Design/Art/Craft EMOTION N GREAT CLIENTS N ID+ME Where Are You Going to Be This Spring?

QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA SPRING 2014

Design/Art/Craft EMOTION n GREAT CLIENTS n ID+ME Where are you going to be this spring?

DENVER April 5 | GRAND RAPIDS April 5 | SAVANNAH April 12 | CHICAGO April 26 | NEW YORK CITY May 15

2014 DISTRICT DESIGN CONFERENCES

For more information on this year’s conferences, their themes and to register visit - www.idsa.org/save-date-2014-district-design-conferences or scan the QR Code.

Membership has its benefits. IDSA members receive discounts on District Design Conferences, the International Conference, IDEA, INNOVATION and more. Get all the details at http://idsa.org/membership-overview. QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA SPRING 2014

Fort Standard’s Crest Bottle Openers. See p. 49. Brian Ferry

Publisher Executive Editor Sr. Creative Director Advertising Annual Subscriptions IDSA Mark Dziersk, FIDSA Karen Berube Teresa Algie Within the US $70 555 Grove St., Suite 200 Managing Director IDSA 703.273.6211 Canada & Mexico $85 Herndon, VA 20170 LUNAR | Chicago 703.707.6000 x102 [email protected] International $125 P: 703.707.6000 [email protected] [email protected] F: 703.787.8501 Subscriptions/Copies Single Copies www.innovationjournal.org Advisory Council Contributing Editor Jill Richardson Fall/Yearbook $40+ S&H www.idsa.org Gregg Davis, IDSA Jennifer Evans Yankopolus 703.707.6000 x118 All others $20+ S&H Alistair Hamilton, IDSA [email protected] [email protected] 404.478.6433

® The quarterly publication of the Industrial Designers Society of America (IDSA), INNOVATION provides in-depth cover- age of design issues and long-term trends while communicating the value of design to business and society at large. DESIGN/ART/CRAFT FEATURES PATRONS OF INDUSTRIAL DESIGN EXCELLENCE 18 Push. Pull. Twist. 20 Our Expanding Field by Magnus Feil, IDSA INVESTOR by Scott Klinker, IDSA, IDEO, Palo Alto, CA; Shanghai, China; Guest Editor 52 How Designers Infuse Emotion Cambridge, MA; London, UK; San Francisco; 23 Reimagining Authenticity: by Brian Heidsiek Munich, Germany; Chicago; New York Design + Craft Newell Rubbermaid, Atlanta, GA by Mark Moskovitz 55 Great Designers Deserve Procter & Gamble, Cincinnati, OH Half the Credit for Their 28 New Habitats for Design Webb deVlam Chicago, Chicago, IL Great Designs by Louise Schouwenberg by Cooper C. Woodring, FIDSA 32 A Hand Built Life: CULTIVATOR An Interview with Abigail IN EVERY ISSUE Cesaroni Design Associates Inc., Glenview, IL Anne Newbold Crown Equipment, New Bremen, OH 4 IDSA HQ by Kristina Gerig Dell, Round Rock, TX 6 From the Editor Eastman Chemical Co., Kingsport, TN 36 The Push Forward: by Mark Dziersk, FIDSA Jerome Caruso Design Inc., Lake Forest, IL A Contemporary Design 8 Business Concepts Lunar Design Inc., Palo Alto, CA Gallery by Scott Simpson Metaphase Design Group Inc., St. Louis, MO by Sam Vinz 11 Book Review Smart Design, New York; San Francisco; 39 Process Remix by Scott Stropkay, IDSA Barcelona, Spain by Peter Beaugard, Christopher 12 Design Defined Stanley Black & Decker, New Britain, CT Schanck with Mycal Elliott by Scott Henderson, IDSA Teague, Seattle, WA 42 The Evolution of Design 14 A Look Back Tupperware, Worldwide Culture: An Interview with by Carroll Gantz, FIDSA Charter Patrons indicated by color. Andrea Branzi 16 Beautility by Scott Klinker, IDSA by Tucker Viemeister, FIDSA For more information about becoming a 44 Tools for Thinking: 58 Showcase Patron and supporting IDSA’s communication Discursive Design 64 ID+ME: and education outreach, please contact by Bruce M. Tharp, IDSA and Donald Genaro, L/IDSA Katrina Kona at 703.707.6000 x100. Stephanie M. Tharp 49 From One to One Million: A Guide to Scaling Up by Lisa Cheng Smith

QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA SPRING 2014 Cover photo: Boom Boom Burst photo by Joseph De Leo; see p. 20. Advertisers’ Index INNOVATION INNOVATION is the quarterly journal of the Industrial Designers Society of America (IDSA), the professional organization serving the needs of US industrial designers. Reproduction in whole c2 2014 IDSA District Design Conferences DESIGN/ART/CRAFT SPRING 2014 Design/Art/Craft or in part—in any form—without the written permission of the publisher is prohibited. The c3 2014 IDSA International Conference EMOTION n GREAT CLIENTS n ID & ME opinions expressed in the bylined articles are those of the writers and not necessarily those 10 IDSA Bookshelf of IDSA. IDSA reserves the right to decline any advertisement that is contrary to the mission, goals and guiding principles of the Society. The appearance of an ad does not constitute 1 Luxion an endorsement by IDSA. All design and photo credits are listed as provided by the sub- c4 LUNAR mitter. INNOVATION is printed on recycled paper with soy-based inks. The use of IDSA 5 Stratasys and FIDSA after a name is a registered collective membership mark. INNOVATION (ISSN No. 0731-2334 and USPS No. 0016-067) is published quarterly by the Industrial Designers 9 Proto Labs Society of America (IDSA)/INNOVATION, 555 Grove St., Suite 200, Herndon, VA 20170. Periodical postage at Sterling, VA 20164 and at additional mailing offices. POSTMASTER: Send address changes to IDSA/INNOVATION, 555 Grove St., Suite 200, Herndon, VA 20170, USA. ©2014 Industrial Designers Society of America. Vol. 33, No. 1, 2014; Library of Congress Catalog No. 82-640971; ISSN No. 0731-2334; USPS 0016-067. By Kristina Gerig [email protected] n www.kristinagerig.com

Kristina Gerig is a designer located in Portland, OR. After receiving her MFA in 3D design from Cranbrook Academy of Art, she began working as a material designer for Nike. Prior to her graduate studies, she designed for companies including Marcel Wanders, DEKA Research, Whipsaw Inc., Eleven LLC, K-Swiss, Target Corporation and Fisher-Price. She received her bachelor’s in industrial design from the University of Cincinnati.

An Interview with Abigail Anne Newbold A HAND BUILT LIFE ©CarolynBates.com ©CarolynBates.com

alking into an Abigail Anne Newbold installation would be what you might expect from a

dream in which Survivorman teams up with Hella Jongerius. The first thing you notice is W color, a beautiful and specific palette that walks a line between technical and domestic. Objects are hung in arrangements that hint at their intended use, as tools would be hung above a carpen-

ter’s workbench. As you get closer you see that these are tools for survival and for living. There are structures

that appear to be mobile or nomadic, uniforms for unnamed endeavors, hand-sewn quilts—a distinct use

of material and decoration that emphasizes the technical and the romantic. It’s difficult to distinguish where

each of Newbold’s degrees—fiber, industrial design and an MFA—begin and end.

Above: Workshop, one of the vignettes in the 2013 Crafting Settlement exhibit at the Currier Museum of Art.

32 WWW.IDSA.ORG Above: Wagon from the Homemaker series, exhibited at the Museum of Contemporary Art Detroit in 2011.

Below: Tent detail from the Homemaker series. Corine Vermeulen

Newbold’s dialogue is one of form and function, survival and comfort. With enlightened curatorial restraint, the palette of product, color and material hits a strong visual chord for both the industrial designer and the artist. She combines elements of high tech with that of handcraft in a way that makes it very difficult to separate, as though it was and is and always should be that way.

Kristina Gerig: Your work seems to intentionally blur the lines between design, art and craft. Why? Abigail Anne Newbold: These categories help us under- stand our world better socially, economically and physically. I see their lineage as interrelated; design, art and craft are all processes with which we refine, embellish and develop

our man-made world. PD Rearick In my practice I visually pair a lot of seeming opposites; one example is an intentional conflation of gender expecta- of economic security and freedom. If I can fell a tree (or use tions. In my vignette Hopechest I am looking at what an a discarded utility pole) and process it into a set of posts industrial dowry might consist of. A refined set of basic tools to create my own post-and-beam home, I have started the for survival passed on for generations: a chainsaw, a lobster foundation for a life dictated by my own needs and satisfied trap, a matching gun case and seed spreader of couture by my own hands. quality—not your average female inheritance. I use color to conflate socioeconomic status or an object’s functional KG: Your work appears to be functional art. Do you agree? context: a fluorescent green-lined shearling vest and a her- Where does the boundary of art exist in your work? ringbone linen monogrammed jumpsuit, for instance. These AAN: I would describe my work as art that talks about func- unexpected dichotomies show how I reference art, design tionality. My primary objective is the conversation generated and craft. I use them as tools to flatten our sense of bound- by my work about both making and functionality. aries around these categories. If I wanted to produce a practical product for a market- able purpose I would be a designer. If I wanted to fabricate a KG: I see it in the quilts, some of the hand tools you use, unique functional item and take excessive care with the mate- the combination of a pioneer-inspired wagon covered rial processes I would be a craftswoman. I utilize both prac- with a high-tech tent. You mentioned wanting to actually tices as aspects of a larger dialogue on the perpetuation of work in the way you are presenting your work—as self- skill-based knowledge and how it can be applied to our lives. sufficient. Are these the areas where craft is focused in In this sense art serves as a forum with a broad audience. your work? Or how do you think about craft? I have an upcoming project that will utilize fully func- AAN: In my work craft becomes synonymous with lifestyle. tional original objects to carry out fieldwork that engages Craft is not simply a means to an end product; for me it is students’ understanding and exploration of the possibili- the reason for making the objects, be it tool or domestic ties in a handmade life. I am uncomfortable aligning myself item, which support the daily activities of life. I am presenting with most of the terms currently used to describe a hybrid a version of a handmade life, proposing that there are a core practice like this: “social activism,” “craftivism,” “third-wave set of skills with which an individual could make virtually any- craft,” along with the DIY movement. The art in my work is in thing. This is empowering, not only for the ability to custom the generation of ideas, presentation of lifestyle and provo- tailor objects to your own needs, but in presenting a model cation of dialogue on the subject of making.

INNOVATION SPRING 2014 33 DESIGN/ART/CRAFT

Above: Making Home Again, on exhibit at the Museum of Contemporary Art Chicago in 2013. Below: Shaker Rocker, 2012.

place as an independent product, I like the idea that these things have their own integrity outside the larger dialogue they support, and in a way represent my brand of thinking.

KG: So where does the boundary of design exist in your work? AAN: The framework and concept of my work is pretty rigid, with the installation period leaving room for a more organic process to unfold. I typically amass a collection of objects and materials that I plan to use to furnish the spaces I’ve constructed, but I will often not have a clear design for how those objects will be arranged or installed until I’m on-site. My process of installation is akin to visual

Courtesy of the artist merchandising, and I often work in a grid or off a horizon line to hold the composition of the wall. I like the notion of KG: I find it interest- using the tenets of design on more organic and everyday ing that on your web- items; it makes design accessible through the use of the site (www.abigailanne. mundane and glorifies the everyday into something vitally com) you have pieces important, even glamorous. listed under the title of “product.” What does KG: How do you go about creating an installation? How that word mean to you? do you know when the installation has all the necessary elements? AAN: I am interested in the unselfconscious AAN: I do a tremendous amount of research to start. products coming out of For instance, for my exhibit Crafting Settlement with the the type of small-town Currier Museum of Art, I was asked to respond to works community that would in its collection. The Museum has one of Frank Lloyd rally around a family in Wright’s Usonian homes. I was taken by the design prin- need, creating home- ciples he used—the incremental geometry—and his holistic made quilts both as func- Courtesy of the artist approach to design, which reinforced the value of a custom, tional and symbolic means of support in times of crisis. I handmade life that I was addressing in that body of work. appreciate their honesty, their stories. Working with a kind of I map out and define elements of space, time and anti-design-star mentality, the majority of the dialogue in my function, avoiding any direct expression of time period, installation work deals with functional objects that humbly instead creating a future-hopeful amalgam of past, pres- provide a practical lifestyle rather than objects designed with ent and future. I often will work with regional references. pedigree in mind. So much of the Currier project referenced the vernacular The products on my website are items that are func- style of New England: farmhouse construction, colonial tional and made soundly of durable materials as stand- influences as well as aspects of utopian communes. As I alone objects, each embodying the functional, aesthetic developed the premise, the structures and the format, the and conceptual imperatives I’m addressing. Chairs, quilts, rest of the content fell into place, and it became like paint- the occasional bag. Though the line remains thin for me by-numbers process for me to articulate all the issues I between an object’s life in my installations and taking its was addressing.

34 WWW.IDSA.ORG I make it sound like there is a definitive end point, but there is fluidity between my installations, and I often utilize objects from older installations in newer versions. These objects really become like an arsenal of references and materials—almost like its own language.

KG: Are you trying to create utopian scenarios? What is the role and importance of utopian ideals? AAN: I don’t use the word “utopia” lightly—it’s very loaded. I think about the groups who immigrated early on to this continent seeking asylum from religious oppression: the Shakers, for instance. Here they found the freedom to create the kind of social structures, moral codes and economic systems that suited them. I think democracy itself is a kind of utopian fantasy—that such a large, diverse body of indi- viduals can remain cohesive, agreeing to disagree. My utopian ideals center around economy and a rela- tionship to our skills. These ideals appear aesthetically in my work, going back to the retail influence, There is a lot of romanticizing in merchandising. It’s not just about making the product desirable; it’s about that thing being the perfect one and about a life spent attaining that standard. This isn’t so far off from the purity of philosophical and religious ideals that drove some of the experimental utopian communities in early America.

KG: As designers and artists, we are constantly putting stuff into the world. But I’ll visit Marfa or A-Z West, take an MCM tour or step into a DWR showroom and utopian, modernist ideals force me to reconsider my domestic landscape. How do you think about the products you bring into your domestic space? Is it the same as in your installations? AAN: I’m a sucker for sentimentality and that gets messy. Some people dream about walk-in closets with clothes neatly organized. I dream about a warehouse attached to my home filled with neatly lined shelves of domestic items: chairs, tables lamps, fur rugs. And my home would be a plain space that I could perpetually reinvent without having to let go of anything. But philosophically I would prefer to have few things—sturdy, utilitarian things that I would have n for the rest of my life. Courtesy of the artist Quilt detail from Making Home Again.

INNOVATION SPRING 2014 35

EYE SCREAM Belle-V Ice Cream Scoop