected as useful if consumers want them…These shown how this compact, efficient Responsible Design Ethos “a design ethos that goes way beyond finalists by PASAGMC’s independent bright young designers have devel- and lightweight propulsion source “Tomorrow’s world will be designed complacency and arbitrariness.” panel of judges, an impressive achieve- oped cars, trucks, and other vehicles can, indeed, reshape the future of by the design students of today—by For Rams, the very meaning of ment in a field of competitors that in- that have wide-ranging applications, automotive design.” you—and while this is a great oppor- design is at stake. “The word ‘design’ cluded many seasoned professionals. from high-efficiency, high-capacity “This innovative engine inspired tunity, this is also a great challenge is increasingly associated with a “We were deeply impressed by sedans to modular equipment for concepts unlike anything we could and a great responsibility,” Dieter growth-oriented consumer society,” Catherine, who developed and farmers in Southeast Asia. Most exci- have imagined—truly groundbreak- Rams told graduating Art Center stu- he observed. “Instead of being watch presented an emotionally compelling ting to me is the fact that these stu- ing work,” said Transportation Design dents during the 2013 Spring Gradua- degraded to a lifestyle term, I wish for video design for a historical event that she dents are commercializing a product Chair Stewart Reed. tion Ceremony on Saturday, April 20. [it] to stand for something that really online initially knew nothing about,” said that can help reduce carbon output, Models of the winning concept Generations of designers have helps human beings come to grips Committee Chair William M. Paparian, and reach underserved markets whose vehicles were featured last fall in Art been inspired by Rams’ work. As chief with our world, to get along with each Esq., an attorney and former mayor of transportation options are slim.” Center booth at the L.A. Auto Show‘s. of design at Braun from 1961 until other and also to better our environ- Art Center Student Pasadena. “We hope that this memo- retiring in 1997, Rams was responsible ment. We want to contribute to the Wins Armenian Genocide rial will inspire a similar emotional for innovative design in radios, record preservation of this planet. In addi- connection in those who encounter it, players, watches, coffee makers, tion there is a very urgent and neces- Memorial Competition for generations to come.” shavers and other objects that con- sary need to minimize the physical Three columns leaning into one Greater Los Angeles is home to tinue to influence functionality and and visual pollution. It makes a huge another form a tripod 16 feet tall; from the largest population of Armenians in aesthetics in many of today’s most difference if we use our products its highest point a single drop of water the United States, many descended popular products. Apple design chief for one year, five years or 10. That’s falls into a carved-stone basin every from families persecuted and killed Jonathan Ive said Apple products why we need less and less products 21 seconds, each “teardrop” repre- between 1915 and 1921. In the course could be seen as an homage to Rams, whose manufacture or use squanders senting one life lost; over the course of her research, Menard immersed who created “surfaces that were resources or whose existence harms of a year, 1.5 million tears will fall, the herself in accounts of the Armenian without apology, bold, pure, perfectly the environment.” estimated number of victims of the Genocide as well as the recent his- proportioned, coherent and effortless.” Good design, he reiterated, is as Armenian Genocide. tory of memorial art, including the In a large white tent under clear little design as possible. “We want to By unanimous vote in January, at Vietnam Veterans Memorial Wall in and sunny skies, Rams was warmly go back to the pure and to the simple. the conclusion of a two-phase com- Washington, D.C., designed by Maya introduced by Product Design Chair And simplicity is the key to brilliance.” petition, the Pasadena Armenian Lin who, like Menard, was a student at Karen Hofmann and accepted an He presented five essential dimen- above left Design competition Genocide Memorial Committee (PASA- the time she won the competition. honorary doctorate of arts from Art sions of design—functional, com- winner Catherine GMC) selected this simple yet deeply “At first I felt unworthy,” said Center President Lorne M. Buchman. municative, aesthetic, temporal and Menard; rendering of symbolic design by Environmental Menard. “Who am I to respond to In his graduation address, delivered ecological—along with his formula Menard’s memorial design concept. Design undergraduate student such loss? But art lends itself to the in German and translated live by an for sustainable production: “Less but Catherine Menard. The public artwork, deepest, darkest parts of human English-language interpreter, Rams better! Much, much less, and much, above right whose dedication in April 2015 will experience. It can create sympathy, thoughtfully reflected on his past, much better.“ James Meraz (second from right, with stu- coincide with 100th anniversary empathy, understanding. I wanted sharing lessons gleaned over a And he concluded by quoting dents) led the Design- commemorations of the Armenian to pair this horror with something long and influential career as both a Mahatma Gandhi’s famous precept, matters studio class that developed the Genocide, is planned for a proposed uplifting and beautiful, to create a designer and an educator, while also “We must be the change we want to memorial concepts. site in Pasadena’s Memorial Park. way to remember.” voicing concerns about the future. see in the world.” •38 summer 2013 — artcenter.edu/dot spotted •39

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watch video online “PAGES” EXHIBITION IN WILLIAMSON GALLERY: NOVELIST JERVEY TERVALON was ONE OF EIGHT LOCAL WRITERS FEATURED JAN. 6 AT PASADENA Transportation Design Chair and promoted Art Center’s commit- LITFEST READING. A Weekend of Insights Stewart Reed moderated “From the ment to empowering extraordinary and Innovation Runway to the Road: the Genesis of talent and nurturing creative leaders Racing Cars,” whose guests included who make the world a better place.” Last October, the day before Art Edward Justice, Jr., president/CEO, Williamson is founding Chair of Center’s annual Car Classic, the College Justice Brothers; Peter Brock PROD 56, Art Center 100, established in 1986 hosted Art Center Insights, a special president/CEO, Brock Racing Enter- as a community support group for opportunity for invited guests to get a prises; and Trevor Harris, CEO, Harris student scholarships, and in 1992 she behind-the-scenes look at the special Dynamics. oversaw and funded the creation of a brand of design thinking happening The event concluded with “Motor gallery space at Art Center’s Hillside inside the classroom. To pair nicely Magic: How Concept Designers and Campus. Beyond Art Center, she is with Car Classic, Insights presented ART CENTER’S ANNUAL CAR CLASSIC WITH A FOCUS ON “INSPIRED DESIGN,” HELD OCT. 21, Builders Bring Hollywood Cars to Life,” a trustee emerita of her alma mater, DREW A CROWD OF 1,500 DONORS, CORPORATE PARTNERS, ALUMNI AND AUTO ENTHUSIASTS. discussions and workshops revolving a panel moderated by Entertainment Scripps College, and currently serves ENJOYING THE FESTIVITIES (L>R): CAR COLLECTOR BRUCE MEYER; ART CENTER BOARD CHAIR around the past, present and future Design Chair Tim Flattery, whose on boards for the Huntington Library, ROBERT C. DAVIDSON, JR. AND HIS WIFE FAYE; AND susan AND ROBERT WENZLAFF, MEMBERS OF THE PETERSEN AUTOMOTIVE MUSEUM’S “CHECKERED FLAG 200.” of transportation. guests included: Syd Mead TRAN 59, Art Collections and Botanical Gardens Graduate Transportation Design futurist and creator of the Blade Run- and the L.A. County Arboretum and Department Executive Director Geoff ner spinner car; Harald Belker TRAN Botanical Gardens. She is also a board Wardle moderated “Transportation 90, designer of the Mag-Lev vehicle member of the Los Angeles Opera, Solutions for the 21st Century.” Guests in Minority Report; and George Barris, the Music Center, the Center Dance included: Clay Dean, chief designer at designer of the Batmobile for TV’s Association, the Los Angeles Philhar- GM Global Advanced Design; GradID Batman. monic and Childrens Hospital Los alumna Magdalena Paluch, trends and Angeles. She is a past board member innovation strategist at Toyota; and of the Pasadena Symphony and Pops. Claude Willey, urban development Alyce de Roulet Williamson Among the many friends and col- educator at California State University, Named 2012 Outstanding leagues who came out to honor her Northridge. Philanthropist at the event were Art Center Trustees Product Design Chair Karen Wesley Coleman and Jeffrey Glassman, Hofmann and Graphic Design Chair For her steadfast advocacy of visual President Lorne M. Buchman and Film Nik Hafermaas led “From Rockets and performing arts in Los Angeles, Chair Ross LaManna. Alyce de Roulet Williamson was named to Rails: Mobility Trends Beyond the Williamson accepted the award SPRING 2013 GRADUATION RECEPTION: EMILY WATERS PHOT 13 Automobile,” a workshop with guests 2012 Outstanding Philanthropist dur- by quoting St. Francis of Assisi: “It is (TOP PHOTO, LEFT) AND ADALBERTO ROMAN PHOT 13 (BOTTOM PHOTO, LEFT) CELEBRATE WITH FRIENDS. Miguel Galluzzi TRAN 86, vice president ing the annual celebration of National in giving that we receive.” of design, Piaggio; Dan Goods GRPK Philanthropy Day sponsored by the 02, visual strategist, NASA’s Jet Greater Los Angeles Chapter of the Propulsion Laboratory (JPL); and John Association of Professional Fundraisers. above left Ziemer, JPL’s concept innovation More than 400 guests attended the Alum Miguel Galluzzi November 14 awards luncheon at the (right), Piaggio vice methods chief. “LEADING INNOVATION IN NONPROFITS AND CORPORATE PHILANTHROPY” president of design. “Between Art Center, Caltech and Beverly Hilton in Beverly Hills, Calif. PANEL AT THE MAX DE PREE CENTER FOR LEADERSHIP, PASADENA. JPL, you have so many people here “Alyce has dedicated herself to (L>R) JACQUELINE FULLER, DIRECTOR OF GOOGLE GIVING, WITH above right MARIANA AMATULLO, ART CENTER VICE PRESIDENT, DESIGNMATTERS. Alum Magdalena who think in different ways,” Galluzi some of the most vital organizations Paluch, Toyota inno- said of Pasadena, which he chose as serving the community, including, for vation strategist. the future site of Piaggio’s Advanced nearly 30 years, Art Center College of bottom right Design Center. “And then you can get Design,” said Board of Trustees Chair- OCEANSIDE MUSEUM OF ART EXHIBITION THE BEAUTY IN THE BEAST: Trustee Alyce de all these minds together and create man Robert C. Davidson, Jr. “From the CRAFTING CREATURES BY NEVILLE PAGE AT jan. 5 CLOSING RECEPTION (L>R): Roulet Williamson OCEANSIDE MUSEUM OF ART (OMA) EXECUTIVE DIRECTOR DANIEL FOSTER, (center) with Art new things. That is what makes this beginning of her involvement with the ART CENTER PRESIDENT LORNE M. BUCHMAN, ENTERTAINMENT DESIGN ALUMNUS Center students. city unique.” College, she has keenly understood NEVILLE PAGE PROD 90 AND OMA BOARD MEMBER, ALUMNUS DAVID ARNOLD ADIL 63. •40 summer 2013 — artcenter.edu/dot spotted •41

SPRING 2013 GRADUATION CEREMONY: (L>R) GRAPHIC DESIGN CHAIR NIK HAFERMAAS, COMMENCEMENT SPEAKER DIETER RAMS AND PRODUCT OPENING NIGHT OF M/MANIFESTATION: FRENCH DESIGN CHAIR KAREN HOFMANN. CULTURAL ATTACHÉ ADELAIDE BARBIER WITH ART CENTER PRESIDENT LORNE M. BUCHMAN.

MARCH 7 OPENING NIGHT OF THE WILLIAMSON GALLERY EXHIBITION M/MANIFESTATION, FEATURING WORK BY THE CELEBRATED PARIS-BASED ART AND DESIGN DUO MATHIAS AUGUSTYNIAK (L) AND MICHAËL AMZALAG (R), WITH ILLUSTRATION CHAIR ANN FIELD.

SPRING 2013 GRADUATION CEREMONY: GRAPHIC DESIGN FACULTY MEMBER LEAH HOFFMITZ WAS HONORED WITH A DISTINGUISHED ACHIEVEMENT AWARD.

SPRING 2013 GRADUATION CEREMONY: A FAN OPENING NIGHT OF M/MANIFESTATION: CELEBRATING IN THE EXHI- REQUESTS RAMS’ AUTOGRAPH. BITION GALLERy.

ART CENTER at SOUTH BY SOUTHWEST, MARCH 2013, AUSTIN, TEXAS. (L>R) INTERACTION DESIGN CHAIR MAGGIE HENDRIE, USER EXPERIENCE CONSULTANT KATHRIN PEEK, AND AUSTIN CENTER FOR DESIGN FACULTY member LAUREN SEROTA OF FROG DESIGN.

LOWELL MILKEN FAMILY FOUNDATION BEST IN SHOW AWARD PRESENTATION RETIREMENT PARTY FOR LONGTIME GRAPHIC AT ART CENTER IN APRIL. (L>R) LEGACY CIRCLE CO-CHAIR GAIL HOWLAND DESIGN INSTRUCTOR PAUL HAUGE ADVT 59.

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( . L 4 8 ) N A A AT A SACRAMENTO RECEPTION SHOWCASING ART CENTER STUDENTS’ WORK, N R D T

FILM 05 ILLU G R MIGUEL OLIVARES (FAR LEFT) AND RACQUEL ORMSBY-OLIVARES R E A K 09 (FAR RIGHT) AND THEIR SON, WITH CALIF. ASSEMBLYMEMBER CHRIS D L U WA AT HOLDEN (CENTER) AND ART CENTER’S AMY SHIMSHON-SANTO, ASSISTANT FEB. 5 WORKSHOP ANd ALUMNI RECEPTION AT ART E YD I LO DIRECTOR, FOUNDATION RELATIONS AND GOVERNMENT GRANTS. PHOTO BY CENTER, featuring KICKSTARTER ART PROGRAM ND L UST OR RIA UCT JEREMY THOMPSON FILM 91 DIRECTOR STEPHANIE PEREIRA. L DESIGN INSTR Nonprofit Org. U.S. Postage 1700 Lida Street PAID Pasadena, CA 91103 Pasadena, CA Permit No. 557

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