Design Influence: Spring 2005

NC State University

NC STATE UNIVERSITY S P RI N G 2 0 0 5

O C

NONPROFIT ORGANIZATION

PAID

U.S. POSTAGE

2353

RALEIGH, NC

PERMIT NO.

L

L

E

G

E

O

F

Multiple Perspectives, an installation by Kathleen Rieder, art + design, was held at Meredith College’s Frankie G. Weems Art Gallery from November 7December 12, 2004.

D

E

S

I

G

N

COLLEGE OF DESIGN

Campus Box 7701 Raleigh, NC 27695-7701

CHANGE SERVICE REQUESTED

DESIGN INFLUENCE

CONTENTS

2005 CALENDAR February 6-March 11 Exhibition by Gail Peter Borden: [X]perience Mechanisms

April 23 2005 R. Stanhope Pullen Society Members University Event

February 26 Design Guild Dinner honoring Gail A. Lindsey, FAIA, Exploris

May 9-14 Graduation Exhibition

March 7 NC State University Founder’s Day March 13-April 2 Art + Design Painting Show March 21 Architecture Lecture: Stanley Saitowitz March 28 Architecture Lecture: Branko Kolarevic April 3-22 Graphic Design Exhibition April 4 Architecture Lecture: Brad Cloepfil April 11 Architecture Lecture: Adam Yarinsky April 20 University Installation of 13th Chancellor James L. Oblinger April 21 Spring Fashion Show, Kamphoefner Hall Courtyard April 23 - May 8 Graphic Design: Senior Exhibition

DEAN’S MESSAGE 2

May 14 Spring Commencement

RECOGNITIONS

May 19-21 AIA National Convention, Las Vegas Alumni & Friends Reception, Thursday, March 19, Mandalay Bay Resort

4 5

June 4-11 Alumni & Friends Drawing Trip to Prague www.design.ncsu.edu/cont-ed/ June 12-17 Design Camp – Residential

July 10-15 Design Camp – Residential August 4-6 AIA NC Summer Design Conference, Richmond Alumni & Friends Reception, Time and location TBA

Design Guild Award Honors Gail Lindsey Rodney Swink Named Distinguished Alumnus

FEATURES

May 19-21 Early Childhood Outdoors Design Institute: Design for Active Childhoods www.design.ncsu.edu/cont-ed/

June 20-24 Design Camp – Day

Voices of Achievement/Voices of Design

All ARCHITECTURE LECTURES are held in the auditorium in Kamphoefner Hall at 6 p.m. and are co-sponsored

by AIA-Triangle and the School of Architecture at NC State University. A reception follows the lecture. AIA CES credits are provided.

6 8 10 12 14 16 18

NC State Grads Work Magic Marching for the Pack A Match Made in Design School Design Connections Lead to Success Graphic Design Student Helps Launch Wolfgrid NC State to Improve Affordable Housing Options for the Lumbee Tribe Sponsored Go Kart Studio Yields Good Results

19

COMMENCEMENT ADDRESS

22

COLLEGE NEWS

EXHIBITIONS are featured in the Brooks Hall Gallery.

VISITORS are encouraged to verify time and location of events, which are subject to change. For more information, call 919/515-8313 or sign up for DESIGNlife, an e-newsletter, at www.design.ncsu.edu (link to “news & events” from pull-down menu).

OUR THANKS College of Design lectures and exhibitions are sponsored in part by Design Guild Dean’s Circle and Benefactor members.

For more details, go to www.design.ncsu.edu/events.

Alumni/Friends Students Faculty/Staff

32 33

Design Guild Support College Faculty & Staff Listing

We welcome your submission of alumni news items in addition to your comments about this publication. To receive our electronic newsletter, DESIGNlife, please send us your e-mail address. design@ncsu.edu or address correspondence to: NC State University College of Design Campus Box 7701 Raleigh, NC 27695-7701 919/515-8313 Marvin J. Malecha, FAIA dean Carla Abramczyk director of development Jean Marie Livaudais director of professional relations Emily Freeman development assistant

NOTES 24 26 28

The Design Guild is an association of alumni, friends, design professionals and industry leaders established in 1996 to promote design education at the NC State University College of Design through private contributions and gifts. The publication of Design Influence is fully supported by Design Guild funds.

We hope you like the changes to the official magazine of the College of Design. Renaming the publication Design Influence captures the essence of the mission of the college — to expand as a center of influence on design.

Sherry McIntyre editor; director of communications Craig McDuffie (BEDV 1983) designer COVER Resolution Tree, by Jennifer Van Orden (BAD 2004), commissioned for City of Raleigh’s First Night Celebration. Photo by Ian Quate, senior in Art + Design.

CONTENTS

2005 CALENDAR February 6-March 11 Exhibition by Gail Peter Borden: [X]perience Mechanisms

April 23 2005 R. Stanhope Pullen Society Members University Event

February 26 Design Guild Dinner honoring Gail A. Lindsey, FAIA, Exploris

May 9-14 Graduation Exhibition

March 7 NC State University Founder’s Day March 13-April 2 Art + Design Painting Show March 21 Architecture Lecture: Stanley Saitowitz March 28 Architecture Lecture: Branko Kolarevic April 3-22 Graphic Design Exhibition April 4 Architecture Lecture: Brad Cloepfil April 11 Architecture Lecture: Adam Yarinsky April 20 University Installation of 13th Chancellor James L. Oblinger April 21 Spring Fashion Show, Kamphoefner Hall Courtyard April 23 - May 8 Graphic Design: Senior Exhibition

DEAN’S MESSAGE 2

May 14 Spring Commencement

RECOGNITIONS

May 19-21 AIA National Convention, Las Vegas Alumni & Friends Reception, Thursday, March 19, Mandalay Bay Resort

4 5

June 4-11 Alumni & Friends Drawing Trip to Prague www.design.ncsu.edu/cont-ed/ June 12-17 Design Camp – Residential

July 10-15 Design Camp – Residential August 4-6 AIA NC Summer Design Conference, Richmond Alumni & Friends Reception, Time and location TBA

Design Guild Award Honors Gail Lindsey Rodney Swink Named Distinguished Alumnus

FEATURES

May 19-21 Early Childhood Outdoors Design Institute: Design for Active Childhoods www.design.ncsu.edu/cont-ed/

June 20-24 Design Camp – Day

Voices of Achievement/Voices of Design

All ARCHITECTURE LECTURES are held in the auditorium in Kamphoefner Hall at 6 p.m. and are co-sponsored

by AIA-Triangle and the School of Architecture at NC State University. A reception follows the lecture. AIA CES credits are provided.

6 8 10 12 14 16 18

NC State Grads Work Magic Marching for the Pack A Match Made in Design School Design Connections Lead to Success Graphic Design Student Helps Launch Wolfgrid NC State to Improve Affordable Housing Options for the Lumbee Tribe Sponsored Go Kart Studio Yields Good Results

19

COMMENCEMENT ADDRESS

22

COLLEGE NEWS

EXHIBITIONS are featured in the Brooks Hall Gallery.

VISITORS are encouraged to verify time and location of events, which are subject to change. For more information, call 919/515-8313 or sign up for DESIGNlife, an e-newsletter, at www.design.ncsu.edu (link to “news & events” from pull-down menu).

OUR THANKS College of Design lectures and exhibitions are sponsored in part by Design Guild Dean’s Circle and Benefactor members.

For more details, go to www.design.ncsu.edu/events.

Alumni/Friends Students Faculty/Staff

32 33

Design Guild Support College Faculty & Staff Listing

We welcome your submission of alumni news items in addition to your comments about this publication. To receive our electronic newsletter, DESIGNlife, please send us your e-mail address. design@ncsu.edu or address correspondence to: NC State University College of Design Campus Box 7701 Raleigh, NC 27695-7701 919/515-8313 Marvin J. Malecha, FAIA dean Carla Abramczyk director of development Jean Marie Livaudais director of professional relations Emily Freeman development assistant

NOTES 24 26 28

The Design Guild is an association of alumni, friends, design professionals and industry leaders established in 1996 to promote design education at the NC State University College of Design through private contributions and gifts. The publication of Design Influence is fully supported by Design Guild funds.

We hope you like the changes to the official magazine of the College of Design. Renaming the publication Design Influence captures the essence of the mission of the college — to expand as a center of influence on design.

Sherry McIntyre editor; director of communications Craig McDuffie (BEDV 1983) designer COVER Resolution Tree, by Jennifer Van Orden (BAD 2004), commissioned for City of Raleigh’s First Night Celebration. Photo by Ian Quate, senior in Art + Design.

DEAN’S MESSAGE Voices of Achievement / Voices of Design

by Marvin J. Malecha, FAIA, Dean

2

DESIGN INFLUENCE / SPRING 2005

O

ver the past several years it has been encouraging that design professionals have been thrust into the public consciousness.

The conditions for this attention have ranged from the desire to resolve the unfinished business of a response to a national tragedy at ground zero to the renewed appreciation for the role of the creative individual in the economic well being of our culture. The popular press, from The New York Times to Time magazine, has chronicled the individuals and decisions related to design in such detail that even the eyewear of certain designers became a story of interest.

It has become apparent that the design endeavor is distinct from either the hard sciences and engineering and the humanities and social sciences. Further, it is the rigor of the design process reflected in the integration of disparate sources of information and materials and tested by the application of ideas to the most vital questions before society that distinguishes the role of the designer. How these questions are addressed is the measure of achievement of the design professions, it is the measure of the strength of the voice of design in society.

Increased attention brings the scrutiny of broad constituencies. It places a bright light on behaviors that constitute the nature of design professionalism. As the achievements of design professionals are considered, it is important to derive the lessons that have been learned from the perspective of the many constituencies affected by the work of design professionals. This measure, not the self-congratulatory tendencies of a profession, will determine if the designer has a voice in society.

While the attention of the media has highlighted the possibilities of the design professions it has also provided a case study of the implications of work disengaged from the priorities of society. This increased attention has provided witness to teams of the most talented individuals completely absorbed in formal investigations almost entirely disengaged from the constituencies they intended to serve. While a nation waited for the expression of creative individuals to speak on its behalf, design teams minimally involved themselves with any purpose beyond the satisfaction of personal explorations as

though that should satisfy the greater need.

What should have been leadership of our culture on the expression of renewal and optimism turned instead into competing egos and development intrigue. Finally, market forces reigned in the process and a significant opportunity for the design professions to act as guides with enhanced sight has been lost. The beauty of the artifacts designed has had little relevance to the expression that was needed.

David Walker in a speech to a conference “Going Beyond Green” observed the importance of maintaining a proper perspective in design. He observed,

The competitive differences in the 21st Century will be people…it will not be process. It will not be technology. It will be people…The stakes are high.

David Walker, from conference materials, Going Beyond Green: Strategic Transformation Through Human Capital Planning, November 2002 We must never forget the designer’s charge to work on behalf of others, to seek to enhance their possibility for success, and to use our work to celebrate it when it occurs.

The talents of designers are much needed in our world. If we wish our voice to be influential we must work beyond selfinterest. Through our work it is possible to improve peoples lives, to enhance their capabilities and to stir their imagination.

David Walker’s admonition reminds us that this begins with people. It is a challenge to structure the education of designers that extends the discourse on design beyond personal objectives into the preparation of the most talented and creative individuals to engage the needs and interests of others.

It is necessary to prepare individuals who are most inclined to work alone to participate productively on teams.

The voice of design is dependent on the most talented among us. It is dependent on the commitment of the design disciplines to promote those who address the issues of most concern to society. Similarly, if our College seeks to be a true center of influence we must seek out those who provide the example for our students to live a life of relevancy and involvement. In the context of a university with a land grant mission the College of Design has a responsibility to do no less. Many issues demand our attention. These issues require the creative spirit of our graduates. How will communities be designed to promote the health and welfare of the citizens? What can be done about the development of products that respect green principles? How do designers address the needs of individuals with varying physical and financial capabilities? Is there a strategy to promote understanding of an ever more complex world through communication?

Can designers identify the deeper meanings of contemporary life through their work?

If we do not even attempt to address these questions, we will have little influence and no voice.

Over more than 50 years the College of Design has established a reputation of relevancy to community need. There are many examples of student and faculty projects that have made significant contributions to the life of individuals in small communities fulfilling the cooperative extension mission of the University. Graduates of the College have made significant contributions to the understanding of green design in both the academic and professional settings. Alumni have influenced the development of building types from airports to research laboratories.

And, advances made through product development by a graduate of our College have influenced medical applications.

Environmental studies within the College have included water quality management as well as view-shed protection contributing to the preservation of the quality of the North Carolina environment. Principles of universal design evolved within the College of Design as a model for the nation. In short, the College of Design community is comprised of individuals of considerable achievement and therefore we have become a community with an influential voice.

We owe it to our predecessors and to our descendants at the College to maintain our commitment to addressing the most pressing issues of society. It is time to add our voice to all of the voices of the past even while we teach others to speak up.

Our voices of achievement have become the voices of design.

DEAN'S MESSAGE

3

DEAN’S MESSAGE Voices of Achievement / Voices of Design

by Marvin J. Malecha, FAIA, Dean

2

DESIGN INFLUENCE / SPRING 2005

O

ver the past several years it has been encouraging that design professionals have been thrust into the public consciousness.

The conditions for this attention have ranged from the desire to resolve the unfinished business of a response to a national tragedy at ground zero to the renewed appreciation for the role of the creative individual in the economic well being of our culture. The popular press, from The New York Times to Time magazine, has chronicled the individuals and decisions related to design in such detail that even the eyewear of certain designers became a story of interest.

It has become apparent that the design endeavor is distinct from either the hard sciences and engineering and the humanities and social sciences. Further, it is the rigor of the design process reflected in the integration of disparate sources of information and materials and tested by the application of ideas to the most vital questions before society that distinguishes the role of the designer. How these questions are addressed is the measure of achievement of the design professions, it is the measure of the strength of the voice of design in society.

Increased attention brings the scrutiny of broad constituencies. It places a bright light on behaviors that constitute the nature of design professionalism. As the achievements of design professionals are considered, it is important to derive the lessons that have been learned from the perspective of the many constituencies affected by the work of design professionals. This measure, not the self-congratulatory tendencies of a profession, will determine if the designer has a voice in society.

While the attention of the media has highlighted the possibilities of the design professions it has also provided a case study of the implications of work disengaged from the priorities of society. This increased attention has provided witness to teams of the most talented individuals completely absorbed in formal investigations almost entirely disengaged from the constituencies they intended to serve. While a nation waited for the expression of creative individuals to speak on its behalf, design teams minimally involved themselves with any purpose beyond the satisfaction of personal explorations as

though that should satisfy the greater need.

What should have been leadership of our culture on the expression of renewal and optimism turned instead into competing egos and development intrigue. Finally, market forces reigned in the process and a significant opportunity for the design professions to act as guides with enhanced sight has been lost. The beauty of the artifacts designed has had little relevance to the expression that was needed.

David Walker in a speech to a conference “Going Beyond Green” observed the importance of maintaining a proper perspective in design. He observed,

The competitive differences in the 21st Century will be people…it will not be process. It will not be technology. It will be people…The stakes are high.

David Walker, from conference materials, Going Beyond Green: Strategic Transformation Through Human Capital Planning, November 2002 We must never forget the designer’s charge to work on behalf of others, to seek to enhance their possibility for success, and to use our work to celebrate it when it occurs.

The talents of designers are much needed in our world. If we wish our voice to be influential we must work beyond selfinterest. Through our work it is possible to improve peoples lives, to enhance their capabilities and to stir their imagination.

David Walker’s admonition reminds us that this begins with people. It is a challenge to structure the education of designers that extends the discourse on design beyond personal objectives into the preparation of the most talented and creative individuals to engage the needs and interests of others.

It is necessary to prepare individuals who are most inclined to work alone to participate productively on teams.

The voice of design is dependent on the most talented among us. It is dependent on the commitment of the design disciplines to promote those who address the issues of most concern to society. Similarly, if our College seeks to be a true center of influence we must seek out those who provide the example for our students to live a life of relevancy and involvement. In the context of a university with a land grant mission the College of Design has a responsibility to do no less. Many issues demand our attention. These issues require the creative spirit of our graduates. How will communities be designed to promote the health and welfare of the citizens? What can be done about the development of products that respect green principles? How do designers address the needs of individuals with varying physical and financial capabilities? Is there a strategy to promote understanding of an ever more complex world through communication?

Can designers identify the deeper meanings of contemporary life through their work?

If we do not even attempt to address these questions, we will have little influence and no voice.

Over more than 50 years the College of Design has established a reputation of relevancy to community need. There are many examples of student and faculty projects that have made significant contributions to the life of individuals in small communities fulfilling the cooperative extension mission of the University. Graduates of the College have made significant contributions to the understanding of green design in both the academic and professional settings. Alumni have influenced the development of building types from airports to research laboratories.

And, advances made through product development by a graduate of our College have influenced medical applications.

Environmental studies within the College have included water quality management as well as view-shed protection contributing to the preservation of the quality of the North Carolina environment. Principles of universal design evolved within the College of Design as a model for the nation. In short, the College of Design community is comprised of individuals of considerable achievement and therefore we have become a community with an influential voice.

We owe it to our predecessors and to our descendants at the College to maintain our commitment to addressing the most pressing issues of society. It is time to add our voice to all of the voices of the past even while we teach others to speak up.

Our voices of achievement have become the voices of design.

DEAN'S MESSAGE

3

DESIGN GUILD AWARD

DISTINGUISHED ALUMNUS

Design Guild Honors Green Architect Gail Lindsey

College of Design names Rodney Swink as 2004 Distinguished Alumnus

G

T

ail Lindsey, FAIA, makes being green easier for all of us. Lindsey passionately strives to improve the way architecture serves society through sustainable design. Born in Japan, Lindsey has lived all over the world.

She attributes her passion for sustainability to both her global perspective and a prolonged hospitalization as a young adult. While in the hospital, Lindsey spent a lot of time thinking about how she wanted to use her time. She’s added her own phrase to a popular activist saying, coming up with: “Think globally, act locally, commit personally.”

And commit she has. Collaborating with the US Green Building Council, Lindsey was instrumental in establishing Leadership in Energy and Environmental Design (LEED), the nation’s first green building rating system. Based on six major areas: building materials, water quality, energy, indoor air quality, site and area/community, the system awards points to reach specific certification levels. LEED has made a significant difference in the sustainability of both public and private design. For example, the General Services Administration (GSA) now incorporates a high LEED standard in all of its new federal buildings.

4

DESIGN INFLUENCE / SPRING 2005

Lindsey has pioneered work in collaborative green charrettes, setting a new “green” course for many federal agencies and organizations.

Charrettes she’s worked on include the White House, the Pentagon, the Grand Canyon, and the Habitat for Humanity headquarters.

She’s been sought as a consultant by the Department of Defense to develop green bases of the future, by the Department of the Interior to “green” the national park system, and by the Department of Energy to exchange information with 25 countries on performance metrics. Lindsey has lectured all over the world and was a visiting lecturer for the College of Design. She’s been asked to present at every national convention of the American Institute of Architects (AIA) since 1995 and has chaired the national AIA committee on

he North Carolina State University College of Design has named Rodney Swink of Raleigh, N.C., as its 2004 Distinguished Alumnus. The award was presented at a special event hosted by the NC State Alumni Association held November 5, 2004, at the Embassy Suites in Cary.

Gail Lindsey, FAIA

the Environment. She was recognized as a fellow of the AIA in 2000.

After completing his bachelor of arts in economics from NC State in 1973, Swink returned to NC State to earn his master’s in landscape architecture with a concentration in community planning and urban economics from the College of Design in 1977.

Rodney Swink, FASLA, (MLAR 1977)

At home in Wake Forest, Lindsey practices her own brand of green architecture through her firm, Design Harmony, which she founded in 1990. She designed her own environmentally conscious residence and, of course, drives a hybrid. A Walt Whitman quote inspires Lindsey as she works: “Re-examine all that you are told…dismiss that which insults your soul.”

Lindsey’s energetic enthusiasm is unflagging as she travels the world and shares approaches to sustainable design. The Design Guild is scheduled February 26 to honor Gail Lindsey’s extraordinary contributions to our green earth. www.design.ncsu.edu/alumni.

A registered landscape architect, Swink is director of the North Carolina Office of Urban Development, which is responsible for leading downtown revitalization and development efforts statewide. Prior to working for the state in the Department of Commerce, Swink served in various roles within the Division of Forest Resources as a landscape designer, landscape architect and administrative officer.

Swink has been a visiting lecturer in the landscape architecture program at the College of Design throughout his career.

Dean Marvin Malecha praises Swink as “an individual who has taken his design education and put it to use as a public servant working for the people of North Carolina in projects as significant as the Main Street program. He has built on his education by serving as a leader in the field of landscape architecture nationally and has devoted his time to the future by accepting teaching assignments here at the College of Design. It is easy to characterize Rodney as an exemplary public servant, leader in the design profession and as a caring teacher.”

Swink volunteers extensively in the community and is a guiding force for the landscape architecture department as both a lecturer and a member of its advisory board. He served as chair of the spring 2005 college conference “Designing Communities for Healthy Living.” Swink’s leadership earned him the prestigious Robert E. Stipe Professional Award from Preservation North Carolina citing that, “perhaps no other individual in this state has been called upon by so many communities with an urgent cry to assist in saving that community’s historic fabric.” He has also received the Frank B. Turner Award from the State Construction Office and the NC Partners of the Americas Bramham/Marcus Humanitarian Award.

He is a fellow and national past president of the American Society of Landscape Architects. Locally, Swink chaired the Raleigh Appearance Commission, was a founding member of Scenic North Carolina and served on the boards of Preservation North Carolina and the NC State Friends of the Gallery. Internationally, he has lent his expertise in revitalization to the people of Bolivia through his leadership of North Carolina Partners of the Americas.

RECOGNITION

5

DESIGN GUILD AWARD

DISTINGUISHED ALUMNUS

Design Guild Honors Green Architect Gail Lindsey

College of Design names Rodney Swink as 2004 Distinguished Alumnus

G

T

ail Lindsey, FAIA, makes being green easier for all of us. Lindsey passionately strives to improve the way architecture serves society through sustainable design. Born in Japan, Lindsey has lived all over the world.

She attributes her passion for sustainability to both her global perspective and a prolonged hospitalization as a young adult. While in the hospital, Lindsey spent a lot of time thinking about how she wanted to use her time. She’s added her own phrase to a popular activist saying, coming up with: “Think globally, act locally, commit personally.”

And commit she has. Collaborating with the US Green Building Council, Lindsey was instrumental in establishing Leadership in Energy and Environmental Design (LEED), the nation’s first green building rating system. Based on six major areas: building materials, water quality, energy, indoor air quality, site and area/community, the system awards points to reach specific certification levels. LEED has made a significant difference in the sustainability of both public and private design. For example, the General Services Administration (GSA) now incorporates a high LEED standard in all of its new federal buildings.

4

DESIGN INFLUENCE / SPRING 2005

Lindsey has pioneered work in collaborative green charrettes, setting a new “green” course for many federal agencies and organizations.

Charrettes she’s worked on include the White House, the Pentagon, the Grand Canyon, and the Habitat for Humanity headquarters.

She’s been sought as a consultant by the Department of Defense to develop green bases of the future, by the Department of the Interior to “green” the national park system, and by the Department of Energy to exchange information with 25 countries on performance metrics. Lindsey has lectured all over the world and was a visiting lecturer for the College of Design. She’s been asked to present at every national convention of the American Institute of Architects (AIA) since 1995 and has chaired the national AIA committee on

he North Carolina State University College of Design has named Rodney Swink of Raleigh, N.C., as its 2004 Distinguished Alumnus. The award was presented at a special event hosted by the NC State Alumni Association held November 5, 2004, at the Embassy Suites in Cary.

Gail Lindsey, FAIA

the Environment. She was recognized as a fellow of the AIA in 2000.

After completing his bachelor of arts in economics from NC State in 1973, Swink returned to NC State to earn his master’s in landscape architecture with a concentration in community planning and urban economics from the College of Design in 1977.

Rodney Swink, FASLA, (MLAR 1977)

At home in Wake Forest, Lindsey practices her own brand of green architecture through her firm, Design Harmony, which she founded in 1990. She designed her own environmentally conscious residence and, of course, drives a hybrid. A Walt Whitman quote inspires Lindsey as she works: “Re-examine all that you are told…dismiss that which insults your soul.”

Lindsey’s energetic enthusiasm is unflagging as she travels the world and shares approaches to sustainable design. The Design Guild is scheduled February 26 to honor Gail Lindsey’s extraordinary contributions to our green earth. www.design.ncsu.edu/alumni.

A registered landscape architect, Swink is director of the North Carolina Office of Urban Development, which is responsible for leading downtown revitalization and development efforts statewide. Prior to working for the state in the Department of Commerce, Swink served in various roles within the Division of Forest Resources as a landscape designer, landscape architect and administrative officer.

Swink has been a visiting lecturer in the landscape architecture program at the College of Design throughout his career.

Dean Marvin Malecha praises Swink as “an individual who has taken his design education and put it to use as a public servant working for the people of North Carolina in projects as significant as the Main Street program. He has built on his education by serving as a leader in the field of landscape architecture nationally and has devoted his time to the future by accepting teaching assignments here at the College of Design. It is easy to characterize Rodney as an exemplary public servant, leader in the design profession and as a caring teacher.”

Swink volunteers extensively in the community and is a guiding force for the landscape architecture department as both a lecturer and a member of its advisory board. He served as chair of the spring 2005 college conference “Designing Communities for Healthy Living.” Swink’s leadership earned him the prestigious Robert E. Stipe Professional Award from Preservation North Carolina citing that, “perhaps no other individual in this state has been called upon by so many communities with an urgent cry to assist in saving that community’s historic fabric.” He has also received the Frank B. Turner Award from the State Construction Office and the NC Partners of the Americas Bramham/Marcus Humanitarian Award.

He is a fellow and national past president of the American Society of Landscape Architects. Locally, Swink chaired the Raleigh Appearance Commission, was a founding member of Scenic North Carolina and served on the boards of Preservation North Carolina and the NC State Friends of the Gallery. Internationally, he has lent his expertise in revitalization to the people of Bolivia through his leadership of North Carolina Partners of the Americas.

RECOGNITION

5

NC S t a t e Gr ad s Wor k M ag ic

A

fter getting his start running errands in the art department of George Lucas’s special effects company Industrial Light and Magic (ILM), Jonathan Harb (BID 1995) now supervises the ILM Digital Matte Department, and has been instrumental in bringing other NC State graduates to the company.

“Watching The Empire Strikes Back and Big Trouble in Little China about a million times and poring over the ‘Making of’ Star Wars books” piqued Harb’s interest in special effects. “Fortunately, the best place on this planet to learn visual effects is Industrial Light and Magic,” says Harb, “and the opportunities here are endless.”

Patience and persistence pay off in the industry, as Harb’s own experience illustrates.

In the summer of 1995, Harb participated in Professor Percy Hooper’s Model Building Workshop. Hooper invited ILM’s Lorne

Bryant Griffin (BID 2003)

Barry Williams (BAD, BID 2003)

Photos courtesy of Lucas Digital, Ltd.

Jonathan Harb (BID 1995)

Peterson and Charlie Bailey to visit the workshop.

Harb calls Peterson and Bailey “veteran model makers…these are the guys that built the original Deathstar trench, Millennium Falcon, etc., from the first Star Wars films, and countless film icons since. I managed to show some work to them both, then kept in touch by mail.”

Through these contacts, Harb was able to get an interview with ILM. He was hired as a production assistant in the company’s Art Department.

“After throwing some things into my truck and driving across the country, I started at ILM 13 days after graduating from State, on January 2, 1996,” Harb says.

Favorite aspects of his job include “creating realistic images of things that do not exist in reality, and identifying, guiding, and learning from people who can do the same.”

6

DESIGN INFLUENCE / SPRING 2005

Harb began creating concept art soon after his start in the Art Department, and in 1998 moved into the Digital Matte Department, a unit that specializes in backgrounds and environments. He was leading projects in the Matte Department by 2000, and in 2002 he took over supervision of the group.

“When I got into a position where I had a little more influence,” says Harb, “I reconnected with NC State to look for talent.”

Crediting Art + Design Department Head Chandra Cox with helping him attract promising employees, Harb and ILM Recruiter Lala Gavgavian included NC State on a trip in November 2002, which was NC State’s first time on ILM’s recruiting list.

Harb says the “hardest people to find are those with a wide variety of skill sets. Artists that have strong traditional skills, coupled with solid, diverse digital skills are rare in the effects industry.”

During this trip, Harb met two promising talents at NC State — Bryant Griffin (BID 2003) and Barry Williams (BAD, BID 2003). Patience and persistence paid off for Griffin and Williams just as they had for Harb.

Griffin, a Charlotte native, learned about the College of Design through a contest he won while he was a student at the N.C. School of Mathematics and Science in Durham. In addition to the $200 he received as a prize, he got the opportunity to take an idea from concept to completion with Professor Charles Joyner. Introduced

by Joyner to the world of design and the numerous career paths available, his view of a potential career path was reshaped.

“I broke into the industry with a lot of nagging, persistence and the charity of Jonathan Harb. In November of 2002 I gathered all of my work and interviewed with Jonathan and Lala Gavgavian during (their) recruiting trip to NCSU. I received kind feedback, but no magic call,” says Griffin.

Determined to stay on task, Griffin “prepared a portfolio for ILM and Lucas Arts for the summer internship program [in 2002], but still no call. In the fall of 2003 I noticed a flyer with information about the Pumpkin King Scholarship and noticed that the donor was Jonathan Harb.”

“I didn’t submit my work to win the scholarship,” says Griffin.

“I just wanted to get my new work in front of Jonathan and begin a dialogue that would turn into some opportunity months or years down the line.”

“I won the scholarship and quickly started nagging professor Chandra Cox for Jonathan’s contact information. Chandra worked her magic and fortunately for me, Jonathan was willing to gamble and ILM was in a position to hire artists,” says Griffin.

Griffin grew up seeing The Empire Strikes Back and Raiders of the Lost Ark, both Lucas films. “I’m currently working on Star Wars Episode Three – a dream come true,” says Griffin.

Griffin says his education at NC State “comes down to the people.

All of the professors have so much passion and energy about what they do. They are accomplished individuals. It holds true at ILM, too. I just try to soak in as much as I can.”

Barry Williams recalls that after he graduated in the fall last year, he freelanced for a few months and Harb called him to come in for an interview as an apprentice. “That same enthusiasm that Bryant had helped me get a job,” said Williams.

Giving credit to Professors Susan Toplikar and Chandra Cox, Williams says his training specifically in the basics — light, color, and other fundamental design processes, and basic knowledge of some software help him with his current work. According to Williams, industrial design internships and working on outside public art projects really helped him get his feet wet.

“The depth of talent that others have around me and the excitement of seeing something I’ve worked on projected on ‘the big screen’” interests Williams most about his work at ILM. The list of films that Harb, Griffin and Williams have worked on recently include: Star Wars Episode Three, XXX State of the Union, War of the Worlds, The Day After Tomorrow, Harry Potter III: The Prisoner of Azkaban, Van Helsing, Pirates of the Caribbean, and Peter Pan. Harb is happy to have had a role in Griffin’s and Williams’ success.

“When you make it to a place where you can help others and do so, some people figure that as selfless,” Harb says, “but it’s just as much selfish. You feel great when you’re able to see positive results from something you’ve worked hard for and contribute directly to.

Plus, if you always give, you’ll always have.”

Giving back is something Harb has done personally by establishing the Pumpkin King Scholarship, and professionally by introducing ILM to NC State students and graduates.

FEATURE ARTICLE

7

NC S t a t e Gr ad s Wor k M ag ic

A

fter getting his start running errands in the art department of George Lucas’s special effects company Industrial Light and Magic (ILM), Jonathan Harb (BID 1995) now supervises the ILM Digital Matte Department, and has been instrumental in bringing other NC State graduates to the company.

“Watching The Empire Strikes Back and Big Trouble in Little China about a million times and poring over the ‘Making of’ Star Wars books” piqued Harb’s interest in special effects. “Fortunately, the best place on this planet to learn visual effects is Industrial Light and Magic,” says Harb, “and the opportunities here are endless.”

Patience and persistence pay off in the industry, as Harb’s own experience illustrates.

In the summer of 1995, Harb participated in Professor Percy Hooper’s Model Building Workshop. Hooper invited ILM’s Lorne

Bryant Griffin (BID 2003)

Barry Williams (BAD, BID 2003)

Photos courtesy of Lucas Digital, Ltd.

Jonathan Harb (BID 1995)

Peterson and Charlie Bailey to visit the workshop.

Harb calls Peterson and Bailey “veteran model makers…these are the guys that built the original Deathstar trench, Millennium Falcon, etc., from the first Star Wars films, and countless film icons since. I managed to show some work to them both, then kept in touch by mail.”

Through these contacts, Harb was able to get an interview with ILM. He was hired as a production assistant in the company’s Art Department.

“After throwing some things into my truck and driving across the country, I started at ILM 13 days after graduating from State, on January 2, 1996,” Harb says.

Favorite aspects of his job include “creating realistic images of things that do not exist in reality, and identifying, guiding, and learning from people who can do the same.”

6

DESIGN INFLUENCE / SPRING 2005

Harb began creating concept art soon after his start in the Art Department, and in 1998 moved into the Digital Matte Department, a unit that specializes in backgrounds and environments. He was leading projects in the Matte Department by 2000, and in 2002 he took over supervision of the group.

“When I got into a position where I had a little more influence,” says Harb, “I reconnected with NC State to look for talent.”

Crediting Art + Design Department Head Chandra Cox with helping him attract promising employees, Harb and ILM Recruiter Lala Gavgavian included NC State on a trip in November 2002, which was NC State’s first time on ILM’s recruiting list.

Harb says the “hardest people to find are those with a wide variety of skill sets. Artists that have strong traditional skills, coupled with solid, diverse digital skills are rare in the effects industry.”

During this trip, Harb met two promising talents at NC State — Bryant Griffin (BID 2003) and Barry Williams (BAD, BID 2003). Patience and persistence paid off for Griffin and Williams just as they had for Harb.

Griffin, a Charlotte native, learned about the College of Design through a contest he won while he was a student at the N.C. School of Mathematics and Science in Durham. In addition to the $200 he received as a prize, he got the opportunity to take an idea from concept to completion with Professor Charles Joyner. Introduced

by Joyner to the world of design and the numerous career paths available, his view of a potential career path was reshaped.

“I broke into the industry with a lot of nagging, persistence and the charity of Jonathan Harb. In November of 2002 I gathered all of my work and interviewed with Jonathan and Lala Gavgavian during (their) recruiting trip to NCSU. I received kind feedback, but no magic call,” says Griffin.

Determined to stay on task, Griffin “prepared a portfolio for ILM and Lucas Arts for the summer internship program [in 2002], but still no call. In the fall of 2003 I noticed a flyer with information about the Pumpkin King Scholarship and noticed that the donor was Jonathan Harb.”

“I didn’t submit my work to win the scholarship,” says Griffin.

“I just wanted to get my new work in front of Jonathan and begin a dialogue that would turn into some opportunity months or years down the line.”

“I won the scholarship and quickly started nagging professor Chandra Cox for Jonathan’s contact information. Chandra worked her magic and fortunately for me, Jonathan was willing to gamble and ILM was in a position to hire artists,” says Griffin.

Griffin grew up seeing The Empire Strikes Back and Raiders of the Lost Ark, both Lucas films. “I’m currently working on Star Wars Episode Three – a dream come true,” says Griffin.

Griffin says his education at NC State “comes down to the people.

All of the professors have so much passion and energy about what they do. They are accomplished individuals. It holds true at ILM, too. I just try to soak in as much as I can.”

Barry Williams recalls that after he graduated in the fall last year, he freelanced for a few months and Harb called him to come in for an interview as an apprentice. “That same enthusiasm that Bryant had helped me get a job,” said Williams.

Giving credit to Professors Susan Toplikar and Chandra Cox, Williams says his training specifically in the basics — light, color, and other fundamental design processes, and basic knowledge of some software help him with his current work. According to Williams, industrial design internships and working on outside public art projects really helped him get his feet wet.

“The depth of talent that others have around me and the excitement of seeing something I’ve worked on projected on ‘the big screen’” interests Williams most about his work at ILM. The list of films that Harb, Griffin and Williams have worked on recently include: Star Wars Episode Three, XXX State of the Union, War of the Worlds, The Day After Tomorrow, Harry Potter III: The Prisoner of Azkaban, Van Helsing, Pirates of the Caribbean, and Peter Pan. Harb is happy to have had a role in Griffin’s and Williams’ success.

“When you make it to a place where you can help others and do so, some people figure that as selfless,” Harb says, “but it’s just as much selfish. You feel great when you’re able to see positive results from something you’ve worked hard for and contribute directly to.

Plus, if you always give, you’ll always have.”

Giving back is something Harb has done personally by establishing the Pumpkin King Scholarship, and professionally by introducing ILM to NC State students and graduates.

FEATURE ARTICLE

7

M ar ching for t he P ack

I

s it hard to choose between your dream of becoming an architect and your love of music? Not if you are Heidi Charron or Giana Malak, both sophomores in the School of Architecture and both members of the NC State Wolfpack Marching Band. High Point native Charron plays the trumpet. Philadelphia area resident Malak plays the cymbals.

Charron says managing the rigors of architecture academics and the time commitment required to participate in the marching band is worthwhile because she could not choose between her two interests, even though she forfeits valuable studio time for the love of music.

“I love design and I love music. It’s hard to pick one to give up,” says Charron, who also plays in the Pep Band for Wolfpack basketball games. “I spent 15 hours at CarterFinley Stadium for the Miami game this fall. Football season means that two-day weekends all become one-day weekends, so lots of work has to go into studio projects and other assignments in that one day.”

Malak, who last year was a member of the Carolina Hurricanes Storm (dance) squad, too, has “overloaded her schedule since middle school.” Her father is in academia and advises her on time management. He convinced Malak to give up band after high school. What he had not planned on, though, was that her NC State orientation counselor was a drum major in the Marching Band.

After encouragement from the counselor, Malak tried out for band and made it. She says, “I don’t feel fulfilled

unless I have a lot on my plate. I’m lazy if I don’t have much to do.”

Although playing in the band requires lots of time, it also required some missed practice. Charron explains, “It stresses me out to be late and one time I was an hour late because our review ran long. Giana and I just have to learn things on our own that we miss at practice.”

“Last year my academics were not as stressful, having been mostly non-design related,” says Malak. “Now that I’m understanding my course work, I have a greater appreciation for being here and have developed a stronger dedication for studio work.”

In addition to the Marching Band, Charron plays in the Pep Band that plays for women’s and men’s basketball games and works parttime in the Materials Lab (shop). Charron adds, “I really enjoy both bands. Pep Band doesn’t require as much practice, but there are a lot of women’s and men’s basketball games.” She explains that members earn points for each game in which they participate in Pep Band. Charron plans to get in as many basketball games over the break as possible.

Last year, she earned enough points to be chosen as one of the 30 members who flew to Maryland to perform at the NCAA women’s tournament.

Right: Giana Malak building a model in studio.

Below: Heidi Charron working in the Materials Lab.

Giana Malak, left, and Heidi Charron, right, are musical architecture students. Photo by Dan Jahn.

8

DESIGN INFLUENCE / SPRING 2005

FEATURE ARTICLE

9

M ar ching for t he P ack

I

s it hard to choose between your dream of becoming an architect and your love of music? Not if you are Heidi Charron or Giana Malak, both sophomores in the School of Architecture and both members of the NC State Wolfpack Marching Band. High Point native Charron plays the trumpet. Philadelphia area resident Malak plays the cymbals.

Charron says managing the rigors of architecture academics and the time commitment required to participate in the marching band is worthwhile because she could not choose between her two interests, even though she forfeits valuable studio time for the love of music.

“I love design and I love music. It’s hard to pick one to give up,” says Charron, who also plays in the Pep Band for Wolfpack basketball games. “I spent 15 hours at CarterFinley Stadium for the Miami game this fall. Football season means that two-day weekends all become one-day weekends, so lots of work has to go into studio projects and other assignments in that one day.”

Malak, who last year was a member of the Carolina Hurricanes Storm (dance) squad, too, has “overloaded her schedule since middle school.” Her father is in academia and advises her on time management. He convinced Malak to give up band after high school. What he had not planned on, though, was that her NC State orientation counselor was a drum major in the Marching Band.

After encouragement from the counselor, Malak tried out for band and made it. She says, “I don’t feel fulfilled

unless I have a lot on my plate. I’m lazy if I don’t have much to do.”

Although playing in the band requires lots of time, it also required some missed practice. Charron explains, “It stresses me out to be late and one time I was an hour late because our review ran long. Giana and I just have to learn things on our own that we miss at practice.”

“Last year my academics were not as stressful, having been mostly non-design related,” says Malak. “Now that I’m understanding my course work, I have a greater appreciation for being here and have developed a stronger dedication for studio work.”

In addition to the Marching Band, Charron plays in the Pep Band that plays for women’s and men’s basketball games and works parttime in the Materials Lab (shop). Charron adds, “I really enjoy both bands. Pep Band doesn’t require as much practice, but there are a lot of women’s and men’s basketball games.” She explains that members earn points for each game in which they participate in Pep Band. Charron plans to get in as many basketball games over the break as possible.

Last year, she earned enough points to be chosen as one of the 30 members who flew to Maryland to perform at the NCAA women’s tournament.

Right: Giana Malak building a model in studio.

Below: Heidi Charron working in the Materials Lab.

Giana Malak, left, and Heidi Charron, right, are musical architecture students. Photo by Dan Jahn.

8

DESIGN INFLUENCE / SPRING 2005

FEATURE ARTICLE

9

A M a t ch M ade in De sig n S chool

W

Jim Barefoot (MPD 1986) and Wendy Miller (MLAR 1986)

endy Miller (MLAR 1986) and Jim Barefoot (MPD 1986) met while enrolled at NC State’s College of Design. Today they are married, living in Winston-Salem with their two children, and still working in design.

Speaking about their successes today, they both attribute inspiration derived from Professor Joe Cox. While in school, Miller was a teaching assistant for Cox’s Color & Light class while Barefoot was enrolled in the class.

The two fondly remember Cox’s nighttime community art class critiques as a major bonding force. In fact, the pair attended Cox’s watercolor workshop in Oriental, N.C., for their honeymoon trip.

Miller’s Work Combines Design and Science An English major with pre-med sciences under her belt, Wendy Miller decided to continue her studies after working for a landscape architect in the University of Virginia (UVA) campus planning department. “It opened up a whole new world to me,” says Miller.

After UVA, Miller moved to Chapel Hill. While there, she enrolled in a planning course that led her to NC State’s design school. She met Barefoot during her second year.

Today, Miller is using her talents and interests in the Transportation Planning Department for the City of Winston-Salem. As Principal Planner, she works with the Winston-Salem Metropolitan Planning Organization (MPO), and she is involved with the overall system planning including bike paths, pedestrians, and long-range planning.

A new project for Miller is participating in developing an Aesthetics Manual for the N.C. Department of Transportation (NCDOT).

The federal government is pushing comprehensive, multimodal transportation planning, which includes all modes of transportation from trains to passenger cars to buses and airplanes. NCDOT is trying to revamp how it plans for aesthetics in roadway design.

10

DESIGN INFLUENCE / SPRING 2005

Context sensitive design, the newest government buzz words in Inspired by Foote’s challenge to build a chair, Barefoot transferred roadway planning, serves to build the road in the landscape context. from the master’s program in Wood Science into the Industrial Design When speaking of this, Miller shares that “landscape architects master’s program. He was in and out of the program because he were the first to design scenic parkways that used the land to shape worked, but continued work on his master’s part-time. the road without destroying the landscape.”

When he and Miller relocated to Winston-Salem, Barefoot began Her first affiliation is with the American Society of Landscape working with Hy Zelkowitz at Stendig doing product development of Architects (ASLA) and she served as president of the North Carolina lounge chairs. They would take the sketches from the Vignellis or Chapter in 1996. She participates in the Transportation Research Board SOM and convert them into something that could be manufactured. as a member of the Landscape and Barefoot also made the prototypes Environmental Design Committee. for showroom samples, which Miller was a charter member of was a crash course in upholstery. the alumni advisory board for the Unfortunately, Stendig went out of Landscape Architecture Department business. at NC State. When she was asked to Barefoot then worked at Brayton serve, Miller confides she reviewed International in product developher projects from design school to get ment. He served as an in-house reacquainted with the work. “Half designer. While there, several of his of my projects were road-related. It chair designs were produced. was stunning to realize I had done After that experience, he set that,” she says. “One of my projects up as an independent designer and was working on sign ordinances and has “a 12-foot commute across his visual aesthetics in the public realm. deck.” Barefoot either responds to Roads are a big part of that.” design briefs from clients or specuKeeping in touch with the people lates by creating chair designs that from school is important to Miller. he thinks companies might need.

She says her landscape architecture He creates computer renderings for training brings a different way of presentations and often builds proBarefoot’s chair Alana, produced by Patrician. looking at the problems she runs into totypes. His clients then license the as a transportation planner. “It’s a comprehensive view,” she explains. designs and pay him on a royalty basis. His clients include Brayton, HBF, Paoli, AGI, and Patrician.

Professor’s Question Leads to a Career His success is linked to maintaining long relationships with clients.

While majoring in Wood Science and Technology at NC State, That generates more than enough work to keep him going part time.

Barefoot had designed a table. On the advice of his father, who as a Barefoot says his design business is just one of his jobs. “I’m a faculty member in Forestry had served on committees with Vince stay-at-home dad for our 14- and 11-year olds, I renovate the house, Foote, Barefoot showed it to Foote for input. and I have my design business.”

Barefoot says he will never forget Foote’s response, “Where’s the As for the first chair Barefoot designed at the request of Foote to chair?” match his table….it is still in their home.

FEATURE ARTICLE

11

A M a t ch M ade in De sig n S chool

W

Jim Barefoot (MPD 1986) and Wendy Miller (MLAR 1986)

endy Miller (MLAR 1986) and Jim Barefoot (MPD 1986) met while enrolled at NC State’s College of Design. Today they are married, living in Winston-Salem with their two children, and still working in design.

Speaking about their successes today, they both attribute inspiration derived from Professor Joe Cox. While in school, Miller was a teaching assistant for Cox’s Color & Light class while Barefoot was enrolled in the class.

The two fondly remember Cox’s nighttime community art class critiques as a major bonding force. In fact, the pair attended Cox’s watercolor workshop in Oriental, N.C., for their honeymoon trip.

Miller’s Work Combines Design and Science An English major with pre-med sciences under her belt, Wendy Miller decided to continue her studies after working for a landscape architect in the University of Virginia (UVA) campus planning department. “It opened up a whole new world to me,” says Miller.

After UVA, Miller moved to Chapel Hill. While there, she enrolled in a planning course that led her to NC State’s design school. She met Barefoot during her second year.

Today, Miller is using her talents and interests in the Transportation Planning Department for the City of Winston-Salem. As Principal Planner, she works with the Winston-Salem Metropolitan Planning Organization (MPO), and she is involved with the overall system planning including bike paths, pedestrians, and long-range planning.

A new project for Miller is participating in developing an Aesthetics Manual for the N.C. Department of Transportation (NCDOT).

The federal government is pushing comprehensive, multimodal transportation planning, which includes all modes of transportation from trains to passenger cars to buses and airplanes. NCDOT is trying to revamp how it plans for aesthetics in roadway design.

10

DESIGN INFLUENCE / SPRING 2005

Context sensitive design, the newest government buzz words in Inspired by Foote’s challenge to build a chair, Barefoot transferred roadway planning, serves to build the road in the landscape context. from the master’s program in Wood Science into the Industrial Design When speaking of this, Miller shares that “landscape architects master’s program. He was in and out of the program because he were the first to design scenic parkways that used the land to shape worked, but continued work on his master’s part-time. the road without destroying the landscape.”

When he and Miller relocated to Winston-Salem, Barefoot began Her first affiliation is with the American Society of Landscape working with Hy Zelkowitz at Stendig doing product development of Architects (ASLA) and she served as president of the North Carolina lounge chairs. They would take the sketches from the Vignellis or Chapter in 1996. She participates in the Transportation Research Board SOM and convert them into something that could be manufactured. as a member of the Landscape and Barefoot also made the prototypes Environmental Design Committee. for showroom samples, which Miller was a charter member of was a crash course in upholstery. the alumni advisory board for the Unfortunately, Stendig went out of Landscape Architecture Department business. at NC State. When she was asked to Barefoot then worked at Brayton serve, Miller confides she reviewed International in product developher projects from design school to get ment. He served as an in-house reacquainted with the work. “Half designer. While there, several of his of my projects were road-related. It chair designs were produced. was stunning to realize I had done After that experience, he set that,” she says. “One of my projects up as an independent designer and was working on sign ordinances and has “a 12-foot commute across his visual aesthetics in the public realm. deck.” Barefoot either responds to Roads are a big part of that.” design briefs from clients or specuKeeping in touch with the people lates by creating chair designs that from school is important to Miller. he thinks companies might need.

She says her landscape architecture He creates computer renderings for training brings a different way of presentations and often builds proBarefoot’s chair Alana, produced by Patrician. looking at the problems she runs into totypes. His clients then license the as a transportation planner. “It’s a comprehensive view,” she explains. designs and pay him on a royalty basis. His clients include Brayton, HBF, Paoli, AGI, and Patrician.

Professor’s Question Leads to a Career His success is linked to maintaining long relationships with clients.

While majoring in Wood Science and Technology at NC State, That generates more than enough work to keep him going part time.

Barefoot had designed a table. On the advice of his father, who as a Barefoot says his design business is just one of his jobs. “I’m a faculty member in Forestry had served on committees with Vince stay-at-home dad for our 14- and 11-year olds, I renovate the house, Foote, Barefoot showed it to Foote for input. and I have my design business.”

Barefoot says he will never forget Foote’s response, “Where’s the As for the first chair Barefoot designed at the request of Foote to chair?” match his table….it is still in their home.

FEATURE ARTICLE

11

De sig n Connec t ion s L ead t o S ucce s s

L

ittle did Mark Kimbrough (MPD 1985) know when he was a senior at Duke University that he would have NC State connections to thank for leading him down the road to success. Kimbrough was majoring in fine art when he took the advice of Christian Holljes (MPD 1984) to come visit him at NC State in the industrial design master’s program. “Holljes had been a year ahead of me at Duke.

Fortunately,” says Kimbrough, “I did take him up on his offer and I went to visit the design department at State.”

Kimbrough says that Holljes, who was majoring in zoology and fine arts at Duke had taken an independent study in the ID program at State his senior year. Holljes encouraged Kimbrough to do the same, so he decided to follow the same path. Kimbrough enrolled in an independent study with Vince Foote and learned to love industrial design.

Kimbrough was given a project each week of the independent study.

Starting out in a consulting job in the Mark Kimbrough (MPD 1985) Midwest, Kimbrough heard about what Chipp Walters (MPD 1982) had been doing in the ‘Texas computer circuit’ with firms like IBM and Texas Instruments. Walters had started Design Edge and within a few months, Kimbrough became the first employee and helped get the industrial design company off the ground. Before long, Design Edge was designing products for many Fortune 500 companies.

One of their clients was Michael Dell, founder of Dell Computer (then PC’s Limited). Dell had just moved his operation to a warehouse facility and asked Design Edge to develop his first

12

DESIGN INFLUENCE / SPRING 2005

products inside and out. According to Kimbrough, “That put us on the map…. designing Dell’s first laptop on the market.”

Still based in Houston at the time, Kimbrough and the other Design Edge consultants would travel to Austin, commuting two and a half hours each day to make the 150-mile trip. They decided to relocate Design Edge to Austin, which was becoming a minisilicon valley area. The company continued to grow and flourish and Kimbrough became partner in 1994.

While the product development side of Design Edge was doing well, Walters was pioneering the use of multimedia and animation; well before there was much available software. Eventually, Walters spun off a new company called Human Code, and continued exploring the integration of animation, graphical user interface and gaming on the Internet.

When Kimbrough became a full partner, Design Edge was strictly industrial design focused, but there was a movement in the industry to incorporate mechanical engineering into its suite of services in order to provide a more comprehensive service to its clients. Pearce Jones, a mechanical engineer, became partner with Kimbrough in the mid-90s.

Today, Design Edge has 35 employees.

On staff there are industrial designers, mechanical engineers, graphic designers, and experience designers (strategic branding and web site development).

With this talent-stocked staff, Design Edge is able to offer comprehensive services from corporate branding to product line extensions.

After years of the tradition ‘fee for

service’ consulting business, Kimbrough and Jones began looking into other business models to generate income. In 2000 they decided to explore the notion of creating a true ‘product’ based company; one where they would design, manufacture and sell their own products.

They employed their years of experience to research and select a market segment which had little exposure to design as a strategic differentiator. Six months and many pounds of coffee later, they selected the pet market to be the primary focus.

The pet industry is a $35 billion industry which has proven less susceptible to economic fluctuations. According to their research, even in a down market, people continue to spend money on their kids and pets. They then broke down the various market segments. “Other than in food products, there was absolutely no brand awareness in hard goods. There really aren’t any memorable name brands… where was Nike, Oakley or Coca Cola in this industry?” says Kimbrough. Their strategy was to develop a brand first and then to develop products that would support their brand message in the marketplace.

That venture, called WetnOz (pronounced “wet nose”), began with targeting the ‘icon’ of the industry. . .the dog bowl. . . seemingly mundane accessory, yet, one which every pet-household needs. They

launched with high-end, high-style food dishes and containers for both cat and dog lovers. Since their product launch in 2001, product lines have grown to now include stainless steel and plastic dishes, various accessories for the pet-home environment, toys, and soon, grooming products. WetnOz products are now carried in 400 pet and gift stores in the U.S. and 12 different countries, and have garnered international design acclaim since their introduction.

Kimbrough now splits his time between the two businesses, while Jones remains fully focused on Design Edge. WetnOz has grown at 30-40 percent in each of the past three years. So far, Kimbrough says that WetnOz has managed to exceed their every expectation with the future looking very bright. Further expansion is anticipated.

For a Duke grad who learned about the NC State program through a friend, Kimbrough says the time he spent at NC State “was an absolutely phenomenal experience for me.” The small graduate program was beneficial and he still is in contact with several people from State.

“The network of students and NC State grads helped me get my first consulting job in the Midwest and another NC State connection led me to Houston as the first employee of Design Edge,” adds Kimbrough. He adds that he came a long way in what seems like a relatively short time.

“I owe my whole career to Vince,” adds Kimbrough. “In hindsight, he recognized things in me that I didn’t see and I can’t say enough about him and what he did for me.”

Top: WetnOz booster stand and feeding dish: complies with the Vets recommendation for elevated feeding.

Right: Kimbrough’s dog, Alamo, sneaking a treat from his WetnOz Treat Jar. FEATURE ARTICLE

13

De sig n Connec t ion s L ead t o S ucce s s

L

ittle did Mark Kimbrough (MPD 1985) know when he was a senior at Duke University that he would have NC State connections to thank for leading him down the road to success. Kimbrough was majoring in fine art when he took the advice of Christian Holljes (MPD 1984) to come visit him at NC State in the industrial design master’s program. “Holljes had been a year ahead of me at Duke.

Fortunately,” says Kimbrough, “I did take him up on his offer and I went to visit the design department at State.”

Kimbrough says that Holljes, who was majoring in zoology and fine arts at Duke had taken an independent study in the ID program at State his senior year. Holljes encouraged Kimbrough to do the same, so he decided to follow the same path. Kimbrough enrolled in an independent study with Vince Foote and learned to love industrial design.

Kimbrough was given a project each week of the independent study.

Starting out in a consulting job in the Mark Kimbrough (MPD 1985) Midwest, Kimbrough heard about what Chipp Walters (MPD 1982) had been doing in the ‘Texas computer circuit’ with firms like IBM and Texas Instruments. Walters had started Design Edge and within a few months, Kimbrough became the first employee and helped get the industrial design company off the ground. Before long, Design Edge was designing products for many Fortune 500 companies.

One of their clients was Michael Dell, founder of Dell Computer (then PC’s Limited). Dell had just moved his operation to a warehouse facility and asked Design Edge to develop his first

12

DESIGN INFLUENCE / SPRING 2005

products inside and out. According to Kimbrough, “That put us on the map…. designing Dell’s first laptop on the market.”

Still based in Houston at the time, Kimbrough and the other Design Edge consultants would travel to Austin, commuting two and a half hours each day to make the 150-mile trip. They decided to relocate Design Edge to Austin, which was becoming a minisilicon valley area. The company continued to grow and flourish and Kimbrough became partner in 1994.

While the product development side of Design Edge was doing well, Walters was pioneering the use of multimedia and animation; well before there was much available software. Eventually, Walters spun off a new company called Human Code, and continued exploring the integration of animation, graphical user interface and gaming on the Internet.

When Kimbrough became a full partner, Design Edge was strictly industrial design focused, but there was a movement in the industry to incorporate mechanical engineering into its suite of services in order to provide a more comprehensive service to its clients. Pearce Jones, a mechanical engineer, became partner with Kimbrough in the mid-90s.

Today, Design Edge has 35 employees.

On staff there are industrial designers, mechanical engineers, graphic designers, and experience designers (strategic branding and web site development).

With this talent-stocked staff, Design Edge is able to offer comprehensive services from corporate branding to product line extensions.

After years of the tradition ‘fee for

service’ consulting business, Kimbrough and Jones began looking into other business models to generate income. In 2000 they decided to explore the notion of creating a true ‘product’ based company; one where they would design, manufacture and sell their own products.

They employed their years of experience to research and select a market segment which had little exposure to design as a strategic differentiator. Six months and many pounds of coffee later, they selected the pet market to be the primary focus.

The pet industry is a $35 billion industry which has proven less susceptible to economic fluctuations. According to their research, even in a down market, people continue to spend money on their kids and pets. They then broke down the various market segments. “Other than in food products, there was absolutely no brand awareness in hard goods. There really aren’t any memorable name brands… where was Nike, Oakley or Coca Cola in this industry?” says Kimbrough. Their strategy was to develop a brand first and then to develop products that would support their brand message in the marketplace.

That venture, called WetnOz (pronounced “wet nose”), began with targeting the ‘icon’ of the industry. . .the dog bowl. . . seemingly mundane accessory, yet, one which every pet-household needs. They

launched with high-end, high-style food dishes and containers for both cat and dog lovers. Since their product launch in 2001, product lines have grown to now include stainless steel and plastic dishes, various accessories for the pet-home environment, toys, and soon, grooming products. WetnOz products are now carried in 400 pet and gift stores in the U.S. and 12 different countries, and have garnered international design acclaim since their introduction.

Kimbrough now splits his time between the two businesses, while Jones remains fully focused on Design Edge. WetnOz has grown at 30-40 percent in each of the past three years. So far, Kimbrough says that WetnOz has managed to exceed their every expectation with the future looking very bright. Further expansion is anticipated.

For a Duke grad who learned about the NC State program through a friend, Kimbrough says the time he spent at NC State “was an absolutely phenomenal experience for me.” The small graduate program was beneficial and he still is in contact with several people from State.

“The network of students and NC State grads helped me get my first consulting job in the Midwest and another NC State connection led me to Houston as the first employee of Design Edge,” adds Kimbrough. He adds that he came a long way in what seems like a relatively short time.

“I owe my whole career to Vince,” adds Kimbrough. “In hindsight, he recognized things in me that I didn’t see and I can’t say enough about him and what he did for me.”

Top: WetnOz booster stand and feeding dish: complies with the Vets recommendation for elevated feeding.

Right: Kimbrough’s dog, Alamo, sneaking a treat from his WetnOz Treat Jar. FEATURE ARTICLE

13

Graphic Design Student Helps Launch Wolfgrid

S

ince early in 2004, graphic design graduate student Jon Harris has had a hobby that requires most of his extra time.

Armed with a BFA in graphic design with an undergraduate minor in electrical engineering from The Cooper Union for the Advancement of Science and Art, Harris is now a fourth-semester graduate student.

He has always been interested in the space where art and design and technology meet. His membership in the Mac Users Group on campus led to his interest in creating a supercomputer at NC State.

When Apple released its Xgrid software in January 2004, the Mac Users who were interested started Wolfgrid as an experiment to connect many Macintosh computers together as a supercomputer to share the workload for processor-intensive applications. This created a virtual community grid that works like a supercomputer, performing computing jobs when computers are idle.

The computers are part of a network and all hooked to one central computer. The Information Technology Department lends a hand by allowing some of their computer servers that use grid controller software to be used by Wolfgrid.

Harris and Sammie Carter, a computer science senior, volunteered to begin to build Wolfgrid across the NC State community. The student-initiated Wolfgrid project was launched in February, with guidance from Everette Allen, computing consultant with NC State’s Information Technology Division and staff advisor for the project.

Wolfgrid currently allows collaborative computations on networked Macs; soon, Linux boxes will be added to the grid.

Wolfgrid now includes about 25 computers, and the number grows daily, Carter says. He and Harris have done a bit of troubleshooting and creative problem solving while building the grid.

As one of the grid architects of Wolfgrid, Harris has written several software applications to test it. What interests him most is that Wolfgrid is a social experiment as well as a computer experiment.

14

DESIGN INFLUENCE / SPRING 2005

For Harris, “The fun of it is seeing the grid work.” He wonders if a community can create a useful grid to support itself in its computing needs. As a demonstration, Harris gets out his laptop and to explain the computer network. He visits the http://packmug. ncsu.edu/wolfgrid page and goes to the applications page. He plugs in that he wants to get prime numbers from 0 to 10,000. While watching his monitor (that shows which computers are idle that are available to help crunch the numbers), instantaneously he sees the Pictured below: Jon Harris. At right, l-r: Sammie Carter, Everette Allen and Harris.

results of his query. Not only are the results listed, but a table shows what computer had which part of the problem to solve. It is easy to understand his fascination with seeing his work in action.

“The grid is great for large, time-consuming data crunching,” says Harris. It is a truly communal grid because anyone can submit jobs to the grid and anyone can become agent computers on the grid.

The goal for Harris is to have more software available to make the grid more useful for a larger variety of disciplines. He explains that Wolfgrid is a secure system so no agent computers (idle computers that do the work) are harmed in the process.

Right now Wolfgrid is set up so anyone can write software or collaborate with a handful of involved Computer Science students to write software. The Wolfgrid team will evaluate the software before putting it on their web site.

According to Harris, the reason the web interface exists is for non-Apple users to be able to benefit from the software. The web portal allows the grid to interface with the Internet. In the future, you can retrieve your own jobs and it will e-mail you a link to the finished product available for download. There is also the potential for 3-D animation movies to be generated through the grid, which would greatly reduce file-processing times for people using the grid.

Harris hopes to learn how to sustain users’ interest in the grid and wants to encourage grid members to involve others. “To me, this meant that people had to understand the grid as a communal experience.

It is very important that the users have a sense of community and feel that they are an active participant in this community, which works for the benefit of everyone involved,” says Harris.

“At the same time I am very interested in this project from a technology standpoint, since I wanted to see if a socially based computing grid is something that can even exist and help people.

I also wanted to see how building a socially based computing grid is accomplished. This is what happens at the intersection of design and technology and I think approaching this problem from both of those angles benefited the project,” he adds.

FEATURE ARTICLE

15

Graphic Design Student Helps Launch Wolfgrid

S

ince early in 2004, graphic design graduate student Jon Harris has had a hobby that requires most of his extra time.

Armed with a BFA in graphic design with an undergraduate minor in electrical engineering from The Cooper Union for the Advancement of Science and Art, Harris is now a fourth-semester graduate student.

He has always been interested in the space where art and design and technology meet. His membership in the Mac Users Group on campus led to his interest in creating a supercomputer at NC State.

When Apple released its Xgrid software in January 2004, the Mac Users who were interested started Wolfgrid as an experiment to connect many Macintosh computers together as a supercomputer to share the workload for processor-intensive applications. This created a virtual community grid that works like a supercomputer, performing computing jobs when computers are idle.

The computers are part of a network and all hooked to one central computer. The Information Technology Department lends a hand by allowing some of their computer servers that use grid controller software to be used by Wolfgrid.

Harris and Sammie Carter, a computer science senior, volunteered to begin to build Wolfgrid across the NC State community. The student-initiated Wolfgrid project was launched in February, with guidance from Everette Allen, computing consultant with NC State’s Information Technology Division and staff advisor for the project.

Wolfgrid currently allows collaborative computations on networked Macs; soon, Linux boxes will be added to the grid.

Wolfgrid now includes about 25 computers, and the number grows daily, Carter says. He and Harris have done a bit of troubleshooting and creative problem solving while building the grid.

As one of the grid architects of Wolfgrid, Harris has written several software applications to test it. What interests him most is that Wolfgrid is a social experiment as well as a computer experiment.

14

DESIGN INFLUENCE / SPRING 2005

For Harris, “The fun of it is seeing the grid work.” He wonders if a community can create a useful grid to support itself in its computing needs. As a demonstration, Harris gets out his laptop and to explain the computer network. He visits the http://packmug. ncsu.edu/wolfgrid page and goes to the applications page. He plugs in that he wants to get prime numbers from 0 to 10,000. While watching his monitor (that shows which computers are idle that are available to help crunch the numbers), instantaneously he sees the Pictured below: Jon Harris. At right, l-r: Sammie Carter, Everette Allen and Harris.

results of his query. Not only are the results listed, but a table shows what computer had which part of the problem to solve. It is easy to understand his fascination with seeing his work in action.

“The grid is great for large, time-consuming data crunching,” says Harris. It is a truly communal grid because anyone can submit jobs to the grid and anyone can become agent computers on the grid.

The goal for Harris is to have more software available to make the grid more useful for a larger variety of disciplines. He explains that Wolfgrid is a secure system so no agent computers (idle computers that do the work) are harmed in the process.

Right now Wolfgrid is set up so anyone can write software or collaborate with a handful of involved Computer Science students to write software. The Wolfgrid team will evaluate the software before putting it on their web site.

According to Harris, the reason the web interface exists is for non-Apple users to be able to benefit from the software. The web portal allows the grid to interface with the Internet. In the future, you can retrieve your own jobs and it will e-mail you a link to the finished product available for download. There is also the potential for 3-D animation movies to be generated through the grid, which would greatly reduce file-processing times for people using the grid.

Harris hopes to learn how to sustain users’ interest in the grid and wants to encourage grid members to involve others. “To me, this meant that people had to understand the grid as a communal experience.

It is very important that the users have a sense of community and feel that they are an active participant in this community, which works for the benefit of everyone involved,” says Harris.

“At the same time I am very interested in this project from a technology standpoint, since I wanted to see if a socially based computing grid is something that can even exist and help people.

I also wanted to see how building a socially based computing grid is accomplished. This is what happens at the intersection of design and technology and I think approaching this problem from both of those angles benefited the project,” he adds.

FEATURE ARTICLE

15

NC S t a t e Team Helping Impr ove A f for dable Hou sing For L umbee Tr ibe

F

ather and son pair Michael Clark (B.Arch. 1971), and Ché Clark (M.Arch. 2004), and Architecture Professor Georgia Bizios are leading a team of NC State students who are working to improve housing for North Carolina’s Lumbee Tribe by designing affordable homes for Lumbee residents in southeastern North Carolina.

Michael Clark is NC State’s first Lumbee graduate in architecture.

He is the owner of Native American Design Services, which was hired to assist the Tribe with creating home design guidelines.

The Tribe had received a grant to support housing needs from the Federal Department of Housing and Urban Development (HUD).

The HUD grant allows qualifying potential homeowners to receive guaranteed loans for the construction of new, quality-built houses.

“I thought it would be a great marriage between the College of Design and the Tribe,” says Michael Clark. He realized that there was a great opportunity for collaboration between Tribe members and architecture students, who could bring a great deal of energy and design experience to the project. This kind of real world challenge inspires enthusiasm among design students. In projects like this, they must examine the unique cultural needs of a particular community and take responsibility for developing real solutions through design.

Michael Clark talked about this idea with his son Ché, who was completing his last semester toward earning a master’s degree in architecture, and with Georgia Bizios, whose architecture firm specializes in residential design. The Clarks and Bizios discussed the possibility of the College of Design’s involvement in the project, and then met with the Tribal Council. Together they developed a proposal which began to generate excitement for the collaboration.

Designs to Accommodate Cultural Differences Clark and many of his fellow Tribal members felt that much of

16

DESIGN INFLUENCE / SPRING 2005

the recently built stock of affordable housing in the Robeson County region does not adequately meet the needs of the occupants in terms of durability, quality of construction and standards of design. As a means of addressing this issue, the Lumbee home design initiative will place an emphasis on the use of durable, high quality materials while incorporating recent trends in the production of affordable housing. As a result of the interaction with the ultimate homeowners, the team plans to engage elements of traditional Lumbee housing culture in the designs.

Bizios also saw an opportunity in a project that has dual benefits both for the community and for the students involved. In addition to providing a valuable service for the homeowners, this type of project is an excellent chance for students to learn by addressing issues of site and place for a unique client. In doing so they are able to work with broad concepts of home design while specifically enriching the project by their participation. She recruited graduate students who are working on the project at many different levels, from cultural Photos from Lumbee community workshop held September 2004.

the Tribal Council to show them preliminary home designs based on the information gathered at the community meetings. The designs will be for 1500 square-foot prototypes with variations on each design. After getting feedback on the prototype designs, the team will begin to address issues of construction methods and neighborhood design.

research to the home designs. In addition to Clark, the design team includes Marshall Dunlap, Katie Wakeford, K.C. Kurtz and Wendy Legerton. The project will continue over the coming years, and Bizios envisions a rotating membership as some students graduate and others are recruited to join the team.

The students have made a number of trips to Robeson County to get to know the environment. On September 21, 2004, they conducted a community workshop in Pembroke in order to get input from their eventual clients. The meeting was attended by over fifty members of the Lumbee Tribe, who represented all fourteen of the Lumbee districts in Robeson County.

The community meeting served as a brainstorming session, which brought up issues of housing that the community felt needed attention in the design of new affordable homes in the region. “The participants realized that their input is valuable,” Michael Clark said. “Even if each and every idea is not eventually included, the participants know their concerns were heard.”

Based on feedback from potential homeowners, the team is incorporating Native American themes and cultural elements – such as open spaces for meals and family gatherings – into their home designs. The ideas arising from the meeting focused on affordability, energy efficiency, sustainability, and traditional cultural gathering places.

The next step in the project will be a meeting with members of

Exposure to Architecture an Additional Benefit Seeing the project as a mutually beneficial exercise between students and the Lumbee community and being a die-hard NC State fan, Michael Clark knew the Tribe would benefit from the pride that NC State takes in whatever it sets out to do for the community.

“Traditionally, homeowners in affordable housing communities do not get exposure to the profession and practice of architecture,” Michael Clark says. “This was a way to get young people in the region involved with the community at the meetings, and it educates them by exposing them to what an architect does.”

Michael Clark hopes that after being exposed to architecture, young people in the Tribe with talent will be able to go to Design Camp and learn more about the design disciplines and NC State.

“This is a very fulfilling project,” Ché Clark says. “I see the extensive need for housing for my people, and I am proud to use my skills to help relieve some of that need. It means a great deal to be able to team up with my dad and provide much-needed architectural services to the Lumbee people.”

FEATURE ARTICLE

17

NC S t a t e Team Helping Impr ove A f for dable Hou sing For L umbee Tr ibe

F

ather and son pair Michael Clark (B.Arch. 1971), and Ché Clark (M.Arch. 2004), and Architecture Professor Georgia Bizios are leading a team of NC State students who are working to improve housing for North Carolina’s Lumbee Tribe by designing affordable homes for Lumbee residents in southeastern North Carolina.

Michael Clark is NC State’s first Lumbee graduate in architecture.

He is the owner of Native American Design Services, which was hired to assist the Tribe with creating home design guidelines.

The Tribe had received a grant to support housing needs from the Federal Department of Housing and Urban Development (HUD).

The HUD grant allows qualifying potential homeowners to receive guaranteed loans for the construction of new, quality-built houses.

“I thought it would be a great marriage between the College of Design and the Tribe,” says Michael Clark. He realized that there was a great opportunity for collaboration between Tribe members and architecture students, who could bring a great deal of energy and design experience to the project. This kind of real world challenge inspires enthusiasm among design students. In projects like this, they must examine the unique cultural needs of a particular community and take responsibility for developing real solutions through design.

Michael Clark talked about this idea with his son Ché, who was completing his last semester toward earning a master’s degree in architecture, and with Georgia Bizios, whose architecture firm specializes in residential design. The Clarks and Bizios discussed the possibility of the College of Design’s involvement in the project, and then met with the Tribal Council. Together they developed a proposal which began to generate excitement for the collaboration.

Designs to Accommodate Cultural Differences Clark and many of his fellow Tribal members felt that much of

16

DESIGN INFLUENCE / SPRING 2005

the recently built stock of affordable housing in the Robeson County region does not adequately meet the needs of the occupants in terms of durability, quality of construction and standards of design. As a means of addressing this issue, the Lumbee home design initiative will place an emphasis on the use of durable, high quality materials while incorporating recent trends in the production of affordable housing. As a result of the interaction with the ultimate homeowners, the team plans to engage elements of traditional Lumbee housing culture in the designs.

Bizios also saw an opportunity in a project that has dual benefits both for the community and for the students involved. In addition to providing a valuable service for the homeowners, this type of project is an excellent chance for students to learn by addressing issues of site and place for a unique client. In doing so they are able to work with broad concepts of home design while specifically enriching the project by their participation. She recruited graduate students who are working on the project at many different levels, from cultural Photos from Lumbee community workshop held September 2004.

the Tribal Council to show them preliminary home designs based on the information gathered at the community meetings. The designs will be for 1500 square-foot prototypes with variations on each design. After getting feedback on the prototype designs, the team will begin to address issues of construction methods and neighborhood design.

research to the home designs. In addition to Clark, the design team includes Marshall Dunlap, Katie Wakeford, K.C. Kurtz and Wendy Legerton. The project will continue over the coming years, and Bizios envisions a rotating membership as some students graduate and others are recruited to join the team.

The students have made a number of trips to Robeson County to get to know the environment. On September 21, 2004, they conducted a community workshop in Pembroke in order to get input from their eventual clients. The meeting was attended by over fifty members of the Lumbee Tribe, who represented all fourteen of the Lumbee districts in Robeson County.

The community meeting served as a brainstorming session, which brought up issues of housing that the community felt needed attention in the design of new affordable homes in the region. “The participants realized that their input is valuable,” Michael Clark said. “Even if each and every idea is not eventually included, the participants know their concerns were heard.”

Based on feedback from potential homeowners, the team is incorporating Native American themes and cultural elements – such as open spaces for meals and family gatherings – into their home designs. The ideas arising from the meeting focused on affordability, energy efficiency, sustainability, and traditional cultural gathering places.

The next step in the project will be a meeting with members of

Exposure to Architecture an Additional Benefit Seeing the project as a mutually beneficial exercise between students and the Lumbee community and being a die-hard NC State fan, Michael Clark knew the Tribe would benefit from the pride that NC State takes in whatever it sets out to do for the community.

“Traditionally, homeowners in affordable housing communities do not get exposure to the profession and practice of architecture,” Michael Clark says. “This was a way to get young people in the region involved with the community at the meetings, and it educates them by exposing them to what an architect does.”

Michael Clark hopes that after being exposed to architecture, young people in the Tribe with talent will be able to go to Design Camp and learn more about the design disciplines and NC State.

“This is a very fulfilling project,” Ché Clark says. “I see the extensive need for housing for my people, and I am proud to use my skills to help relieve some of that need. It means a great deal to be able to team up with my dad and provide much-needed architectural services to the Lumbee people.”

FEATURE ARTICLE

17

Sponsored Go Kart Studio Yields Good Results

COMMENCEMENT

T

Commencement Address by Tony Brock NC State University College of Design December 15, 2004

his fall, Vialink Corp. sponsored a design competition in Bong-Il Jin’s Industrial Design 400 Studio. The idea came to Professor Jin and Charles Kim, VP of Design and Marketing for Vialink, while Kim was co-teaching the studio.

Winning designs by (l-r) Chadley Jaziri, Derick Harris, and Hong-youl Choi Kim, who holds a Masters of Industrial Design from Pratt Institute in Brooklyn, New York, welcomed and teams were rewarded based on teamwork, quality of research, the opportunity. “We felt it was a requirement to provide an experience organization, analysis, and how well they could both communicate that would push students to draw upon the individual talents as well and validate their findings. as technical and problem-solving skills they’ve acquired to date, but The final studio presentation was held December 3, 2004, with key more importantly push the students to realize the skill sets they did Vialink staff in attendance, including President Steve Shankin, and not yet possess, and discover the challenge of uncovering resources Hardy Lim, who graduated from NC State College of Design and is needed to bridge that gap. Forcing them to apply their skills outside of continuing to pursue a master’s degree in design. the school environment gave them a great snapshot of what to expect The winners of the individual portion of the competition were as professionals while allowing them to discover their own particular Chadley Jaziri, Derick Harris, and Hong-youl Choi, and each won a areas that needed improvement” said Kim. mountain bike (valued at $700). The winning group, Group ‘C’ (Chadley “We [Kim and Jin] thought a go-cart design project would be great Jaziri, Hong-youl Choi, and Anthony Lee), won $600 in materials. given the current market consists only of crudely designed vehicles. A “We are very pleased with the student’s body of work. They all good analogy would be to think about the mini bike of years ago and worked very hard at gathering their reference data, analyzing, and motorcycles today with all the beautifully styled models on the market. organizing it into cohesive and compelling conclusions for what was The go-cart industry has fallen behind this wave of technical innovation required in a new design. The students all attacked the problem and and creative expression, showing no design progression in the same period. came up with creative solutions while honing their presentation We felt young creative minds applying sound design processes would skills. We enjoy the opportunity to get involved with the school and to yield some interesting results. We weren’t disappointed,” Kim added. provide the help, input, and resources we can to assist in enriching the The competition had two parts. One part judged individual educational experience,” Kim stated. designs, and the second judged teamwork. Three teams consisting “Many students have vision and don’t apply the necessary process. of three students each collectively conducted research for reference In order to be progressive, using the correct processes will dictate and and to stimulate ideas. Each group received $500 for materials. Then ensure an emotionally compelling validated design. It is critical for each student independently generated design concepts, drawings, and designers to be able to explain and validate their designs in a clear, concept models. Winning designs were chosen on an individual basis concise, and professional manner,” Kim added.

18

DESIGN INFLUENCE / SPRING 2005

G

raduates, Family, Dean Malecha, Faculty and Staff of the College of Design, Friends, it is truly and an honor and a pleasure to be with you today. Commencement has always been a favorite time of year for me.

Graduates, congratulations on a job well done. I wish you many years of good health and prosperity in your life of design.

I graduated from NC State with a graduate degree in Graphic Design just a few years ago and I enjoy graduation much more now than the day I walked. I was exhausted and ready for a long summer of doing nothing.

I remember little more than the incredible heat and humidity that day and the fact that my bike got stolen.

If I prove to be so dry and uninvolving that you completely zone out and come back thinking you missed something of importance, I will be posting my speech on the web for you all to reference (repeatedly). You are welcome to go ahead and zone out, sleep, whatever—you’ve earned this day of celebration and relief.

I think it is tradition to now say that I will be brief in my remarks even though I may not. To speed things along I have put together my personal ‘to-do’ list.

A commencement address is a complicated list. Make it memorable, speak from the heart, don’t use a lot of statistics. Not witty enough, not serious—you’ve blown your ethos. This string of words cannot help but be cliché to some, lacking to others, and far too deconstructionist, introspective, and self-conscious. For all the effort, I can’t get away from critique. I have always enjoyed the process more than the end result.

There always has to be a list. Lists are the rule for such occasions.

Numbered metaphors, parables, illustrations—The Art of Worldly Wisdom, The Art of Living, The I Ching and host of others—they all outline the good life in a digestible list. One of my favorites is the not-so-well-known

Tony Brock, left, pictured with students during graphic design critique.

Tact, Push and Principle from 1880: What is success? It is not the mere gratification of personal ambition. To accumulate wealth, to win the highest office, to become famous for learning, eloquence, or statesmanship, may not be success. One or all of these objects may be gained, and still life be substantially a failure. Wealth acquired at the expense of principle, honors won by chicanery, learning and political distinction used for personal emolument instead of usefulness, do not constitute success. The highest success is achieved by making the most of one’s powers and opportunities.

Calvino’s Six Memos for the Next Millennium is as fine a list as one can hope for. Calvino describes the virtues of Lightness, Quickness, Exactitude, Visibility, and Multiplicity in such a way that the admonitions move beyond the act of writing to design. He suggests gradients—descriptions of extreme that transfer to one’s breadth and depth of exploration and understanding.

The descriptions and details of Calvino’s list bring a level of reflection that elevates and encourages a meaningful creative life—$9.00 on Amazon.

Now for my list. This is how I saw things as of 3:00pm yesterday. I don’t COMMENCEMENT ADDRESS

19

Sponsored Go Kart Studio Yields Good Results

COMMENCEMENT

T

Commencement Address by Tony Brock NC State University College of Design December 15, 2004

his fall, Vialink Corp. sponsored a design competition in Bong-Il Jin’s Industrial Design 400 Studio. The idea came to Professor Jin and Charles Kim, VP of Design and Marketing for Vialink, while Kim was co-teaching the studio.

Winning designs by (l-r) Chadley Jaziri, Derick Harris, and Hong-youl Choi Kim, who holds a Masters of Industrial Design from Pratt Institute in Brooklyn, New York, welcomed and teams were rewarded based on teamwork, quality of research, the opportunity. “We felt it was a requirement to provide an experience organization, analysis, and how well they could both communicate that would push students to draw upon the individual talents as well and validate their findings. as technical and problem-solving skills they’ve acquired to date, but The final studio presentation was held December 3, 2004, with key more importantly push the students to realize the skill sets they did Vialink staff in attendance, including President Steve Shankin, and not yet possess, and discover the challenge of uncovering resources Hardy Lim, who graduated from NC State College of Design and is needed to bridge that gap. Forcing them to apply their skills outside of continuing to pursue a master’s degree in design. the school environment gave them a great snapshot of what to expect The winners of the individual portion of the competition were as professionals while allowing them to discover their own particular Chadley Jaziri, Derick Harris, and Hong-youl Choi, and each won a areas that needed improvement” said Kim. mountain bike (valued at $700). The winning group, Group ‘C’ (Chadley “We [Kim and Jin] thought a go-cart design project would be great Jaziri, Hong-youl Choi, and Anthony Lee), won $600 in materials. given the current market consists only of crudely designed vehicles. A “We are very pleased with the student’s body of work. They all good analogy would be to think about the mini bike of years ago and worked very hard at gathering their reference data, analyzing, and motorcycles today with all the beautifully styled models on the market. organizing it into cohesive and compelling conclusions for what was The go-cart industry has fallen behind this wave of technical innovation required in a new design. The students all attacked the problem and and creative expression, showing no design progression in the same period. came up with creative solutions while honing their presentation We felt young creative minds applying sound design processes would skills. We enjoy the opportunity to get involved with the school and to yield some interesting results. We weren’t disappointed,” Kim added. provide the help, input, and resources we can to assist in enriching the The competition had two parts. One part judged individual educational experience,” Kim stated. designs, and the second judged teamwork. Three teams consisting “Many students have vision and don’t apply the necessary process. of three students each collectively conducted research for reference In order to be progressive, using the correct processes will dictate and and to stimulate ideas. Each group received $500 for materials. Then ensure an emotionally compelling validated design. It is critical for each student independently generated design concepts, drawings, and designers to be able to explain and validate their designs in a clear, concept models. Winning designs were chosen on an individual basis concise, and professional manner,” Kim added.

18

DESIGN INFLUENCE / SPRING 2005

G

raduates, Family, Dean Malecha, Faculty and Staff of the College of Design, Friends, it is truly and an honor and a pleasure to be with you today. Commencement has always been a favorite time of year for me.

Graduates, congratulations on a job well done. I wish you many years of good health and prosperity in your life of design.

I graduated from NC State with a graduate degree in Graphic Design just a few years ago and I enjoy graduation much more now than the day I walked. I was exhausted and ready for a long summer of doing nothing.

I remember little more than the incredible heat and humidity that day and the fact that my bike got stolen.

If I prove to be so dry and uninvolving that you completely zone out and come back thinking you missed something of importance, I will be posting my speech on the web for you all to reference (repeatedly). You are welcome to go ahead and zone out, sleep, whatever—you’ve earned this day of celebration and relief.

I think it is tradition to now say that I will be brief in my remarks even though I may not. To speed things along I have put together my personal ‘to-do’ list.

A commencement address is a complicated list. Make it memorable, speak from the heart, don’t use a lot of statistics. Not witty enough, not serious—you’ve blown your ethos. This string of words cannot help but be cliché to some, lacking to others, and far too deconstructionist, introspective, and self-conscious. For all the effort, I can’t get away from critique. I have always enjoyed the process more than the end result.

There always has to be a list. Lists are the rule for such occasions.

Numbered metaphors, parables, illustrations—The Art of Worldly Wisdom, The Art of Living, The I Ching and host of others—they all outline the good life in a digestible list. One of my favorites is the not-so-well-known

Tony Brock, left, pictured with students during graphic design critique.

Tact, Push and Principle from 1880: What is success? It is not the mere gratification of personal ambition. To accumulate wealth, to win the highest office, to become famous for learning, eloquence, or statesmanship, may not be success. One or all of these objects may be gained, and still life be substantially a failure. Wealth acquired at the expense of principle, honors won by chicanery, learning and political distinction used for personal emolument instead of usefulness, do not constitute success. The highest success is achieved by making the most of one’s powers and opportunities.

Calvino’s Six Memos for the Next Millennium is as fine a list as one can hope for. Calvino describes the virtues of Lightness, Quickness, Exactitude, Visibility, and Multiplicity in such a way that the admonitions move beyond the act of writing to design. He suggests gradients—descriptions of extreme that transfer to one’s breadth and depth of exploration and understanding.

The descriptions and details of Calvino’s list bring a level of reflection that elevates and encourages a meaningful creative life—$9.00 on Amazon.

Now for my list. This is how I saw things as of 3:00pm yesterday. I don’t COMMENCEMENT ADDRESS

19

think it will change much in the next 24 hours, but if they do I will update it on the website.

First, BELIEVE THE FACT: You have been given the perspective needed to continue your education. Design is in your hands, and in no more capable hands could it be. Believe this, know this, and never doubt it. For however over-the-top this may sound, it is the fact.

You have the skills to apply what you have learned. You have the skills to continue learning. You have the solutions to combat misinformation, malicious manipulation, misdirection, and a thousand pains—great and small. You have the potential to do nothing less than change how we communicate, learn, imagine, and ultimately live. That is fact.

STAY ALERT WHILE MAKING YOUR WAY TO WORK: Use your morning commute to analyze the social tendencies exhibited by your fellow drivers, riders, or walkers. This trip is repetitious and can be used to gather a great wealth of information. Your morning commute will have you analyze a grand array of lowly events and objects that would otherwise be ignored.

I choose a path to the College of Design that takes me by a certain chain link fence that once had a large line of bushes growing beside it. Some are still there, but several were chopped down—I have not been able to discern why. The interesting part is that what was left was a pegboard of stumps that had grown through, in and around the chain link fence. It is a horizontal net that has caught a school of logs. I have used these suspended logs to illustrate an array of ideas—these ideas tend to be rather grand and cliché, but they are all too perfect to be ignored. It is the frozen and highlighted intersection of two disparate forms. It is the meeting point between disciplines and how that fusion of thought may remain as the strongest marker—even after the components are gone. It also speaks of collaboration and commonality. Smell the roses. What do you see in the clouds?

An early diagram of the disciplines represented in the College of Design shows a tree branching out from a common foundation. Its branches intertwine and intersect. The College has established a Ph.D. program and is planning programs in Design Studies and Animation. With the existing areas of study, these new programs greatly increase the opportunity for new ideas and collaboration. This stop on my way to work continuously reminds me of these meaningful intersections.

BUILD A SUPER COMPUTER: Your super computer will blow all others away! My first super computer was built at the North American Headquarters

20

DESIGN INFLUENCE / SPRING 2005

of Philips/Magnavox in the fall of 1993. It was composed of several paper mailing tubes with a fine array of textures, a miniature cow bell, a few cardboard boxes, a rectangular magnifying lens, and the name plate from a vintage Frigidaire refrigerator for cooling purposes—I needed to keep the system cool or the whole cubicle would most certainly have gone up in smoke.

Your super computer will stave off any angst caused by a fulfilling career delayed. The super computer will keep your mind fresh when your projects do not. Those who visit you will ask what that pile of junk is and you will tell them with a strait face that it is your super computer, smile and say nothing more.

Your super computer will need constant upgrades and may grow to a scale beyond the patch of real estate that you have been assigned. That is the case with my current super computer. Many of the hard drives are at their limit even with periodic optimization. They are filled with a steadily growing collection of paper ephemera—postcards, advertisements, letters, brochures, photographs, postage stamps, zines, posters, books. Racks, bins, cabinets, frames, and cases form the architecture which my students fear will fail some day and crush me under a mound of weather-worn paper and stainless steel.

No matter how busy you are, no matter how difficult the day, you must maintain your super computer. It is what keeps you going. I have at times questioned the hours that it demands—I really should be doing something else. Something more important—like my job. Or to be more specific, why do I collect all these scraps of paper and spend hours rummaging through bookstores, antique stores, junk sales, movie sets, and the like? Then there are the hours of sorting, resorting, arranging, rearranging.

At one point I swore off hoarding this flotsam and told myself that the NC State University and State of North Carolina surplus sales were off limits. The super computer promptly crashed and I had no other choice than to upgrade it. Your super computer is demanding, but it will keep you well through your career.

cantilevered gracefully between the pines. There is no need to erase this from sight. It is a poster of economic form and economic reality worth review—worth new eyes and possibilities.

STRIVE TO BE AN EQUAL OPPORTUNITY CONNOISSEUR: Don’t be a design snob. Take the hulking octagonal end table that my folks won on The Newlywed Game in 1967. I keep it, albeit at arms length, but appreciate it because it forces me to look beyond aesthetics to contemplate the full range of meanings and interrelations an artifact may possess.

I am reminded of these inter-relations and interpretations every day as the direct view from my front porch is of a vintage mobile home suspended on blocks. It takes surprisingly little to see a spare, elegant, modern geometry

KNOW THAT THERE ARE STINKING ROTTEN, ILL-CONCEIVED PROJECTS: That is to say there are projects that are devoid of any merit which all known skills of empathy and imagination will not excuse. In this case, expend all necessary energy to explain that the best solution is to design nothing. This is possibly the most proactive of all design solutions.

SPEAK UP AND SPEAK OUT: Share your design opinions openly.

You are being hired for your opinion. If you are not being hired for your opinion go somewhere else. Get over any shyness immediately. If you do not get a three-month or six-month review then you have a great opportunity to exercise your newly found volume. This is the point at which a good job should be reviewed and rewarded.

IF IN DOUBT, GO: Don’t be in a rush, but go, if the two options are equal.

BELIEVE THAT THERE ARE NO BAD PROJECTS: The creative director and principle of the firm called it the most beautiful work of its kind. No more care had ever been put into such a design. The piece well exceeded the brief, and anyone’s expectations. It was printed by the hundreds of thousands. I was pretty happy with myself thinking that this master work had the potential to subvert advertising from within and call into question one’s very own eating habits. Maybe it would change lives for the better. Just maybe some parents would wonder if they should let junior eat that Happy Meal. This was the best McDonald’s tray liner to grace the planet. It met the goals of the client, a zoo seeking visitors; the sponsor and distributor, expressing community involvement; the ad agency, also expressing community involvement; and me, the designer, hoping to strategically subvert the fast food eating habits of parents in the four-state region between the age of 25 and 40 and their children by employing a blatant juxtaposition of a fine raw fruit and veggie diet preferred by several wild animals with that of the super-processed cholesterol feast tucked in its formaldehyde-laden, Styrofoam container.

Believe that there are no bad projects.

PEOPLE ARE YOUR LIVELIHOOD: By all means don’t put thoughts in their heads. You are great at analysis and evaluation of artifacts—houses,

chairs, voting ballots, and the like. Do not make the mistake of transferring these talents to the private thoughts and motives of another. Your ability to master form is a mere fraction of the equation when put next to the ability to work with others. You will collaborate with everyone to some degree.

Don’t mess it up. By all means exercise grace in such matters.

BE YOUR OWN MIDDLE PERSON: People are your livelihood, but never, never, never allow any of these people to get between you and your client, audience, or end-user. Account executives, account reps, evaluators, middle persons of any size, shape or form must be bypassed at all costs.

Remain close to your conception of the work and the final form it takes.

If you run into trouble, you can keep the middle person at bay by confusing them with your super computer. This works every time.

LIVE TO SURPRISE YOURSELF: Reinvent and renew yourself continuously. It is the only way to gain perspective on where you have been and what your capabilities are. Be patient with yourself and others—they may be working on surprising you and themselves.

And finally, WRITE A COMMENCEMENT ADDRESS: It is a gift to yourself. Write it like you are going to give it at the Spring Commencement, here in this auditorium to the graduates in five months. Only after several months coming to grips with the task and examining your motives, successes, failures, and how to honestly step up to this podium and share your findings with others will you truly get the message and have the experience that I wish for you today. There are few challenges that will fill you with such a great feeling and knowledge of purpose.

It is an honor to be here. Thank you for giving me this opportunity.

I had planned to have you all file down here to the podium to get a fresh look at the audience and put yourselves in the proper shoes—those of the speaker—but I thought better of it. Better that you don’t know exactly what it looks like and what you might be in for. This bit of mystery will leave you sufficiently off balance and motivate you all the more to dredge your soul for untold days only to express a mere whisper of what you intended.

I hope you will all strive to maintain the first sparks of excitement and engagement that you experienced early in your design studies, and that you will share this energy with all those you meet in the course of your design endeavors. I trust you will all find an attentive audience.

COMMENCEMENT ADDRESS

21

think it will change much in the next 24 hours, but if they do I will update it on the website.

First, BELIEVE THE FACT: You have been given the perspective needed to continue your education. Design is in your hands, and in no more capable hands could it be. Believe this, know this, and never doubt it. For however over-the-top this may sound, it is the fact.

You have the skills to apply what you have learned. You have the skills to continue learning. You have the solutions to combat misinformation, malicious manipulation, misdirection, and a thousand pains—great and small. You have the potential to do nothing less than change how we communicate, learn, imagine, and ultimately live. That is fact.

STAY ALERT WHILE MAKING YOUR WAY TO WORK: Use your morning commute to analyze the social tendencies exhibited by your fellow drivers, riders, or walkers. This trip is repetitious and can be used to gather a great wealth of information. Your morning commute will have you analyze a grand array of lowly events and objects that would otherwise be ignored.

I choose a path to the College of Design that takes me by a certain chain link fence that once had a large line of bushes growing beside it. Some are still there, but several were chopped down—I have not been able to discern why. The interesting part is that what was left was a pegboard of stumps that had grown through, in and around the chain link fence. It is a horizontal net that has caught a school of logs. I have used these suspended logs to illustrate an array of ideas—these ideas tend to be rather grand and cliché, but they are all too perfect to be ignored. It is the frozen and highlighted intersection of two disparate forms. It is the meeting point between disciplines and how that fusion of thought may remain as the strongest marker—even after the components are gone. It also speaks of collaboration and commonality. Smell the roses. What do you see in the clouds?

An early diagram of the disciplines represented in the College of Design shows a tree branching out from a common foundation. Its branches intertwine and intersect. The College has established a Ph.D. program and is planning programs in Design Studies and Animation. With the existing areas of study, these new programs greatly increase the opportunity for new ideas and collaboration. This stop on my way to work continuously reminds me of these meaningful intersections.

BUILD A SUPER COMPUTER: Your super computer will blow all others away! My first super computer was built at the North American Headquarters

20

DESIGN INFLUENCE / SPRING 2005

of Philips/Magnavox in the fall of 1993. It was composed of several paper mailing tubes with a fine array of textures, a miniature cow bell, a few cardboard boxes, a rectangular magnifying lens, and the name plate from a vintage Frigidaire refrigerator for cooling purposes—I needed to keep the system cool or the whole cubicle would most certainly have gone up in smoke.

Your super computer will stave off any angst caused by a fulfilling career delayed. The super computer will keep your mind fresh when your projects do not. Those who visit you will ask what that pile of junk is and you will tell them with a strait face that it is your super computer, smile and say nothing more.

Your super computer will need constant upgrades and may grow to a scale beyond the patch of real estate that you have been assigned. That is the case with my current super computer. Many of the hard drives are at their limit even with periodic optimization. They are filled with a steadily growing collection of paper ephemera—postcards, advertisements, letters, brochures, photographs, postage stamps, zines, posters, books. Racks, bins, cabinets, frames, and cases form the architecture which my students fear will fail some day and crush me under a mound of weather-worn paper and stainless steel.

No matter how busy you are, no matter how difficult the day, you must maintain your super computer. It is what keeps you going. I have at times questioned the hours that it demands—I really should be doing something else. Something more important—like my job. Or to be more specific, why do I collect all these scraps of paper and spend hours rummaging through bookstores, antique stores, junk sales, movie sets, and the like? Then there are the hours of sorting, resorting, arranging, rearranging.

At one point I swore off hoarding this flotsam and told myself that the NC State University and State of North Carolina surplus sales were off limits. The super computer promptly crashed and I had no other choice than to upgrade it. Your super computer is demanding, but it will keep you well through your career.

cantilevered gracefully between the pines. There is no need to erase this from sight. It is a poster of economic form and economic reality worth review—worth new eyes and possibilities.

STRIVE TO BE AN EQUAL OPPORTUNITY CONNOISSEUR: Don’t be a design snob. Take the hulking octagonal end table that my folks won on The Newlywed Game in 1967. I keep it, albeit at arms length, but appreciate it because it forces me to look beyond aesthetics to contemplate the full range of meanings and interrelations an artifact may possess.

I am reminded of these inter-relations and interpretations every day as the direct view from my front porch is of a vintage mobile home suspended on blocks. It takes surprisingly little to see a spare, elegant, modern geometry

KNOW THAT THERE ARE STINKING ROTTEN, ILL-CONCEIVED PROJECTS: That is to say there are projects that are devoid of any merit which all known skills of empathy and imagination will not excuse. In this case, expend all necessary energy to explain that the best solution is to design nothing. This is possibly the most proactive of all design solutions.

SPEAK UP AND SPEAK OUT: Share your design opinions openly.

You are being hired for your opinion. If you are not being hired for your opinion go somewhere else. Get over any shyness immediately. If you do not get a three-month or six-month review then you have a great opportunity to exercise your newly found volume. This is the point at which a good job should be reviewed and rewarded.

IF IN DOUBT, GO: Don’t be in a rush, but go, if the two options are equal.

BELIEVE THAT THERE ARE NO BAD PROJECTS: The creative director and principle of the firm called it the most beautiful work of its kind. No more care had ever been put into such a design. The piece well exceeded the brief, and anyone’s expectations. It was printed by the hundreds of thousands. I was pretty happy with myself thinking that this master work had the potential to subvert advertising from within and call into question one’s very own eating habits. Maybe it would change lives for the better. Just maybe some parents would wonder if they should let junior eat that Happy Meal. This was the best McDonald’s tray liner to grace the planet. It met the goals of the client, a zoo seeking visitors; the sponsor and distributor, expressing community involvement; the ad agency, also expressing community involvement; and me, the designer, hoping to strategically subvert the fast food eating habits of parents in the four-state region between the age of 25 and 40 and their children by employing a blatant juxtaposition of a fine raw fruit and veggie diet preferred by several wild animals with that of the super-processed cholesterol feast tucked in its formaldehyde-laden, Styrofoam container.

Believe that there are no bad projects.

PEOPLE ARE YOUR LIVELIHOOD: By all means don’t put thoughts in their heads. You are great at analysis and evaluation of artifacts—houses,

chairs, voting ballots, and the like. Do not make the mistake of transferring these talents to the private thoughts and motives of another. Your ability to master form is a mere fraction of the equation when put next to the ability to work with others. You will collaborate with everyone to some degree.

Don’t mess it up. By all means exercise grace in such matters.

BE YOUR OWN MIDDLE PERSON: People are your livelihood, but never, never, never allow any of these people to get between you and your client, audience, or end-user. Account executives, account reps, evaluators, middle persons of any size, shape or form must be bypassed at all costs.

Remain close to your conception of the work and the final form it takes.

If you run into trouble, you can keep the middle person at bay by confusing them with your super computer. This works every time.

LIVE TO SURPRISE YOURSELF: Reinvent and renew yourself continuously. It is the only way to gain perspective on where you have been and what your capabilities are. Be patient with yourself and others—they may be working on surprising you and themselves.

And finally, WRITE A COMMENCEMENT ADDRESS: It is a gift to yourself. Write it like you are going to give it at the Spring Commencement, here in this auditorium to the graduates in five months. Only after several months coming to grips with the task and examining your motives, successes, failures, and how to honestly step up to this podium and share your findings with others will you truly get the message and have the experience that I wish for you today. There are few challenges that will fill you with such a great feeling and knowledge of purpose.

It is an honor to be here. Thank you for giving me this opportunity.

I had planned to have you all file down here to the podium to get a fresh look at the audience and put yourselves in the proper shoes—those of the speaker—but I thought better of it. Better that you don’t know exactly what it looks like and what you might be in for. This bit of mystery will leave you sufficiently off balance and motivate you all the more to dredge your soul for untold days only to express a mere whisper of what you intended.

I hope you will all strive to maintain the first sparks of excitement and engagement that you experienced early in your design studies, and that you will share this energy with all those you meet in the course of your design endeavors. I trust you will all find an attentive audience.

COMMENCEMENT ADDRESS

21

COL L EGE

NE W S

STUDIO NEWS Art + Design to offer Summer Studios Abroad Students will get the opportunity to study painting abroad in the magical city of castles and fairytales — Prague, Czech Republic. Art + Design Adjunct Faculty Member Kathleen Rieder is the instructor for this class. Additionally, an Art + Design Summer Studio in Ghana, West Africa, will run from May 18June 18. Students complete projects stateside and attend an orientation session before traveling to Ghana.

New Sponsored Architecture Studio: Sacred Space in a Monastic Setting Professor Paul Tesar will lead a new sponsored studio this spring called “Continuity and Change in Architecture: Sacred Space in a Monastic Setting.”

Dr. John Tector, associate dean for undergraduate

New Master’s Degree Program in Art + Design Begins Fall 2005 The College of Design is now in the process of implementing the new Master’s of Art + Design program, which will begin in the fall of 2005.

There are two concentrations available for study.

The Fibers and Surface Design concentration is unique because the program lies in the combination of digital technologies with traditional hand processes in the conception and production of unique textiles. The Animation and Digital Imaging concentration will emphasize educating artists/designers to creatively and effectively utilize digital technologies, while integrating traditional artistic practices. The deadline for application is February 1 each year.

22

DESIGN INFLUENCE / SPRING 2005

studies, is co-instructor. A bequest from the late George Smart, Sr., Raleigh architect and friend of the College of Design, provided financial support for the studio. The studio project will focus on the design of a small Benedictine Monastery and to specifically probe the nature of Sacred Space. Dean Marvin Malecha and School Director Tom Barrie will participate in studio instruction. Students will also take field trips to Belmont Abbey and Mepkin Abbey.

Graphic Design Begins New Sponsored Studio The Graphic Design department is running a sponsored studio to redesign the university alumni magazine, NC State. Seniors and juniors will be working under the instruction of Visiting Lecturer Molly Renda, former designer of “DoubleTake” magazine

For more information about the Master’s of Art + Design, contact Professor Susan Brandeis, Director of Graduate Programs for the Department of Art + Design, at susan_brandeis@ncsu.edu.

Looking for talent?

In July 2004, Amy Frisz was appointed as the Career Counselor to the College of Design. She holds a Master of Science in Architecture as well as a Master of Design, both earned at the University of Cincinnati. Amy would like to make our students aware of job opportunities that may surface within your professional sphere. Please forward formal job descriptions to her at amy_ frisz@ncsu.edu. College of Design students have lots of talent; now Amy can help you find it.

published by the Center for Documentary Studies.

USA TODAY’s Managing Editor for Graphics and Photography Richard Curtis (BPD 1972) will participate in studio reviews.

Design for Active Living Sponsored Studio An advanced, interdisciplinary studio was offered with the objective of making a contribution to the emerging field of design for active living for counteracting sedentary lifestyles and obesity. The studio was conducted by Professors Robin Moore (Landscape Architecture), Frank Harmon (Architecture), and Percy Hooper (Industrial Design). Nilda Cosco (Natural Learning Initiative) was the educational consultant. Doctoral student, Evrim Demir, was the teaching assistant.

to Prague June 4-11 to teach drawing and sketching.

Visit www.design.ncsu.edu/cont-ed/ for details.

Graphic Design Students Design Chancellor Installation Identity Under the direction of Graphic Design Department Chair Denise Gonzales Crisp, a team of students led by senior Forrest Causby have designed printed materials and collateral for the installation of NC State’s 13th Chancellor James L. Oblinger. Other designers on the team are Mia Blume (senior), Caroline Madigan, Britt Hayes, Candace Powell, and Colleen Simon.

The Design Guild held its second annual fall event Friday, October 22, from 3:30 to 6 p.m.

Design Guild members and their guests were invited to a 3:30 p.m. presentation by students in the interdisciplinary studio Active Living by Design, demonstrations of the latest technology used in teaching (laser cutter, rapid prototyper, digital loom and multimedia lab) and a College update and reception sponsored by Michael Cole of ColeJenest & Stone that began at 5 p.m. in the rotunda.

Update on the Center for Universal Design While federal funding for the Center for Universal Design has been discontinued, the College is pleased to report that the continuation of important activities of the Center will be continuing in a new restructured direction, which will be serving the public through extension activities. As this new organization develops, we will bring you more information through Design Life, the College’s e-mail newsletter.

If you do not currently receive Design Life and would like to, please e-mail design@ncsu.edu to sign up.

Robert Paschal Burns is a native of Roxboro, N.C., and attended Wake Forest College and North Carolina State University where he received the Bachelor of Architecture degree in 1957. In that same year, he won the 44th Paris Prize in Architecture, which permitted him to study at the Ecole des Beaux Arts in Paris and to travel in Europe for a year. In 1961 he entered the Massachusetts Institute of Technology and received his Master of Architecture degree a year later.

After several years working as an architect in Cambridge, contributing his talents to such projects as the MIT Student Center and the Juilliard School of Music in New York, he returned to Raleigh to join the faculty of the School of Design at NC State. He was promoted to full Professor and served as Head of the Architecture Department from 1967 to 1974 and from 1983 to 1991.

He also served as Associate Dean of the School of Design from 1984 to 1990. When the School of Design became the College of Design in 2000, the Architecture Department was reorganized as the School of Architecture. Professor Burns was then appointed as Director of the School for the academic year 2001-02.

Professor Burns is a licensed architect and has received state and national recognition for his architectural design work and his academic contributions. He directed a statewide study of North Carolina court facilities for the Administrative Office of the Courts that was published in 1978 as 100 Courthouses.

The recommendations from this study have helped guide the expansion and improvement of judicial facilities since that time, and the study as a whole served as a model for similar studies in other states. In 1979, Professor Burns was elected as president of the Association of Collegiate Schools of Architecture, the national organization of architectural education. He was selected as a Fellow of the American Institute of Architects in 1979 for his achievements in design and education.

He was chosen as an ACSA Distinguished Professor of architecture faculty in North America. In 1996, North Carolina State University awarded him the Alexander Quarles Holladay Medal for Excellence, the highest award made by the university in recognition of the achievements of faculty members.

The Honor Society of Phi Kappa Phi bestowed its 1998 National Artist Award on Professor Burns in recognition of his achievements in the field of architecture and his “genuine interest in contributing to the education of students and to the improvement of architecture.”

Most recently, Burns was presented a 2003 Gertrude S. Carraway Award of Merit by Preservation North Carolina for his work to save the Kamphoefner House. Burns was instrumental in reviving The Student Publication and served as faculty advisor for Volume 30. In 2004, Burns received the AIA North Carolina’s Dietrick Medal for performing extraordinary service to the chapter, the profession and community.

Drawing Class to be Offered in Prague Former Associate Professor of Architecture Brian Shawcroft and Industrial Design Department Head Bryan Laffitte are leading an alumni/friends group trip

Professor of Architecture Robert “Bob” Burns to Retire

Above: Design Guild event attendees uniquely celebrate Marvin Malecha’s reappointment as Dean.

Although Burns will retire from the classroom in the spring, he will continue as managing architect for the Pavilion for the Court of North Carolina donated to NC State by Eduardo Catalano.

COLLEGE NEWS

23

COL L EGE

NE W S

STUDIO NEWS Art + Design to offer Summer Studios Abroad Students will get the opportunity to study painting abroad in the magical city of castles and fairytales — Prague, Czech Republic. Art + Design Adjunct Faculty Member Kathleen Rieder is the instructor for this class. Additionally, an Art + Design Summer Studio in Ghana, West Africa, will run from May 18June 18. Students complete projects stateside and attend an orientation session before traveling to Ghana.

New Sponsored Architecture Studio: Sacred Space in a Monastic Setting Professor Paul Tesar will lead a new sponsored studio this spring called “Continuity and Change in Architecture: Sacred Space in a Monastic Setting.”

Dr. John Tector, associate dean for undergraduate

New Master’s Degree Program in Art + Design Begins Fall 2005 The College of Design is now in the process of implementing the new Master’s of Art + Design program, which will begin in the fall of 2005.

There are two concentrations available for study.

The Fibers and Surface Design concentration is unique because the program lies in the combination of digital technologies with traditional hand processes in the conception and production of unique textiles. The Animation and Digital Imaging concentration will emphasize educating artists/designers to creatively and effectively utilize digital technologies, while integrating traditional artistic practices. The deadline for application is February 1 each year.

22

DESIGN INFLUENCE / SPRING 2005

studies, is co-instructor. A bequest from the late George Smart, Sr., Raleigh architect and friend of the College of Design, provided financial support for the studio. The studio project will focus on the design of a small Benedictine Monastery and to specifically probe the nature of Sacred Space. Dean Marvin Malecha and School Director Tom Barrie will participate in studio instruction. Students will also take field trips to Belmont Abbey and Mepkin Abbey.

Graphic Design Begins New Sponsored Studio The Graphic Design department is running a sponsored studio to redesign the university alumni magazine, NC State. Seniors and juniors will be working under the instruction of Visiting Lecturer Molly Renda, former designer of “DoubleTake” magazine

For more information about the Master’s of Art + Design, contact Professor Susan Brandeis, Director of Graduate Programs for the Department of Art + Design, at susan_brandeis@ncsu.edu.

Looking for talent?

In July 2004, Amy Frisz was appointed as the Career Counselor to the College of Design. She holds a Master of Science in Architecture as well as a Master of Design, both earned at the University of Cincinnati. Amy would like to make our students aware of job opportunities that may surface within your professional sphere. Please forward formal job descriptions to her at amy_ frisz@ncsu.edu. College of Design students have lots of talent; now Amy can help you find it.

published by the Center for Documentary Studies.

USA TODAY’s Managing Editor for Graphics and Photography Richard Curtis (BPD 1972) will participate in studio reviews.

Design for Active Living Sponsored Studio An advanced, interdisciplinary studio was offered with the objective of making a contribution to the emerging field of design for active living for counteracting sedentary lifestyles and obesity. The studio was conducted by Professors Robin Moore (Landscape Architecture), Frank Harmon (Architecture), and Percy Hooper (Industrial Design). Nilda Cosco (Natural Learning Initiative) was the educational consultant. Doctoral student, Evrim Demir, was the teaching assistant.

to Prague June 4-11 to teach drawing and sketching.

Visit www.design.ncsu.edu/cont-ed/ for details.

Graphic Design Students Design Chancellor Installation Identity Under the direction of Graphic Design Department Chair Denise Gonzales Crisp, a team of students led by senior Forrest Causby have designed printed materials and collateral for the installation of NC State’s 13th Chancellor James L. Oblinger. Other designers on the team are Mia Blume (senior), Caroline Madigan, Britt Hayes, Candace Powell, and Colleen Simon.

The Design Guild held its second annual fall event Friday, October 22, from 3:30 to 6 p.m.

Design Guild members and their guests were invited to a 3:30 p.m. presentation by students in the interdisciplinary studio Active Living by Design, demonstrations of the latest technology used in teaching (laser cutter, rapid prototyper, digital loom and multimedia lab) and a College update and reception sponsored by Michael Cole of ColeJenest & Stone that began at 5 p.m. in the rotunda.

Update on the Center for Universal Design While federal funding for the Center for Universal Design has been discontinued, the College is pleased to report that the continuation of important activities of the Center will be continuing in a new restructured direction, which will be serving the public through extension activities. As this new organization develops, we will bring you more information through Design Life, the College’s e-mail newsletter.

If you do not currently receive Design Life and would like to, please e-mail design@ncsu.edu to sign up.

Robert Paschal Burns is a native of Roxboro, N.C., and attended Wake Forest College and North Carolina State University where he received the Bachelor of Architecture degree in 1957. In that same year, he won the 44th Paris Prize in Architecture, which permitted him to study at the Ecole des Beaux Arts in Paris and to travel in Europe for a year. In 1961 he entered the Massachusetts Institute of Technology and received his Master of Architecture degree a year later.

After several years working as an architect in Cambridge, contributing his talents to such projects as the MIT Student Center and the Juilliard School of Music in New York, he returned to Raleigh to join the faculty of the School of Design at NC State. He was promoted to full Professor and served as Head of the Architecture Department from 1967 to 1974 and from 1983 to 1991.

He also served as Associate Dean of the School of Design from 1984 to 1990. When the School of Design became the College of Design in 2000, the Architecture Department was reorganized as the School of Architecture. Professor Burns was then appointed as Director of the School for the academic year 2001-02.

Professor Burns is a licensed architect and has received state and national recognition for his architectural design work and his academic contributions. He directed a statewide study of North Carolina court facilities for the Administrative Office of the Courts that was published in 1978 as 100 Courthouses.

The recommendations from this study have helped guide the expansion and improvement of judicial facilities since that time, and the study as a whole served as a model for similar studies in other states. In 1979, Professor Burns was elected as president of the Association of Collegiate Schools of Architecture, the national organization of architectural education. He was selected as a Fellow of the American Institute of Architects in 1979 for his achievements in design and education.

He was chosen as an ACSA Distinguished Professor of architecture faculty in North America. In 1996, North Carolina State University awarded him the Alexander Quarles Holladay Medal for Excellence, the highest award made by the university in recognition of the achievements of faculty members.

The Honor Society of Phi Kappa Phi bestowed its 1998 National Artist Award on Professor Burns in recognition of his achievements in the field of architecture and his “genuine interest in contributing to the education of students and to the improvement of architecture.”

Most recently, Burns was presented a 2003 Gertrude S. Carraway Award of Merit by Preservation North Carolina for his work to save the Kamphoefner House. Burns was instrumental in reviving The Student Publication and served as faculty advisor for Volume 30. In 2004, Burns received the AIA North Carolina’s Dietrick Medal for performing extraordinary service to the chapter, the profession and community.

Drawing Class to be Offered in Prague Former Associate Professor of Architecture Brian Shawcroft and Industrial Design Department Head Bryan Laffitte are leading an alumni/friends group trip

Professor of Architecture Robert “Bob” Burns to Retire

Above: Design Guild event attendees uniquely celebrate Marvin Malecha’s reappointment as Dean.

Although Burns will retire from the classroom in the spring, he will continue as managing architect for the Pavilion for the Court of North Carolina donated to NC State by Eduardo Catalano.

COLLEGE NEWS

23

NOTES

ALUMNI /FRIENDS

Jessica Thomas Capps (BAD 2000), who designs

Tim Kirkland (BGD 1990) has first narrative film,

and produces Jessica Thomas Jewelry in Raleigh, was featured in The News & Observer on September 13, 2004. She was awarded the designation of JA Certified Bench Jeweler Technician. She earned the designation after receiving a diploma from Revere Academy of Jewelry Arts in San Francisco.

She is only the third jeweler in North Carolina to receive this distinction.

Loggerheads, accepted at the 2005 Sundance Film Festival in the dramatic competition. After completing his undergraduate degree in graphic design at NC State, Kirkland received master’s in film at the School of Visual Arts and works for Miramax as a graphic designer in New York (he does the large theatre marquis posters for Miramax films according to Meredith Davis.)

William Griffin Jr. (BADN 2000) participated in

Lee Nichols Clark Patterson announces a company name change to Clark Patterson Associates Design Professionals. The firm will continue to provide full service in-house architecture and engineering with superior customer service, forward thinking, and innovative technology. Donald R. Lee, FAIA, (B.Arch. 1961) founder of Lee Nichols Architecture, will remain as Senior Vice President and as a member of the Board of Directors.

the Student Documentary Festival at Duke University during November 2004. The documentary festival, hosted by the campus group Duke Students of the World, showcased works of film, photography, oral history, and writing from both Duke and UNC students. It was an all-afternoon event, with film screenings, student and guest panels, and photography exhibits. Griffin has been a continuing studies student at Duke since the fall of 2000 and is currently working toward earning the certificate in documentary studies from the Center for Documentary Studies at Duke, an adult educational option.

(see faculty notes). Lewis is participating in a fivewoman show called “Submergence” at Moonshadow Gallery in Cary from January 15 - March 15, 2005.

J. Mack Little (MLAR 1974) and Susan P. Little (MLAR 1974) of Little & Little, Landscape Architects recently received a Triangle Access Award for their achievements in removing architectural barriers at Pullen Park, NC State University, and Christ Episcopal Church. The awards, presented annually by the Alliance for Disability Advocates and the Center for Independent Living, recognize people, businesses and organizations in the Triangle area whose awareness and actions have created accessibility and inclusion for people of all ages and abilities.

Guy Marshall (BPD 1990) was featured in The News & Observer on December 6, 2004, for his contributions as creative director for Frye Boots. Marshall says in the article his greatest contribution was to “take the heritage and repackage that look without compromising the history and heritage of the brand.”

Elizabeth Lundberg Morisette’s (BEDN 1994) new work was featured in the January-February issue

Aly Khalifa (BEDN 1990) and Beth Khalifa gave a weeklong series of lectures and workshops in late December to discuss creativity and professional development in product and graphic design. Owners of Gamil Design, and the founding members of Designbox, the Khalifas visited with numerous design classes in Education City at the satellite campus of Virginia Commonwealth University located in Doha, Qatar. Their visit concluded with a public lecture on the future of professional creativity and the rise of the creative consortium.

24

DESIGN INFLUENCE / SPRING 2005

Ramona Lewis (M.Arch. 1995) was invited to participate in an art exhibition on Social Justice at Peace College. The show featured several local and international artists whose work emphasized social responsibility. Her work (pictured, above) was a digital photographic of the people and culture in Ghana West Africa. Lope Max Díaz also had a piece in the show

of STEP Inside Design magazine. Her series of weavings using collections purchased on eBay will be in several venues this year including the Abington Art Center in Jennkinstown, Penn., Glenview Mansion Art Gallery in Rockville, Md., Gaithersburg and The Hoyt Institute for Art in New Castle, Penn.

“Bee’s Knees” (pictured, left) was featured in the Abington Art Center and “Puzzle Piece” (above) was featured in the Gaithersburg Art Barn Show.

More information about her work can be found at http://home.comcast.net/~rugworks/.

George Roushakes, RA (BEDA 1992; M.Arch.

1995) is included in a book titled The Home House Project released on MIT press, including work of his solo effort, Pulse3am. The book features projects in the realm future affordable housing.

Carol Wilson (BEDA 1976; M.Arch. 1978), of Carol A.Wilson Architect in Falmouth, Maine, received a 2004 Honor Award for Excellence from AIA New England for her design of a Writer’s Studio in Mt. Desert Island, Maine.

Carrie Winecoff (BGD 2003) recently wrote in about her move to Seattle in August to start her year of service with Americorps. She began work for a non-profit called City Year. She is one of 40 people from all different kinds of backgrounds, from ages 17-24. They are learning how hard it is to work with such a diverse wealth of experience. She says the service experience is wonderful. Winecoff is working at B.F. Day Elementary School in Fremont, Wash.

She and her team members tutor children during the day. One of her “graduation requirements” was to give a workshop. She presented a workshop on Multiple Intelligences, based on Gardener’s Seven Kinds of Smart that she read while in a class with Meredith Davis.

In Memoriam Marian Scott Moffett

William Franklin Freeman, Jr.

Marian Scott Moffett, Professor of Architectural History and Theory at The University of Tennessee, died September 26, 2004, at University Hospital. Dr. Moffett was born June 6, 1949, in Johnson City, Tennessee. She received the Bachelor of Architecture degree from North Carolina State University in 1971 and the Master of Architecture and Ph.D. in Architecture from the Massachusetts Institute of Technology in 1973 and 1975. She is survived by her husband, Kenneth M. Moffett (BArch 1969) of Knoxville and daughter Alison E. Moffett and her husband, Chris L. Cornish, of London, England. She joined the faculty of the University of Tennessee in 1975.

Dr. Moffett’s professional work took her from study of the cantilevered barns of East Tennessee to the wooden architecture of Poland. She recently published a major work, Buildings Across Time: An Introduction to World Architecture written with two co-authors.

Dr. Moffett was an active participant in University governance, having served as an Associate to the Vice Chancellor for Academic Affairs from 1993 to 1999, Associate Provost from 2000 to 2001, and Associate Dean in the College of Architecture and Design in 2003 and 2004. She served as President of the Faculty Senate in 1985-1986 and offered tireless service on many University committees. She received numerous awards from the University, including the Chancellor’s Citation for Extraordinary Service to the University.

William F. Freeman, Jr., an architect and native of High Point, North Carolina, died Friday, January 21, 2005. He was 78 years old. He was married to the late Beverly Hancock Freeman for 53 years.

After graduating from High Point High School in 1943, he attended North Carolina State University before serving one year in the U.S. Army Air Force during World II. In 1946, he returned to N.C. State, and in 1948 he graduated with a Bachelor of Architectural Engineering degree.

As a licensed registered architect for more than 50 years, Freeman was a member of the American Institute of Architects, he was affiliated with the North Carolina Chapter as a Past Director, and he served on its AIA-Associated General Contractors Joint Committee. He was a member, Director, and Past President of the Piedmont Section of the North Carolina Chapter of the AIA. During his career he was employed by Voorhees and Everhart, Architects in High Point, North Carolina and William Henley Deitrich, AIA of Raleigh North Carolina. In 1950 he accepted a position with G. Milton Small, AIA-Architects, also of Raleigh, North Carolina. In 1952, he joined his father, a Consulting Civil Engineer, to begin a general practice of architecture with Wm. F. Freeman, Associates in High Point, North Carolina.

In 1964 he became President of Wm. F. Freeman Associates. Some of his more notable projects include the Southern Furniture Exposition Building in High Point; the Master Plan for Bald Head Island; the Greensboro Country Club; Westchester Academy; Market Square in High Point, N.C.; and Grandfather Mountain Golf and Country Club. In addition, Freeman was active in numerous civic and social organizations.

ALUMNI/FRIENDS NOTES

25

NOTES

ALUMNI /FRIENDS

Jessica Thomas Capps (BAD 2000), who designs

Tim Kirkland (BGD 1990) has first narrative film,

and produces Jessica Thomas Jewelry in Raleigh, was featured in The News & Observer on September 13, 2004. She was awarded the designation of JA Certified Bench Jeweler Technician. She earned the designation after receiving a diploma from Revere Academy of Jewelry Arts in San Francisco.

She is only the third jeweler in North Carolina to receive this distinction.

Loggerheads, accepted at the 2005 Sundance Film Festival in the dramatic competition. After completing his undergraduate degree in graphic design at NC State, Kirkland received master’s in film at the School of Visual Arts and works for Miramax as a graphic designer in New York (he does the large theatre marquis posters for Miramax films according to Meredith Davis.)

William Griffin Jr. (BADN 2000) participated in

Lee Nichols Clark Patterson announces a company name change to Clark Patterson Associates Design Professionals. The firm will continue to provide full service in-house architecture and engineering with superior customer service, forward thinking, and innovative technology. Donald R. Lee, FAIA, (B.Arch. 1961) founder of Lee Nichols Architecture, will remain as Senior Vice President and as a member of the Board of Directors.

the Student Documentary Festival at Duke University during November 2004. The documentary festival, hosted by the campus group Duke Students of the World, showcased works of film, photography, oral history, and writing from both Duke and UNC students. It was an all-afternoon event, with film screenings, student and guest panels, and photography exhibits. Griffin has been a continuing studies student at Duke since the fall of 2000 and is currently working toward earning the certificate in documentary studies from the Center for Documentary Studies at Duke, an adult educational option.

(see faculty notes). Lewis is participating in a fivewoman show called “Submergence” at Moonshadow Gallery in Cary from January 15 - March 15, 2005.

J. Mack Little (MLAR 1974) and Susan P. Little (MLAR 1974) of Little & Little, Landscape Architects recently received a Triangle Access Award for their achievements in removing architectural barriers at Pullen Park, NC State University, and Christ Episcopal Church. The awards, presented annually by the Alliance for Disability Advocates and the Center for Independent Living, recognize people, businesses and organizations in the Triangle area whose awareness and actions have created accessibility and inclusion for people of all ages and abilities.

Guy Marshall (BPD 1990) was featured in The News & Observer on December 6, 2004, for his contributions as creative director for Frye Boots. Marshall says in the article his greatest contribution was to “take the heritage and repackage that look without compromising the history and heritage of the brand.”

Elizabeth Lundberg Morisette’s (BEDN 1994) new work was featured in the January-February issue

Aly Khalifa (BEDN 1990) and Beth Khalifa gave a weeklong series of lectures and workshops in late December to discuss creativity and professional development in product and graphic design. Owners of Gamil Design, and the founding members of Designbox, the Khalifas visited with numerous design classes in Education City at the satellite campus of Virginia Commonwealth University located in Doha, Qatar. Their visit concluded with a public lecture on the future of professional creativity and the rise of the creative consortium.

24

DESIGN INFLUENCE / SPRING 2005

Ramona Lewis (M.Arch. 1995) was invited to participate in an art exhibition on Social Justice at Peace College. The show featured several local and international artists whose work emphasized social responsibility. Her work (pictured, above) was a digital photographic of the people and culture in Ghana West Africa. Lope Max Díaz also had a piece in the show

of STEP Inside Design magazine. Her series of weavings using collections purchased on eBay will be in several venues this year including the Abington Art Center in Jennkinstown, Penn., Glenview Mansion Art Gallery in Rockville, Md., Gaithersburg and The Hoyt Institute for Art in New Castle, Penn.

“Bee’s Knees” (pictured, left) was featured in the Abington Art Center and “Puzzle Piece” (above) was featured in the Gaithersburg Art Barn Show.

More information about her work can be found at http://home.comcast.net/~rugworks/.

George Roushakes, RA (BEDA 1992; M.Arch.

1995) is included in a book titled The Home House Project released on MIT press, including work of his solo effort, Pulse3am. The book features projects in the realm future affordable housing.

Carol Wilson (BEDA 1976; M.Arch. 1978), of Carol A.Wilson Architect in Falmouth, Maine, received a 2004 Honor Award for Excellence from AIA New England for her design of a Writer’s Studio in Mt. Desert Island, Maine.

Carrie Winecoff (BGD 2003) recently wrote in about her move to Seattle in August to start her year of service with Americorps. She began work for a non-profit called City Year. She is one of 40 people from all different kinds of backgrounds, from ages 17-24. They are learning how hard it is to work with such a diverse wealth of experience. She says the service experience is wonderful. Winecoff is working at B.F. Day Elementary School in Fremont, Wash.

She and her team members tutor children during the day. One of her “graduation requirements” was to give a workshop. She presented a workshop on Multiple Intelligences, based on Gardener’s Seven Kinds of Smart that she read while in a class with Meredith Davis.

In Memoriam Marian Scott Moffett

William Franklin Freeman, Jr.

Marian Scott Moffett, Professor of Architectural History and Theory at The University of Tennessee, died September 26, 2004, at University Hospital. Dr. Moffett was born June 6, 1949, in Johnson City, Tennessee. She received the Bachelor of Architecture degree from North Carolina State University in 1971 and the Master of Architecture and Ph.D. in Architecture from the Massachusetts Institute of Technology in 1973 and 1975. She is survived by her husband, Kenneth M. Moffett (BArch 1969) of Knoxville and daughter Alison E. Moffett and her husband, Chris L. Cornish, of London, England. She joined the faculty of the University of Tennessee in 1975.

Dr. Moffett’s professional work took her from study of the cantilevered barns of East Tennessee to the wooden architecture of Poland. She recently published a major work, Buildings Across Time: An Introduction to World Architecture written with two co-authors.

Dr. Moffett was an active participant in University governance, having served as an Associate to the Vice Chancellor for Academic Affairs from 1993 to 1999, Associate Provost from 2000 to 2001, and Associate Dean in the College of Architecture and Design in 2003 and 2004. She served as President of the Faculty Senate in 1985-1986 and offered tireless service on many University committees. She received numerous awards from the University, including the Chancellor’s Citation for Extraordinary Service to the University.

William F. Freeman, Jr., an architect and native of High Point, North Carolina, died Friday, January 21, 2005. He was 78 years old. He was married to the late Beverly Hancock Freeman for 53 years.

After graduating from High Point High School in 1943, he attended North Carolina State University before serving one year in the U.S. Army Air Force during World II. In 1946, he returned to N.C. State, and in 1948 he graduated with a Bachelor of Architectural Engineering degree.

As a licensed registered architect for more than 50 years, Freeman was a member of the American Institute of Architects, he was affiliated with the North Carolina Chapter as a Past Director, and he served on its AIA-Associated General Contractors Joint Committee. He was a member, Director, and Past President of the Piedmont Section of the North Carolina Chapter of the AIA. During his career he was employed by Voorhees and Everhart, Architects in High Point, North Carolina and William Henley Deitrich, AIA of Raleigh North Carolina. In 1950 he accepted a position with G. Milton Small, AIA-Architects, also of Raleigh, North Carolina. In 1952, he joined his father, a Consulting Civil Engineer, to begin a general practice of architecture with Wm. F. Freeman, Associates in High Point, North Carolina.

In 1964 he became President of Wm. F. Freeman Associates. Some of his more notable projects include the Southern Furniture Exposition Building in High Point; the Master Plan for Bald Head Island; the Greensboro Country Club; Westchester Academy; Market Square in High Point, N.C.; and Grandfather Mountain Golf and Country Club. In addition, Freeman was active in numerous civic and social organizations.

ALUMNI/FRIENDS NOTES

25

NOTES

STUDENTS

Marshall Dunlap, Jr. Receives Dean’s Award at Fall Commencement In addition to graduating with a Master’s in Architecture in December, Marshall Dunlap, Jr. was recognized with the Dean’s Award at fall commencement held December 15, 2004. Dean Marvin J. Malecha presented Dunlap with the award during the College’s graduation ceremony held in Stewart Theatre.

According to Professor Bob Burns, “Marshall is that rare person who has never met another person he didn’t like or that assuredly did not like him. He is optimistic, outgoing and eager to engage new ideas and opportunities.”

Pictured (L-R, above) at the fall commencement reception are Marshall Dunlap, Jr. holding his new son (Willi) with his father William Dunlap.

While a student in landscape architecture, Hans Heselein received a University research grant to study issues regarding inclusion of gardening and horticulture work in prison programs as rehabilitation educational elements under the supervision of Achva Benzinberg Stein. Heselein found that Pender Correctional Institution, located in Burgaw, N.C., has an exemplary therapeutic rehabilitation program

26

DESIGN INFLUENCE / SPRING 2005

products will have the secondary purpose of raising the awareness of domestic biofuels to the American consumer.

designed to address the needs of mentally retarded inmates. While providing developmentally disabled inmates with practical skills, useful in post-release job acquisition, the central purpose of this program is to allow for the application of therapeutic interaction with therapists/teachers. Heselein feels further research needs to be done and more programs should be adopted in North Carolina prisons to help inmates live healthy, independent lives and become law-abiding citizens.

Graduate student Allen Nelson and Bryan Laffitte, industrial design, received an $8,000 research grant from NC State to fund research for Nelson’s MID thesis on “Biofuel Compatible Diesel-Powered Equipment for Residential/Consumer Use.” Nelson will work closely with the NC State Solar Center staff who are interested in biofuels, as well as other people within the University who have interest/expertise in this area.

The purpose of this project is to design small engine diesel power equipment for consumer/ residential use that have the ability to run on a range of fuels including clean-burning, domestic and renewable biofuels. With this project, the traditional Industrial Design focus of creating functional, ergonomic and aesthetically attractive

the Raleigh Street Painting Festival in downtown Raleigh at the BTI Center. The event was sponsored by the Visual Art Exchange. Students participating were Justin Leblanc, Katelyn Baird and Stephanie Greene. Justin Leblanc (pictured, opposite page, bottom right) won Best in Show for Design and a $500.00 prize.

Art + Design Senior Jennifer Van Orden (who graduated on December 15) had her 12-foot metal tree (photo on cover) unveiled in front of the BTI Center in downtown Raleigh. Artsplosure approached Van Orden about crafting the tree after learning about her bumble bee installation earlier this year. The tree will become part of the First Night Celebration.

More photos can be seen at jvodesigns.com.

The College of Design was recognized with its fifth College Performance Award at Freshman Honors Convocation in the past five years. First-year African American, Native American and Hispanic students at NC State are identified for academic achievement during their first year. Design students recognized at the January 25, 2005, event were Nicole Alvarez,

Masonry Design Competition held in October

Maxwell Dorsey, Rhonda Lewis, Jordania Moore, Edward Daryn Paschall and Lauren Smith.

Emily Schneider, Courtney Sowa, Nicholas Wade, Juror Doug Bennett, and Professor Pat

In October, three of Kathleen Reider’s DF101 Design Fundamentals students participated in

The annual Masonry Design Competition Jury was held October 14 in the West Gilbert Gallery in Brooks Hall. Susan Cannon (Cannon Architects) and Doug Bennett (Whitman Masonry) served as jurors. Pat Rand is the instructor. Pictured above are, Juror Susan Cannon, first-place winners

Rand.

Each year more than $3,000 in scholarships and tools are contributed by the NC Mason Contractors Association toward this project. Lynn Nash, Executive Vice President of NCMCA was present for the award presentations.

The project emphasized innovation and skillful resolution of contemporary masonry construction. The vehicle project was a hypothetical office and showroom for The Masonry Society, located on an urban infill site such as Fayetteville Street Mall.

The work was on display as a mini-exhibit during Open House.

Holden Beach, North Carolina The Department of Landscape Architecture held its annual design charrette in Holden Beach, North Carolina, October 21-23, 2004. Holden Beach requested that the department provide conceptual design ideas addressing several key issues including: 1) the need for alternative visions for the towns commercial area, conceived by the community as a future town center, 2) alternative uses and pedestrian linkages to several marsh and natural areas, and 3) the need to improve the visibility and use of beach access points. For the first time, NC State University collaborated with faculty and students from NC A&T State University, as well as Cooperative Extension agents to provide a diverse and dynamic team.

Holden Beach is located on a barrier island in Brunswick County. Barrier islands form North Carolina’s outer banks and are home to unique dune and maritime forest environments. Human settlement on Holden Beach dates back to the Revolutionary and Civil Wars. More recently, it has transformed rapidly from a remote and isolated fishing community to a popular vacation destination.

The speed of change and the resulting impacts of vacation-oriented development have produced many challenges. Holden Beach has a year-round population of 800, but swells to 15,000 in the peak of the summer season. This fluctuation produces many challenges requiring design input.

Over an intense three-day period, faculty and students conducted discussions with community stakeholders and focus groups. After collecting community input, student-led teams were assembled and they began their design process. Students used inventory and site analysis undertaken and designs were formulated. GIS mapping and internet resources were used to study the island.

The final presentation was well attended and well received by charrette participants, area residents, city commissioners, and local business owners. One attendee was Dr. Mike Davis, Assistant Vice-Chancellor for Extension and Engagement at NC State University. Dr. Davis was very impressed by the collective effort, citing in a letter to the College of Design that the charrette is as a “model of an engaged institution,” and speculated that we will see “positive spin offs from this effort.”

Five faculty from NC State attended: Achva Stein, David Stein, Kofi Boone, Fernando Magallanes and Julie Sherk along with 30 undergraduate and graduate students.

STUDENT NOTES

27

NOTES

STUDENTS

Marshall Dunlap, Jr. Receives Dean’s Award at Fall Commencement In addition to graduating with a Master’s in Architecture in December, Marshall Dunlap, Jr. was recognized with the Dean’s Award at fall commencement held December 15, 2004. Dean Marvin J. Malecha presented Dunlap with the award during the College’s graduation ceremony held in Stewart Theatre.

According to Professor Bob Burns, “Marshall is that rare person who has never met another person he didn’t like or that assuredly did not like him. He is optimistic, outgoing and eager to engage new ideas and opportunities.”

Pictured (L-R, above) at the fall commencement reception are Marshall Dunlap, Jr. holding his new son (Willi) with his father William Dunlap.

While a student in landscape architecture, Hans Heselein received a University research grant to study issues regarding inclusion of gardening and horticulture work in prison programs as rehabilitation educational elements under the supervision of Achva Benzinberg Stein. Heselein found that Pender Correctional Institution, located in Burgaw, N.C., has an exemplary therapeutic rehabilitation program

26

DESIGN INFLUENCE / SPRING 2005

products will have the secondary purpose of raising the awareness of domestic biofuels to the American consumer.

designed to address the needs of mentally retarded inmates. While providing developmentally disabled inmates with practical skills, useful in post-release job acquisition, the central purpose of this program is to allow for the application of therapeutic interaction with therapists/teachers. Heselein feels further research needs to be done and more programs should be adopted in North Carolina prisons to help inmates live healthy, independent lives and become law-abiding citizens.

Graduate student Allen Nelson and Bryan Laffitte, industrial design, received an $8,000 research grant from NC State to fund research for Nelson’s MID thesis on “Biofuel Compatible Diesel-Powered Equipment for Residential/Consumer Use.” Nelson will work closely with the NC State Solar Center staff who are interested in biofuels, as well as other people within the University who have interest/expertise in this area.

The purpose of this project is to design small engine diesel power equipment for consumer/ residential use that have the ability to run on a range of fuels including clean-burning, domestic and renewable biofuels. With this project, the traditional Industrial Design focus of creating functional, ergonomic and aesthetically attractive

the Raleigh Street Painting Festival in downtown Raleigh at the BTI Center. The event was sponsored by the Visual Art Exchange. Students participating were Justin Leblanc, Katelyn Baird and Stephanie Greene. Justin Leblanc (pictured, opposite page, bottom right) won Best in Show for Design and a $500.00 prize.

Art + Design Senior Jennifer Van Orden (who graduated on December 15) had her 12-foot metal tree (photo on cover) unveiled in front of the BTI Center in downtown Raleigh. Artsplosure approached Van Orden about crafting the tree after learning about her bumble bee installation earlier this year. The tree will become part of the First Night Celebration.

More photos can be seen at jvodesigns.com.

The College of Design was recognized with its fifth College Performance Award at Freshman Honors Convocation in the past five years. First-year African American, Native American and Hispanic students at NC State are identified for academic achievement during their first year. Design students recognized at the January 25, 2005, event were Nicole Alvarez,

Masonry Design Competition held in October

Maxwell Dorsey, Rhonda Lewis, Jordania Moore, Edward Daryn Paschall and Lauren Smith.

Emily Schneider, Courtney Sowa, Nicholas Wade, Juror Doug Bennett, and Professor Pat

In October, three of Kathleen Reider’s DF101 Design Fundamentals students participated in

The annual Masonry Design Competition Jury was held October 14 in the West Gilbert Gallery in Brooks Hall. Susan Cannon (Cannon Architects) and Doug Bennett (Whitman Masonry) served as jurors. Pat Rand is the instructor. Pictured above are, Juror Susan Cannon, first-place winners

Rand.

Each year more than $3,000 in scholarships and tools are contributed by the NC Mason Contractors Association toward this project. Lynn Nash, Executive Vice President of NCMCA was present for the award presentations.

The project emphasized innovation and skillful resolution of contemporary masonry construction. The vehicle project was a hypothetical office and showroom for The Masonry Society, located on an urban infill site such as Fayetteville Street Mall.

The work was on display as a mini-exhibit during Open House.

Holden Beach, North Carolina The Department of Landscape Architecture held its annual design charrette in Holden Beach, North Carolina, October 21-23, 2004. Holden Beach requested that the department provide conceptual design ideas addressing several key issues including: 1) the need for alternative visions for the towns commercial area, conceived by the community as a future town center, 2) alternative uses and pedestrian linkages to several marsh and natural areas, and 3) the need to improve the visibility and use of beach access points. For the first time, NC State University collaborated with faculty and students from NC A&T State University, as well as Cooperative Extension agents to provide a diverse and dynamic team.

Holden Beach is located on a barrier island in Brunswick County. Barrier islands form North Carolina’s outer banks and are home to unique dune and maritime forest environments. Human settlement on Holden Beach dates back to the Revolutionary and Civil Wars. More recently, it has transformed rapidly from a remote and isolated fishing community to a popular vacation destination.

The speed of change and the resulting impacts of vacation-oriented development have produced many challenges. Holden Beach has a year-round population of 800, but swells to 15,000 in the peak of the summer season. This fluctuation produces many challenges requiring design input.

Over an intense three-day period, faculty and students conducted discussions with community stakeholders and focus groups. After collecting community input, student-led teams were assembled and they began their design process. Students used inventory and site analysis undertaken and designs were formulated. GIS mapping and internet resources were used to study the island.

The final presentation was well attended and well received by charrette participants, area residents, city commissioners, and local business owners. One attendee was Dr. Mike Davis, Assistant Vice-Chancellor for Extension and Engagement at NC State University. Dr. Davis was very impressed by the collective effort, citing in a letter to the College of Design that the charrette is as a “model of an engaged institution,” and speculated that we will see “positive spin offs from this effort.”

Five faculty from NC State attended: Achva Stein, David Stein, Kofi Boone, Fernando Magallanes and Julie Sherk along with 30 undergraduate and graduate students.

STUDENT NOTES

27

NOTES

FACULT Y/ STAFF

Catherine Bishir, adjunct professor in architecture, has received with co-author Michael Southern, a national Award of Merit from the American Association for State and Local History for the series of architectural books on North Carolina, published by the University of North Carolina Press. All three books are in the Lyons Design Library: A Guide to the Historic Architecture of Eastern North Carolina, A Guide to the Historic Architecture of Western North Carolina, and A Guide to the Historic Architecture of Piedmont North Carolina. Bishir has just published The Bellamy Mansion, Wilmington, North Carolina: An Antebellum Architectural Treasure and Its People.

Gail Peter Borden, architecture, has been selected for an invited competition to design a garden pavilion at the Philbrook Museum of Art in Tulsa, Oklahoma. The jurors selected from emerging architects around the globe to participate in the construction of an exhibition of four garden pavilions that celebrate the “next” generation of design. The competition entries will be open to the public in April 2005.

Additionally, Borden displays his work in an exhibition titled “Architecture Mechanisms” in the Brooks Hall Gallery from February 6 through March 11, 2005.

Susan Brandeis, art + design, was visiting artist in the Art Department at Indiana University (Bloomington) during the last week in October. She gave a workshop for fibers students on machine embroidery and a lecture for the department titled: “Post-Digital Textiles: Rediscovering the Hand.”

28

DESIGN INFLUENCE / SPRING 2005

Brandeis is also one of seven artists from the U.S. and Canada featured in an exhibit of woven and printed textiles titled “Hypertextiles,” at the Indiana University School of Fine Arts Gallery from February 8 through March 8, 2005.

Susan Brandeis and Vita Plume, art + design, were both invited to exhibit works in the exhibition “Recursion: Material Expression of Zeros and Ones” held at the Museum of Design Atlanta from January 11 through March 26, 2005. The exhibition will be open during the College Art Association Conference in February.

November 2, 2004, to make a slide presentation and interact with students. Appalachian has a relatively new industrial design program. Pictured below, Talley (foreground) returned the favor on December 3, 2004, when he returned to his alma mater to serve as guest jurist in Buie’s ID 201 Marionette Project. Talley is pictured with Jeff Poon.

Tony Brock, graphic design, is currently working

The Third Edition of Precedents in Architecture by Roger Clark, architecture, and Michael Pause, art + design, is now printed and available. The publication provides a vocabulary for architectural analysis that illuminates the works of leading architects and aids architects and designers in creating their own designs.

on a Learning in a Technology Rich Environment grant focusing his research on synthesizing faceto-face virtual studios.

Roger Clark, Frank Harmon and Gail Peter Borden, architecture, served on the design jury for

Timothy Buie, industrial design, and Appalachian State University ID Assistant Professor and Alumnus Banks Talley (MID 2002) visited each other’s studios during the fall semester. Pictured below, Buie (far right) visited Talley’s studio at Appalachian State on

the Chesapeake Bay AIA Honor Awards Program in October. Part-time faculty Jeffrey Lee, Susan Cannon, and Phil Szostak also served on the jury.

Denise Gonzales Crisp, graphic design, is featured in a book by Stefan G. Bucher titled All Access: The

Making of Thirty Extraordinary Graphic Designers (Rockport Publishers, 2004).

Crisp was an invited speaker at GraficEurope, Oct. 14-16, 2004. Both Crisp and Meredith Davis have accepted an invitation to be on the editorial board of a new journal, Design Studies Review.

Meredith Davis, graphic design, and Paul Tesar, architecture, teamed up to co-author a chapter titled “Inquiry by Design: Learning in the Studio Setting.”

The article appears as Chapter 14 in the book Teaching and Learning through Inquiry: A Guidebook for Institutions and Instructors, edited by Virginia S. Lee. Stylus Publishing published the book in September.

Projects that Illustrate How Good Design Achieves Business Objectives are Recognized with a 2004 Business Week/Architectural Record Award” in the November 1, 2004, edition. Harmon’s awardwinning Penland School of Arts project was recognized. Harmon was selected as The News & Observer’s Tarheel of the Week (Sunday, January 23, 2005) for his commitment to sustainable design.

Percy Hooper, industrial design, presented a keynote address at the Industrial Designers Society of America Educators Conference in Pasadena, California, October 25, 2004. The title of Hooper’s presentation was “Finding ID Education Funding in a Culture that Does Not Seek Grants.”

Lope Max Díaz, art + design, was invited to be sole juror for the Carol Woods Retirement Community residents 2004 Annual Art Exhibition in Chapel Hill, N.C., on December 3, 2004. He reviewed the artwork submitted for the art show, granted awards, and gave a brief talk on his award selections as well as on the show in general. Díaz was also invited to participate in an art exhibition called “Social Justice” held at Peace College in Raleigh, N.C. from September 27 -November 5, 2004. An exhibition of his work titled “Lope Max Díaz/Recent Paintings 2004” was on display at Galeria Botello, Hato Rey, Puerto Rico, from October 21 - November 14, 2004.

Jeremy Ficca, architecture, presented a research paper on recent work at the ACSA northeast conference held Oct. 28-31 at Syracuse University’s School of Architecture; he exhibited design work titled “Performative Surfaces and Skins” at the ACADIA/AIA conference held Nov. 8-14 in Toronto/ Cambridge, Ontario, Canada; and Ficca and Gail Peter Borden presented at ArchEx (formerly Build Virginia) on the topics of digital representation and fabrication on Nov. 10 in Richmond.

Frank Harmon, architecture, recently had his work included in Business Week as one of “Ten

awarded a third travel grant in the amount of $1,000 from the NCSU Africa Project, administered through the Africana Studies Program. His work is focused on providing Ghanaian artisans access to computer graphics in their design process, establishing a multimedia lab for computer graphics and 3-D modeling, and encouraging collaborative relationships to assist artisans in responding to a changing western market.

Charles Joyner, art + design, was included among the 75 artists participating in the “Art on Paper 2004” exhibition held November 14, 2004, – January 23, 2005, at the Witherspoon Gallery at UNCG in Greensboro. Joyner’s mixed media piece is called “Sankofa” was among the works made on or of paper.

Haig Khachatoorian, IDSA, industrial design, attended the 2004 China International Industrial Design Summit, held October 18-21 in Wuxi, in the province of Jiangsu. The conference was the largest design event in China’s history. The theme of the conference was Innovation, Exchange and Development of Design in China, and convened the world’s most influential designers, design firms and organizations, as well as academic institutions in building a more cooperative global design community.

Glenn E. Lewis, IDSA, industrial design, has been selected to serve on the Licensure Team for Nonpublic post-secondary educational institutions to conduct degree activity in North Carolina. The Licensure Team serves the Board of Governors of the University of North Carolina and is administered through the office of the President for Academic Affairs, Office of the President of UNC. Lewis also has been

A Randallstown, Md., steering committee that hosted an Urban Design Assistance Team has received the Chapter Community Initiative Award from the Maryland Chapter of the American Planning Association. The team was chaired by Fernando Magallanes, landscape architecture, and was recognized at an APA awards ceremony during the World Town Planning Day on November 8 in Baltimore. The team, which consisted of 12 professionals drawn from the design disciplines, also included two NC State College of Design landscape architecture students, Jesse Turner and Joel Osgood. Peter Batchelor, FAIA, FAICP, architecture, managed the Randallstown team and has been involved as manager, chairman, or participant for 19 teams throughout the United States since 1970.

Marvin Malecha, dean, has been appointed to a three-year term on the Board of the American Institute of Architects (AIA). He also serves as the AIA’s Southeastern Region director, which includes North Carolina, South Carolina and Georgia. Additionally, the editors of the journal DesignIntelligence recently ranked Malecha second on its national list of “30 Leaders Who Bridge Practice, Education.” The 30 “role models” were selected based on nominations from architecture firms in the United States.

Lee-Anne Milburn, landscape architecture, joined the college in January as an assistant professor.

Prior to coming to NC State, she taught at Mississippi State University. Milburn holds degrees in Fine FACULTY/STAFF NOTES

29

NOTES

FACULT Y/ STAFF

Catherine Bishir, adjunct professor in architecture, has received with co-author Michael Southern, a national Award of Merit from the American Association for State and Local History for the series of architectural books on North Carolina, published by the University of North Carolina Press. All three books are in the Lyons Design Library: A Guide to the Historic Architecture of Eastern North Carolina, A Guide to the Historic Architecture of Western North Carolina, and A Guide to the Historic Architecture of Piedmont North Carolina. Bishir has just published The Bellamy Mansion, Wilmington, North Carolina: An Antebellum Architectural Treasure and Its People.

Gail Peter Borden, architecture, has been selected for an invited competition to design a garden pavilion at the Philbrook Museum of Art in Tulsa, Oklahoma. The jurors selected from emerging architects around the globe to participate in the construction of an exhibition of four garden pavilions that celebrate the “next” generation of design. The competition entries will be open to the public in April 2005.

Additionally, Borden displays his work in an exhibition titled “Architecture Mechanisms” in the Brooks Hall Gallery from February 6 through March 11, 2005.

Susan Brandeis, art + design, was visiting artist in the Art Department at Indiana University (Bloomington) during the last week in October. She gave a workshop for fibers students on machine embroidery and a lecture for the department titled: “Post-Digital Textiles: Rediscovering the Hand.”

28

DESIGN INFLUENCE / SPRING 2005

Brandeis is also one of seven artists from the U.S. and Canada featured in an exhibit of woven and printed textiles titled “Hypertextiles,” at the Indiana University School of Fine Arts Gallery from February 8 through March 8, 2005.

Susan Brandeis and Vita Plume, art + design, were both invited to exhibit works in the exhibition “Recursion: Material Expression of Zeros and Ones” held at the Museum of Design Atlanta from January 11 through March 26, 2005. The exhibition will be open during the College Art Association Conference in February.

November 2, 2004, to make a slide presentation and interact with students. Appalachian has a relatively new industrial design program. Pictured below, Talley (foreground) returned the favor on December 3, 2004, when he returned to his alma mater to serve as guest jurist in Buie’s ID 201 Marionette Project. Talley is pictured with Jeff Poon.

Tony Brock, graphic design, is currently working

The Third Edition of Precedents in Architecture by Roger Clark, architecture, and Michael Pause, art + design, is now printed and available. The publication provides a vocabulary for architectural analysis that illuminates the works of leading architects and aids architects and designers in creating their own designs.

on a Learning in a Technology Rich Environment grant focusing his research on synthesizing faceto-face virtual studios.

Roger Clark, Frank Harmon and Gail Peter Borden, architecture, served on the design jury for

Timothy Buie, industrial design, and Appalachian State University ID Assistant Professor and Alumnus Banks Talley (MID 2002) visited each other’s studios during the fall semester. Pictured below, Buie (far right) visited Talley’s studio at Appalachian State on

the Chesapeake Bay AIA Honor Awards Program in October. Part-time faculty Jeffrey Lee, Susan Cannon, and Phil Szostak also served on the jury.

Denise Gonzales Crisp, graphic design, is featured in a book by Stefan G. Bucher titled All Access: The

Making of Thirty Extraordinary Graphic Designers (Rockport Publishers, 2004).

Crisp was an invited speaker at GraficEurope, Oct. 14-16, 2004. Both Crisp and Meredith Davis have accepted an invitation to be on the editorial board of a new journal, Design Studies Review.

Meredith Davis, graphic design, and Paul Tesar, architecture, teamed up to co-author a chapter titled “Inquiry by Design: Learning in the Studio Setting.”

The article appears as Chapter 14 in the book Teaching and Learning through Inquiry: A Guidebook for Institutions and Instructors, edited by Virginia S. Lee. Stylus Publishing published the book in September.

Projects that Illustrate How Good Design Achieves Business Objectives are Recognized with a 2004 Business Week/Architectural Record Award” in the November 1, 2004, edition. Harmon’s awardwinning Penland School of Arts project was recognized. Harmon was selected as The News & Observer’s Tarheel of the Week (Sunday, January 23, 2005) for his commitment to sustainable design.

Percy Hooper, industrial design, presented a keynote address at the Industrial Designers Society of America Educators Conference in Pasadena, California, October 25, 2004. The title of Hooper’s presentation was “Finding ID Education Funding in a Culture that Does Not Seek Grants.”

Lope Max Díaz, art + design, was invited to be sole juror for the Carol Woods Retirement Community residents 2004 Annual Art Exhibition in Chapel Hill, N.C., on December 3, 2004. He reviewed the artwork submitted for the art show, granted awards, and gave a brief talk on his award selections as well as on the show in general. Díaz was also invited to participate in an art exhibition called “Social Justice” held at Peace College in Raleigh, N.C. from September 27 -November 5, 2004. An exhibition of his work titled “Lope Max Díaz/Recent Paintings 2004” was on display at Galeria Botello, Hato Rey, Puerto Rico, from October 21 - November 14, 2004.

Jeremy Ficca, architecture, presented a research paper on recent work at the ACSA northeast conference held Oct. 28-31 at Syracuse University’s School of Architecture; he exhibited design work titled “Performative Surfaces and Skins” at the ACADIA/AIA conference held Nov. 8-14 in Toronto/ Cambridge, Ontario, Canada; and Ficca and Gail Peter Borden presented at ArchEx (formerly Build Virginia) on the topics of digital representation and fabrication on Nov. 10 in Richmond.

Frank Harmon, architecture, recently had his work included in Business Week as one of “Ten

awarded a third travel grant in the amount of $1,000 from the NCSU Africa Project, administered through the Africana Studies Program. His work is focused on providing Ghanaian artisans access to computer graphics in their design process, establishing a multimedia lab for computer graphics and 3-D modeling, and encouraging collaborative relationships to assist artisans in responding to a changing western market.

Charles Joyner, art + design, was included among the 75 artists participating in the “Art on Paper 2004” exhibition held November 14, 2004, – January 23, 2005, at the Witherspoon Gallery at UNCG in Greensboro. Joyner’s mixed media piece is called “Sankofa” was among the works made on or of paper.

Haig Khachatoorian, IDSA, industrial design, attended the 2004 China International Industrial Design Summit, held October 18-21 in Wuxi, in the province of Jiangsu. The conference was the largest design event in China’s history. The theme of the conference was Innovation, Exchange and Development of Design in China, and convened the world’s most influential designers, design firms and organizations, as well as academic institutions in building a more cooperative global design community.

Glenn E. Lewis, IDSA, industrial design, has been selected to serve on the Licensure Team for Nonpublic post-secondary educational institutions to conduct degree activity in North Carolina. The Licensure Team serves the Board of Governors of the University of North Carolina and is administered through the office of the President for Academic Affairs, Office of the President of UNC. Lewis also has been

A Randallstown, Md., steering committee that hosted an Urban Design Assistance Team has received the Chapter Community Initiative Award from the Maryland Chapter of the American Planning Association. The team was chaired by Fernando Magallanes, landscape architecture, and was recognized at an APA awards ceremony during the World Town Planning Day on November 8 in Baltimore. The team, which consisted of 12 professionals drawn from the design disciplines, also included two NC State College of Design landscape architecture students, Jesse Turner and Joel Osgood. Peter Batchelor, FAIA, FAICP, architecture, managed the Randallstown team and has been involved as manager, chairman, or participant for 19 teams throughout the United States since 1970.

Marvin Malecha, dean, has been appointed to a three-year term on the Board of the American Institute of Architects (AIA). He also serves as the AIA’s Southeastern Region director, which includes North Carolina, South Carolina and Georgia. Additionally, the editors of the journal DesignIntelligence recently ranked Malecha second on its national list of “30 Leaders Who Bridge Practice, Education.” The 30 “role models” were selected based on nominations from architecture firms in the United States.

Lee-Anne Milburn, landscape architecture, joined the college in January as an assistant professor.

Prior to coming to NC State, she taught at Mississippi State University. Milburn holds degrees in Fine FACULTY/STAFF NOTES

29

Natural Learning Initiative Update Professor of Landscape Architecture and Director of the Natural Learning Initiative Robin Moore and Educational Specialist Nilda Cosco were mentioned in “A Chip Off the Old Park,” article that appeared in the New York Times Sept.

30, 2004. The article was referring to the opening of the new Teardrop Park at Battery Park City in New York on which the Natural Learning Initiative served as part of the design team.

Moore and Cosco were invited to participate in Open Space: People Space, an international conference on inclusive outdoor environments, held in Edinburgh, UK, Oct. 27-29, 2004.

Cosco presented the Plenary Session titled “Environmental Interventions for Healthy Development of Young Children in the Outdoors.” Moore, director of NLI, presented a paper titled “Urban Childhood Outdoors: Retrospect and Prospect for Evidence-Based Practice and Action Research on a Critical Issue of our Time.” Both Cosco and Moore led a workshop, “Evaluating Universal Outdoor Design: Kids Together Park Post Occupancy Evaluation.”

The pair also taught an intensive four-day course on children and the environment for the master program in child development at the School of Human Kinetics, Technological University of Lisbon, Portugal, held November 22-26, 2005.

30

DESIGN INFLUENCE / SPRING 2005

Arts and Landscape Architecture. In 2004, Milburn won the national award for research in landscape architecture in Canada and was nominated for an Award of Excellence for her work with professional landscape architects.

Her current research examines the relationship between research and practice in the profession.

Vita Plume, art + design, had work on display at Artspace, in downtown Raleigh, in the juried exhibition “Fine Contemporary Craft” on view from November 20 - January 15, 2005. Sandra Blain, a professor of ceramics at the University of Tennessee, juried the national exhibition and selected 57 pieces from 297 entries. NCSU alumni whose work is also in the show are: Georgia Springer, Peg Gignoux, and Jeana Klein.

Following the success that Dana Raymond, art + design, and his sculpture studio class had with a public art installation in Knightdale last year, the Garner Arts Association is sponsoring a similar project in Garner. The artwork has been commissioned as Garner’s first public sculptures in honor of the town’s 100th anniversary. The art is scheduled to be unveiled in April.

Wendy Redfield, architecture, has an article titled “The Suppressed Site: Revealing the Influence of Site on Two Purist Works,” in the new book Site Matters: Design Concepts, Histories and Strategies edited by Carol Burns and Andrea Kahn (Rutledge Press). A release party was held at The Van Alen Institute in New York in February, 2005.

Molly Renda, visiting lecturer in graphic design, won first place in the Scholarly and Reference division for design and production in the 19th annual New York Book Show for her work designing the interior of Rarest of the Rare, Stories Behind the Treasures at the Harvard Museum of Natural History published by HarperCollins Resource.

Renda is currently teaching the Graphic Design sponsored studio focusing on the redesign of NC State alumni magazine.

Multiple Perspectives, an installation (on the back cover) by Kathleen Rieder, art + design, opened at Meredith College’s Frankie G. Weems Art Gallery on November 7 and ran through December 12, 2004. A gallery talk and opening reception was held on Sunday, Nov. 7 in the Gallery.

Henry Sanoff, Professor Emeritus of Architecture, won a Reviewer Recognition Award from the fifth annual international DesignShare Awards program, co-sponsored by School Construction News and the C/S Group. The Laguna Child and Family Development Center designed by Henry Sanoff received a design award. Sanoff also served as keynote speaker at the 6th International Conference for EnvironmentBehavior Studies School of Architecture, Tianjin University held in Tianjin, China, October 22-25, 2004. Sanoff’s presentation was titled “CrossCultural Methods of Community Participation.”

ACSA Award Winners Assistant Professors of Architecture Gail Peter Borden and Jeremy Ficca both received one of five national faculty design awards from the Association of Collegiate Schools of Architecture (ACSA).

Borden won for his research into affordable single-family housing called “20 propositions for suburban living.” Borden’s award-winning designs have been featured in several publications. An exhibition by Gail Peter Borden, [X]perience Mechanisms, will be held in Brooks Hall Gallery from February 6 through March 12, 2005.

Ficca won for his research, “Performative Surfaces” which investigates plywood and mdf surfaces that respond to their changing programmatic and environmental conditions.

In addition, Borden received the ACSA/AIAS New Faculty Teaching Award.

Jay Tomlinson, extension and engagement, is working with the Town of Broadway, N.C., and graduate students to upgrade the appearance of the town and to plan a means to attract new business to the downtown area. Workshops were held in the fall with plans to hold two more meetings this spring to start developing a plan for revitalization. The project has been featured in The Sanford Herald.

The College’s Center for Universal Design as well as its Director of Design Leslie Young were among 21 individuals and organizations who received 2004 Ron Mace Designing for the 21st Century Awards.

Adaptive Environments, a Boston-based, international nonprofit organization dedicated to researching, gathering and promoting the most current ideas and information on Human-Centered Design worldwide, presented the awards.

An awards ceremony will be held at the ACSA National Convention held in Chicago in March 2005.

Top: Gail Peter Borden’s “20 propositions for suburban living” Bottom: Jeremy Ficca’s “Performative Surfaces” shows bendable light-defusing surface.

FACULTY/STAFF NOTES

31

Natural Learning Initiative Update Professor of Landscape Architecture and Director of the Natural Learning Initiative Robin Moore and Educational Specialist Nilda Cosco were mentioned in “A Chip Off the Old Park,” article that appeared in the New York Times Sept.

30, 2004. The article was referring to the opening of the new Teardrop Park at Battery Park City in New York on which the Natural Learning Initiative served as part of the design team.

Moore and Cosco were invited to participate in Open Space: People Space, an international conference on inclusive outdoor environments, held in Edinburgh, UK, Oct. 27-29, 2004.

Cosco presented the Plenary Session titled “Environmental Interventions for Healthy Development of Young Children in the Outdoors.” Moore, director of NLI, presented a paper titled “Urban Childhood Outdoors: Retrospect and Prospect for Evidence-Based Practice and Action Research on a Critical Issue of our Time.” Both Cosco and Moore led a workshop, “Evaluating Universal Outdoor Design: Kids Together Park Post Occupancy Evaluation.”

The pair also taught an intensive four-day course on children and the environment for the master program in child development at the School of Human Kinetics, Technological University of Lisbon, Portugal, held November 22-26, 2005.

30

DESIGN INFLUENCE / SPRING 2005

Arts and Landscape Architecture. In 2004, Milburn won the national award for research in landscape architecture in Canada and was nominated for an Award of Excellence for her work with professional landscape architects.

Her current research examines the relationship between research and practice in the profession.

Vita Plume, art + design, had work on display at Artspace, in downtown Raleigh, in the juried exhibition “Fine Contemporary Craft” on view from November 20 - January 15, 2005. Sandra Blain, a professor of ceramics at the University of Tennessee, juried the national exhibition and selected 57 pieces from 297 entries. NCSU alumni whose work is also in the show are: Georgia Springer, Peg Gignoux, and Jeana Klein.

Following the success that Dana Raymond, art + design, and his sculpture studio class had with a public art installation in Knightdale last year, the Garner Arts Association is sponsoring a similar project in Garner. The artwork has been commissioned as Garner’s first public sculptures in honor of the town’s 100th anniversary. The art is scheduled to be unveiled in April.

Wendy Redfield, architecture, has an article titled “The Suppressed Site: Revealing the Influence of Site on Two Purist Works,” in the new book Site Matters: Design Concepts, Histories and Strategies edited by Carol Burns and Andrea Kahn (Rutledge Press). A release party was held at The Van Alen Institute in New York in February, 2005.

Molly Renda, visiting lecturer in graphic design, won first place in the Scholarly and Reference division for design and production in the 19th annual New York Book Show for her work designing the interior of Rarest of the Rare, Stories Behind the Treasures at the Harvard Museum of Natural History published by HarperCollins Resource.

Renda is currently teaching the Graphic Design sponsored studio focusing on the redesign of NC State alumni magazine.

Multiple Perspectives, an installation (on the back cover) by Kathleen Rieder, art + design, opened at Meredith College’s Frankie G. Weems Art Gallery on November 7 and ran through December 12, 2004. A gallery talk and opening reception was held on Sunday, Nov. 7 in the Gallery.

Henry Sanoff, Professor Emeritus of Architecture, won a Reviewer Recognition Award from the fifth annual international DesignShare Awards program, co-sponsored by School Construction News and the C/S Group. The Laguna Child and Family Development Center designed by Henry Sanoff received a design award. Sanoff also served as keynote speaker at the 6th International Conference for EnvironmentBehavior Studies School of Architecture, Tianjin University held in Tianjin, China, October 22-25, 2004. Sanoff’s presentation was titled “CrossCultural Methods of Community Participation.”

ACSA Award Winners Assistant Professors of Architecture Gail Peter Borden and Jeremy Ficca both received one of five national faculty design awards from the Association of Collegiate Schools of Architecture (ACSA).

Borden won for his research into affordable single-family housing called “20 propositions for suburban living.” Borden’s award-winning designs have been featured in several publications. An exhibition by Gail Peter Borden, [X]perience Mechanisms, will be held in Brooks Hall Gallery from February 6 through March 12, 2005.

Ficca won for his research, “Performative Surfaces” which investigates plywood and mdf surfaces that respond to their changing programmatic and environmental conditions.

In addition, Borden received the ACSA/AIAS New Faculty Teaching Award.

Jay Tomlinson, extension and engagement, is working with the Town of Broadway, N.C., and graduate students to upgrade the appearance of the town and to plan a means to attract new business to the downtown area. Workshops were held in the fall with plans to hold two more meetings this spring to start developing a plan for revitalization. The project has been featured in The Sanford Herald.

The College’s Center for Universal Design as well as its Director of Design Leslie Young were among 21 individuals and organizations who received 2004 Ron Mace Designing for the 21st Century Awards.

Adaptive Environments, a Boston-based, international nonprofit organization dedicated to researching, gathering and promoting the most current ideas and information on Human-Centered Design worldwide, presented the awards.

An awards ceremony will be held at the ACSA National Convention held in Chicago in March 2005.

Top: Gail Peter Borden’s “20 propositions for suburban living” Bottom: Jeremy Ficca’s “Performative Surfaces” shows bendable light-defusing surface.

FACULTY/STAFF NOTES

31

COL LEGE OF DESIGN FACULTY AND STAFF

DESIGN GUILD Design Guild is an association of alumni, friends, design professionals and industry leaders established in 1996 to promote design education at the NC State University College of Design through private contributions and gifts.

For information on how to join the Design Guild, please contact the Office of External Relations at 919/515-8313.

Design Guild Board of Directors Charles H. Boney, Jr., LS3P/Boney, President Fred Adams, Jr., Adams Paving Company David Burney, AIGA, Red Hat H. Clymer Cease, Jr., AIA, Pearce Brinkley Cease + Lee PA Michael S. Cole, ASLA, ColeJenest & Stone PA Turan Duda, AIA, Duda/Paine Architects, LLP Philip G. Freelon, FAIA, The Freelon Group Inc. Mary C. Humphrey, Humphrey Creative Company W.G. “Bill” Monroe III, AIA, WGM Design Inc. Monty Montague, IDSA, BOLT Frank D. Thompson, AV Metro, Inc. Frank J. Werner, Adams Products Company

32

DESIGN INFLUENCE / SPRING 2005

Dean’s Circle ($5,000) Richard A. Curtis, USA TODAY

Benefactor ($2,500) Adams Products Company, Frank J. Werner Georgia/Carolinas PCI Charles H. Moretz, Jr.

Partner ($1,000) AV Metro, Frank D. Thompson BMS Architects PC, Herbert P. McKim, Sr. LS3P/Boney, Charles H. Boney, Jr. Louis W. Cherry ColeJenest & Stone PA, Michael S. Cole Croxton Collaborative Architects, P.C., Randy Croxton Duda/Paine Architects LLP, Turan Duda Empire Properties LLC, Greg Hatem Fentress Bradburn, Curt Fentress The Freelon Group Inc, Philip G. Freelon Richard J. Green Mary C. Humphrey, Humphrey Creative Company Landis Inc, Barrett L. Kays Marvin J. and Cindy Malecha David L. Mayfield Eugene R. Montezinos

Moseley Architects, Douglas D. Westmoreland Charles A. Musser Jr William Lee O’Brien Jr. O’Brien Atkins Associates PA, John L. Atkins III Pearce Brinkley Cease + Lee PA, H. Clymer Cease Jr. Skinner, Lamm & Highsmith, PA, William T. Highsmith Patricia M. Tector Michael A. Weeks WGM Design Inc., W. G. “Bill” Monroe III

Associate ($500) Carla C. Abramczyk Mark P. Ashness Karen Ireland Koestner Gantt Huberman Architects, Jeffrey A. Huberman Polly R. Hawkins Luanne P. Howard Alyn J. Janis Jr. Chris Jordan Charles R. Ladd Jr. The LSV Partnership Odell Associates Inc, Marley Carroll David M. Reese The Sales Factory Bruce H. Schafer Martha Scotford Rodney L. Swink Fred M. Taylor

Angelo Abbate Professor of Landscape Architecture

Individual ($250) Donald E. Basile Bates & Masi Architects P.C., Harry Bates Daniel Davis Bayley William K. Bayley BCWH L. Franklin Bost Paul H. Falkenbury Scott Garner Dixon B. Hanna Dorothy M. Haynes William B. Hood Nathan C. Isley Elizabeth S. Joyner Richard E. Kent W.C. McIntire IV Julie McLaurin Linda Perry Meeks Fred G. Mills Sr. Monty Montague Robert S. Peterson Alwyn H. Phillips III O. Earl Pope Jr. William F. Pritchard Christopher C. Rhyne Small Kane Architects PA J. Ray Sparrow Raymond F. Stainback Jr. John O. Tector David W. Tobias

Carla Abramczyk Director of Development, External Relations Delsey Avery Administrative Assistant, Research and Extension Kermit Bailey Associate Professor of Graphic Design Dr. Donald A. Barnes Professor Emeritus of Architecture Thomas Barrie Director, School of Architecture Professor of Architecture Peter Batchelor Professor of Architecture Bill Bayley Director of Information Technology Laboratory Georgia Bizios Professor of Architecture Kofi Boone Assistant Professor of Landscape Architecture Gail Peter Borden Assistant Professor of Architecture Susan Brandeis Professor of Art + Design Tony Brock Assistant Professor of Graphic Design Robert P. Burns Professor of Architecture

Nilda Cosco Educational Specialist, Natural Learning Initiative Chandra Cox Chair, Art + Design Department; Associate Professor of Art + Design Denise Gonzales Crisp Chair, Graphic Design Department; Associate Professor of Graphic Design Meredith Davis Director, PhD Programs Professor of Graphic Design Jim Dean Manager, Materials Technology Labs Karen E. DeWitt Head of Harrye B. Lyons Design Library Lope Max Díaz Associate Professor of Art + Design Ed Driggers Accounting Technician Richard Duncan Coordinator of Training in Universal Design, Research and Extension Cheryl Eatmon Administrative Secretary, Industrial Design and Graphic Design Jeremy Ficca Assistant Professor of Architecture Patrick FitzGerald Associate Professor of Art + Design Vincent M. Foote Professor of Industrial Design Frank Harmon Associate Professor of Architecture

Pamela Christie-Tabron Administrative Secretary, Graduate Studies

Dottie Haynes Assistant Dean for Administration

Roger H. Clark Professor of Architecture

Percy Hooper Associate Professor of Industrial Design

Armand V. Cooke Professor Emeritus of Industrial Design

Joey Jenkins Computing Consultant, Information Technology Laboratory

Bong-il Jin Associate Professor of Industrial Design

Marva Motley Assistant Dean for Student Affairs

Chris Jordan Director of Materials Laboratory and Facilities

Dr. Michael Pause Director, Design Fundamentals Program; Professor of Art + Design

Charles Joyner Professor of Art + Design

Dr. J. Wayne Place Professor of Architecture

Haig Khachatoorian Professor of Industrial Design

Vita Plume Assistant Professor of Art + Design

Bryan Laffitte Chair, Industrial Design Department; Associate Professor of Industrial Design

J. Patrick Rand Associate Director, School of Architecture Professor of Architecture

David Stein Planning Specialist, Research and Extension

Dr. Cymbre Raub Associate Professor of Art + Design

Rachel Stinehelfer Visual Resources Librarian, Harrye B. Lyons Design Library

Dr. Shishir Raval Associate Professor of Landscape Architecture

Dr. Robert E. Stipe Professor Emeritus of Landscape Architecture

Dana Raymond Associate Professor of Art + Design

Wayne Taylor Professor Emeritus of Art + Design

Wendy Redfield Assistant Professor of Architecture

Dr. John O. Tector Associate Dean for Undergraduate Studies and Academic Support; Associate Professor of Architecture

Jack Lancaster Technician, Materials Laboratory Ed Lee Computing Consultant, Information Technology Laboratory Glenn E. Lewis Professor of Industrial Design Jean Marie Livaudais Director of Professional Relations, External Relations Austin Lowrey Professor Emeritus of Graphic Design Fernando Magallanes Associate Professor of Landscape Architecture Marvin J. Malecha Dean, Professor of Architecture Joe McCoy Coordinator of Network & Hardware Services, Information Technology Laboratory Sherry McIntyre Director of Communications, External Relations Claude E. McKinney Professor Emeritus, Design

Arthur C. Rice Associate Dean for Graduate Studies, Research & Extension Professor of Landscape Architecture; Holly Richards Student Services Assistant Dr. Fatih Rifki Professor of Architecture Jackie Riley Office Assistant, School of Architecture Jackie Robertson Administrative Secretary, Academic Affairs

Sharon Silcox Library Assistant, Harrye B. Lyons Design Library Stephanie Statham Library Assistant, Harrye B. Lyons Design Library Achva Benzinberg Stein Chair, Landscape Architecture Department; Professor of Landscape Architecture

Dr. Paul Tesar Professor of Architecture James D. Tomlinson Assistant Dean for Research and Extension Susan Toplikar Associate Professor of Art + Design Scott Townsend Associate Professor of Graphic Design Hazel Tudor Registrar

Michael Rodrigues Budget Manager

Katie Walston Accounting Technician

Henry Sanoff Professor Emeritus of Architecture

Richard R. Wilkinson Professor Emeritus, Landscape Architecture

Lee-Anne Milburn Assistant Professor of Landscape Architecture

Dr. Kristen Schaffer Associate Professor of Architecture

Robin C. Moore Director, Natural Learning Initiative; Professor of Landscape Architecture

Martha Scotford Director, International Programs; Professor of Graphic Design Carla Skuce Executive Assistant to the Dean

Leslie Young Universal Design Training Specialist, Research and Extension

COL LEGE OF DESIGN FACULTY AND STAFF

DESIGN GUILD Design Guild is an association of alumni, friends, design professionals and industry leaders established in 1996 to promote design education at the NC State University College of Design through private contributions and gifts.

For information on how to join the Design Guild, please contact the Office of External Relations at 919/515-8313.

Design Guild Board of Directors Charles H. Boney, Jr., LS3P/Boney, President Fred Adams, Jr., Adams Paving Company David Burney, AIGA, Red Hat H. Clymer Cease, Jr., AIA, Pearce Brinkley Cease + Lee PA Michael S. Cole, ASLA, ColeJenest & Stone PA Turan Duda, AIA, Duda/Paine Architects, LLP Philip G. Freelon, FAIA, The Freelon Group Inc. Mary C. Humphrey, Humphrey Creative Company W.G. “Bill” Monroe III, AIA, WGM Design Inc. Monty Montague, IDSA, BOLT Frank D. Thompson, AV Metro, Inc. Frank J. Werner, Adams Products Company

32

DESIGN INFLUENCE / SPRING 2005

Dean’s Circle ($5,000) Richard A. Curtis, USA TODAY

Benefactor ($2,500) Adams Products Company, Frank J. Werner Georgia/Carolinas PCI Charles H. Moretz, Jr.

Partner ($1,000) AV Metro, Frank D. Thompson BMS Architects PC, Herbert P. McKim, Sr. LS3P/Boney, Charles H. Boney, Jr. Louis W. Cherry ColeJenest & Stone PA, Michael S. Cole Croxton Collaborative Architects, P.C., Randy Croxton Duda/Paine Architects LLP, Turan Duda Empire Properties LLC, Greg Hatem Fentress Bradburn, Curt Fentress The Freelon Group Inc, Philip G. Freelon Richard J. Green Mary C. Humphrey, Humphrey Creative Company Landis Inc, Barrett L. Kays Marvin J. and Cindy Malecha David L. Mayfield Eugene R. Montezinos

Moseley Architects, Douglas D. Westmoreland Charles A. Musser Jr William Lee O’Brien Jr. O’Brien Atkins Associates PA, John L. Atkins III Pearce Brinkley Cease + Lee PA, H. Clymer Cease Jr. Skinner, Lamm & Highsmith, PA, William T. Highsmith Patricia M. Tector Michael A. Weeks WGM Design Inc., W. G. “Bill” Monroe III

Associate ($500) Carla C. Abramczyk Mark P. Ashness Karen Ireland Koestner Gantt Huberman Architects, Jeffrey A. Huberman Polly R. Hawkins Luanne P. Howard Alyn J. Janis Jr. Chris Jordan Charles R. Ladd Jr. The LSV Partnership Odell Associates Inc, Marley Carroll David M. Reese The Sales Factory Bruce H. Schafer Martha Scotford Rodney L. Swink Fred M. Taylor

Angelo Abbate Professor of Landscape Architecture

Individual ($250) Donald E. Basile Bates & Masi Architects P.C., Harry Bates Daniel Davis Bayley William K. Bayley BCWH L. Franklin Bost Paul H. Falkenbury Scott Garner Dixon B. Hanna Dorothy M. Haynes William B. Hood Nathan C. Isley Elizabeth S. Joyner Richard E. Kent W.C. McIntire IV Julie McLaurin Linda Perry Meeks Fred G. Mills Sr. Monty Montague Robert S. Peterson Alwyn H. Phillips III O. Earl Pope Jr. William F. Pritchard Christopher C. Rhyne Small Kane Architects PA J. Ray Sparrow Raymond F. Stainback Jr. John O. Tector David W. Tobias

Carla Abramczyk Director of Development, External Relations Delsey Avery Administrative Assistant, Research and Extension Kermit Bailey Associate Professor of Graphic Design Dr. Donald A. Barnes Professor Emeritus of Architecture Thomas Barrie Director, School of Architecture Professor of Architecture Peter Batchelor Professor of Architecture Bill Bayley Director of Information Technology Laboratory Georgia Bizios Professor of Architecture Kofi Boone Assistant Professor of Landscape Architecture Gail Peter Borden Assistant Professor of Architecture Susan Brandeis Professor of Art + Design Tony Brock Assistant Professor of Graphic Design Robert P. Burns Professor of Architecture

Nilda Cosco Educational Specialist, Natural Learning Initiative Chandra Cox Chair, Art + Design Department; Associate Professor of Art + Design Denise Gonzales Crisp Chair, Graphic Design Department; Associate Professor of Graphic Design Meredith Davis Director, PhD Programs Professor of Graphic Design Jim Dean Manager, Materials Technology Labs Karen E. DeWitt Head of Harrye B. Lyons Design Library Lope Max Díaz Associate Professor of Art + Design Ed Driggers Accounting Technician Richard Duncan Coordinator of Training in Universal Design, Research and Extension Cheryl Eatmon Administrative Secretary, Industrial Design and Graphic Design Jeremy Ficca Assistant Professor of Architecture Patrick FitzGerald Associate Professor of Art + Design Vincent M. Foote Professor of Industrial Design Frank Harmon Associate Professor of Architecture

Pamela Christie-Tabron Administrative Secretary, Graduate Studies

Dottie Haynes Assistant Dean for Administration

Roger H. Clark Professor of Architecture

Percy Hooper Associate Professor of Industrial Design

Armand V. Cooke Professor Emeritus of Industrial Design

Joey Jenkins Computing Consultant, Information Technology Laboratory

Bong-il Jin Associate Professor of Industrial Design

Marva Motley Assistant Dean for Student Affairs

Chris Jordan Director of Materials Laboratory and Facilities

Dr. Michael Pause Director, Design Fundamentals Program; Professor of Art + Design

Charles Joyner Professor of Art + Design

Dr. J. Wayne Place Professor of Architecture

Haig Khachatoorian Professor of Industrial Design

Vita Plume Assistant Professor of Art + Design

Bryan Laffitte Chair, Industrial Design Department; Associate Professor of Industrial Design

J. Patrick Rand Associate Director, School of Architecture Professor of Architecture

David Stein Planning Specialist, Research and Extension

Dr. Cymbre Raub Associate Professor of Art + Design

Rachel Stinehelfer Visual Resources Librarian, Harrye B. Lyons Design Library

Dr. Shishir Raval Associate Professor of Landscape Architecture

Dr. Robert E. Stipe Professor Emeritus of Landscape Architecture

Dana Raymond Associate Professor of Art + Design

Wayne Taylor Professor Emeritus of Art + Design

Wendy Redfield Assistant Professor of Architecture

Dr. John O. Tector Associate Dean for Undergraduate Studies and Academic Support; Associate Professor of Architecture

Jack Lancaster Technician, Materials Laboratory Ed Lee Computing Consultant, Information Technology Laboratory Glenn E. Lewis Professor of Industrial Design Jean Marie Livaudais Director of Professional Relations, External Relations Austin Lowrey Professor Emeritus of Graphic Design Fernando Magallanes Associate Professor of Landscape Architecture Marvin J. Malecha Dean, Professor of Architecture Joe McCoy Coordinator of Network & Hardware Services, Information Technology Laboratory Sherry McIntyre Director of Communications, External Relations Claude E. McKinney Professor Emeritus, Design

Arthur C. Rice Associate Dean for Graduate Studies, Research & Extension Professor of Landscape Architecture; Holly Richards Student Services Assistant Dr. Fatih Rifki Professor of Architecture Jackie Riley Office Assistant, School of Architecture Jackie Robertson Administrative Secretary, Academic Affairs

Sharon Silcox Library Assistant, Harrye B. Lyons Design Library Stephanie Statham Library Assistant, Harrye B. Lyons Design Library Achva Benzinberg Stein Chair, Landscape Architecture Department; Professor of Landscape Architecture

Dr. Paul Tesar Professor of Architecture James D. Tomlinson Assistant Dean for Research and Extension Susan Toplikar Associate Professor of Art + Design Scott Townsend Associate Professor of Graphic Design Hazel Tudor Registrar

Michael Rodrigues Budget Manager

Katie Walston Accounting Technician

Henry Sanoff Professor Emeritus of Architecture

Richard R. Wilkinson Professor Emeritus, Landscape Architecture

Lee-Anne Milburn Assistant Professor of Landscape Architecture

Dr. Kristen Schaffer Associate Professor of Architecture

Robin C. Moore Director, Natural Learning Initiative; Professor of Landscape Architecture

Martha Scotford Director, International Programs; Professor of Graphic Design Carla Skuce Executive Assistant to the Dean

Leslie Young Universal Design Training Specialist, Research and Extension

NC State University

NC STATE UNIVERSITY S P RI N G 2 0 0 5

O C

NONPROFIT ORGANIZATION

PAID

U.S. POSTAGE

2353

RALEIGH, NC

PERMIT NO.

L

L

E

G

E

O

F

Multiple Perspectives, an installation by Kathleen Rieder, art + design, was held at Meredith College’s Frankie G. Weems Art Gallery from November 7December 12, 2004.

D

E

S

I

G

N

COLLEGE OF DESIGN

Campus Box 7701 Raleigh, NC 27695-7701

CHANGE SERVICE REQUESTED

DESIGN INFLUENCE