PRODUCTS PRODUCTS DFSIGN DFSIGN MFA MFA
MFA Products of Design www.sva.edu/productsofdesign department site: productsofdesign.sva.edu 2
XX An optimistic re-imagining of the artifacts of design, reconciling the challenges of production and consumption, systems and consequence XX Students use a hands-on, making-driven approach to master strategic, technical and narrative skills XX Faculty comprised of industry leaders, interdisciplinary practitioners, passionate iconoclasts and savvy entrepreneurs
Design has transformed the world. Now the world is demanding the transformation of designers. What we consider the “products of design” must go beyond the mass-produced object to include artifacts and expressions that are purposeful, sustainable and systems-aware. The products of design can manifest themselves in many forms—from sets of instructions to object-mediated social interventions, from
diy projects to limited edition runs, from manufacture-on-demand to mass-manufactured, and from speculative objects to design art. Whatever their expression, designed objects should emerge from a combination of intent and context, celebrating life in addition to solving problems. The Products of Design program at sva is itself a “product of design”: It responds to the current explosion of creative investigation around making, meaning and the role of objects in our culture. It acknowledges the radical shifts taking place in the classic profession of industrial design itself: progressive changes in the processes of product design—from specialized ethnographic research to strategic business consulting. We see new urgencies in the need to reconcile the material, energy, environmental and cultural consequences of design inherent in the imperatives of production and consumption. We see a wonderful expansion in the participants of design—from anthropologists and behavioral psychologists to materials experts and systems specialists. And finally, we see great interest from both the mainstream as well as business press around the power of design—to fix problems, to create value, to reinvent businesses, and to address vital social and environmental challenges. The program’s mission and curriculum are direct responses to these changes, forging ways to live up to design’s potential as a constructive force in an ever-changing world. The department welcomes students who are passionate about this potential, and puts them in the heart of one of the world’s epicenters of thought leadership, cross-pollinating ideas with creative specialists in New York’s vast ecosystem of creative enterprise. Design is well recognized as is a collaborative endeavor now, and it is designers who are uniquely equipped to provide the connective tissue that can make great things happen. Designers translate between stakeholders. They reframe problems and reveal opportunities. They make the invisible visible and catalyze change through a combination of research, innovation and storytelling, and just a little bit of magic. The mfa program in Products of Design prepares exceptional practitioners for the shifting terrain of design. Graduates will emerge with the skills and fluency to become leaders who create consequence through design—equipped with the confidence, experience and network to fill senior positions at top design firms and progressive organizations, to create ingenious enterprises of their own and to become lifelong advocates for the power of design.
Allan Chochinov, chair
The Program The mfa in Products of Design is a two-year integrated program dedicated to design thinking, design making and design doing. An immersive, optimistic exploration into the next artifacts of design, students of the program simultaneously engage in prototyping and debate, research and interaction, problem framing and presentation skills.¶ The department is adjacent to the new, state-of-the-art Visual Futures Lab, outfitted with the tools and sophisticated equipment necessary for designers to explore their ideas and realize them in three-dimensional form—from low- to high-tech, and from handmade to computerized rapid prototypes. ¶ The heart of the program is the mastering of the three fields crucial to the future of design: Making, Structures and Narratives. Making grounds design and designers: Students investigate multiple dimensions of physical design practice, its processes and the tools that enable it. Structures informs practice: Students are immersed in the information and business structures that make effective design possible: research, systems thinking, sustainability, strategy, user experience and interaction/information design. Narratives acknowledges that design demands stories—from initial idea through marketing—that are made compelling through graphic representation, historical precedent, point of view, drawing, writing and videography. ¶ The first-year experience is grounded in projectbased work—both through semester-long courses and shorter studio intensives—complemented by provocative speakers and inspiring field trips. ¶ The second year focuses on business structures, environmental stewardship, design metrics, strategy, entrepreneurship and delight. The yearlong thesis project generates change-making, multidisciplinary work around a chosen field of inquiry, resulting in a comprehensive set, documentation, robust fluencies and a powerful professional network of advisors ready to help in the move toward professional practice. The program ends with a public celebration around the power of design.
Sample Program first year FALL Semester
Design Research and Integration
Framing User Experiences
Design for Sustainability and Resilience
Systems, Scale and Consequence
Studio Intensives II
Studio Intensives I
Studio Visits & Lecture Series
Studio Visits & Lecture Series
second year FALL Semester
Lifecycle and Flows
Dynamics of Strategy and Design
Lenses of Design Enterprise
Product, Brand and Experience
Products of Design
Dynamics of Strategy and Design
This course examines the critical aspects of successful organizations, including the development of strategy and business models, business plans and pitches, intellectual property and entrepreneurship. Through an exploration of fundamental business issues at the beginning of the 21st century, students develop either a business plan for a new organization or a new business model and strategic plan for an existing organization. The result is a formal “pitch” presentation given to guest professionals and classmates.
Strategy, like design, is about making difficult choices: what’s essential, what’s different and, perhaps most importantly, what to leave out. What are the right choices to make, and how do you get better at making them? This course hones the ability to understand and anticipate design consequences, and to deliberately influence them through strategic design choices. Students develop competency in strategic analysis, concepting and decision-making, and gain practice in articulating strategic arguments for their work. Ideas, tools and case studies are presented by guest lecturers (venture capitalists, entrepreneurs, corporate managers and leaders from technology start-ups) who will share their experiences in creating, launching and managing innovative businesses.
This course celebrates the joy of design. While design is traditionally seen as a problem-solving discipline, there are incredible opportunities to introduce products and experiences into the world that find their genesis in other rationales. Through design making, interviews and research, students will play with stimulation, celebration, amplification, choreography, symbolism and emotion as tools that inform a new design ethos. We will challenge traditional needs-based design processes, and delve into celebration, heightened articulation and drama as new expressions of design. Through the lens of the emotional and the experiential, students will explore both the place of design within the world of the senses, and the role of the senses within the world of design. Design for Sustainability and Resilience
Many product designers feel trapped in siloed roles, supporting the production of wasteful, disposable and toxic materials. Through the theme of food, this course examines relationships, systems and infrastructures connecting us to local and global sustainability: growing, harvesting, processing, transporting, distributing, selling, preserving, cooking, eating and disposing of the waste related to food—the elements that shape many aspects of our lives and relate directly to our planet’s future. Working with sustainability experts and change makers (including scientists, engineers, farmers and other specialists), students create designs that address one of the most fundamental aspects of life. Sessions take place at various locations throughout New York City and its surrounding region, as living laboratories for design projects. Design Narratives: video Storytelling, Histories and Point of View
In Storytelling, the basic principles of visual communication using techniques in contemporary filmmaking are covered. Working in teams on a tangible project, students will get hands-on experience in different stages of the whole storytelling process, including observation, ideation, script-writing, storyboarding, shooting and editing. Histories looks at the past 20 years of design history, focusing on some of the objects, personalities and forces that have come to define contemporary design practice and discourse. In Point of View, we develop competencies around point of view, a core building block of any successful design and any successful design career. The design provocation, “Why do we make the things we make?” bookends the course—asked once at the beginning and again at the end—with an eye toward demonstrating that point of view can sharpen both intent and result, and that students have learned its utility in informing the best design work.
Design Research and Integration
Design, its related tools and its research methods have become essential components for companies that seek disruptive change and true innovation, and have found that old models lead only to incremental solutions. This course will examine early phases of the innovation process with an emphasis on design research methods—from framing an initial challenge to inspiration, insight, synthesis, idea and concept. We address the key transitions between articulating needs and designing solutions for those needs. Working in teams on a shared challenge, students will create designs that convert creative ideas into action and products grounded in human-centered research. Taught at IDEO New York. Framing User Experiences
Products are no longer simply products; they live within complex business and technological ecosystems. To fully understand the user experience, designers must be highly flexible communicators, facilitators, mediators and thinkers. Whether designing a dialysis machine, a mobile phone app, or a water filtration system for the developing world, design is as much about framing user experiences as it is about the creation of new artifacts. This course focuses on the relationships between objects and their contexts, how to identify human behaviors and needs, and how those behaviors and needs converge to create user experiences. Co-mingled with Interaction Design Department. Lenses of Design Enterprise
With a focus on reframing products of design through various filters— commercial, philanthropic, discursive, educational and otherwise—this studio course examines the reworking of designs in accordance with the context in which the products live. Students refract their projects through some of the hardest and most necessary design constraints (energy, carbon, behavior change, learning) rethink one or more of the design conditions that bind them, and then propose ways to create novel enterprises. In addition to understanding new models for companies, leadership and organizational development, students explore skills for using design and entrepreneurial thinking to convert ambition into action. Students practice discussing and presenting design within a range of business, accounting, social and academic situations.
Lifecycle and Flows
The hidden forces behind how consumer objects are made is the focus of this course. Systems thinking, lifecycle analysis and stakeholder management theory will all be used as frameworks for understanding the industrial process. We also examine the ecological, social and financial impact of a consumer product across the full product lifecycle. Critical analysis, business logic, design research and thing-making consciousness is addressed. Coursework follows the product manufacturing cycle from ideation to final end-of-life. Students document the lifecycle of a product and develop an alternate design scenario that radically improves it. Making Studio
Making is at the heart of product design. Serving as an introduction to the re-emerging fields of making, hacking, modding and do-ityourself (DIY), this course delves into techniques, tools and resources for expanding what we can make ourselves. We combine traditional and novel techniques and materials in electronics, computation, crafts, fabrication, entrepreneurship and more, moving beyond ideation and concepting to create fully functional products of design. Students will have opportunities for online exposure and access to a network of innovators, hackers, hobbyists and crafters producing DIY projects. Hands-on skill workshops in electronics and crafts are complemented with field trips, discussions and critiques. Product, Brand and Experience
Products are increasingly seen as the embodiments of brands and consumer experiences, with product design playing a critical role in reflecting a brand’s personality. In this course, students discover how product design, consumer experience and branding interrelate, and how addressing the needs of users and markets from different perspectives can provide a more holistic approach to the creation of designed objects. We work through a complete design process, defining an opportunity within a specified consumer space, performing research, developing insights and strategy, concepting and refining. Throughout the process, students concentrate on creating a cohesive and viable brand campaign, including final design, identity and packaging. smart objects
The ubiquity of embedded computing has redefined the role of form in material culture, leading to the creation of artifacts that communicate well beyond their static physical presence to create ongoing dialogs with both people and each other. This course will explore the rich relationship among people, objects, and information through a combination of physical and digital design methods. Beginning with an examination of case studies, students will gain a sense of the breadth of product design practice as it applies to smart objects. Through a combination of lectures and hands-on studio exercises, students will investigate all aspects of smart object design including expressive behaviors (light, sound and movement), interaction systems, ergonomics, data networks and contexts of use. The course will culminate in a final project that considers all aspects of smart object design within the context of a larger theme.
Products of Design
The services we engage with in today’s world increasingly blur the line between the physical and the virtual, and a careful choreography is taking place in the background. Sometimes the process is so seamless that we often don’t consider how marketing, user experience, information architecture, physical objects, interpersonal communications and physical spaces all come together to result in a great experience. This course looks at designing services that make designers and their customers happy. We explore the essential components of a service—from people and communication to interaction, artifacts and infrastructure—and delve into the methods of designing and delivering elegant service experiences. Case studies of various services introduced (both successful and catastrophic), and students create their own service concept, launch strategy and presentation deck. Studio Intensives I: Affirming Artifacts, Deconstruction and Reconstruction, Intervention/Interaction
Studio Intensives I serves to immerse students into the power of design through the process of making. Affirming Artifacts investigates how intention can inform execution. In Deconstruction and Reconstruction, we abstract the elements of products and services into components that can be reshaped and reconceived. Intervention/Interaction addresses how the physical object can transform human relationships. These 5-week classes supplement the full-semester courses through varied approaches and prolific output. Studio Intensives II: Material Futures, Design Experiments, Design Performance
Studio Intensives II introduces matter, participation and performance. Moving from materiality and science to politics and presentation, these classes help students place their products of design—and themselves— in powerful design contexts. In Material Futures, students convene at New York’s Material ConneXion to investigate how intelligent material selection can improve product performance and reduce environmental impact. In Design Experiments, students develop methods and frameworks to experiment with new scientific ideas, emerging technologies and participatory platforms. Design Performance pushes the boundaries of presentation with innovative and performance-based approaches to introducing design solutions to clients, consumers and other stakeholders. Studio Visits and Lecture Series
Throughout the program, students visit design sites and studios of several innovative and ambitious design makers in the New York City area. Curated by Jill Singer and Monica Khemsurov, co-founders of Sight Unseen, students get a visceral immersion into the lives and spaces of outstanding local creatives. Visits will be followed by hosted discussions. Alternating weeks with the studio visits is an ongoing lecture series, hosting some of the most creative minds in the world of design. Lectures are followed by Q&A sessions and informal networking receptions.
Systems, Scale and Consequence
This course traces the life of designed products and services through the systems that make them possible, valuable and meaningful. It examines some fundamental questions: What obligations must be addressed when conceiving the scale systems of designed objects? What constraints does working at scale put on the designer? How does conceiving these consequences change how we design? This course encourages collaboration to conceive, explore and articulate the implications of designed products and services—the limits, possibilities and opportunities that shape a professional designer’s practice and career.
Students in the MFA Products of Design program receive continuous exposure to a multitude of creative individuals, entrepreneurs, design consultancies, collectives, agencies and organizations—locally, nationally and internationally. Mentorlike connections are established between faculty and students, creating bridges to potential internships and post-graduation employment opportunities. Further, several classes and field trips will take place in working design studios, where students gain firsthand exposure to these environments and cultures while building their professional networks. Finally, industrysponsored projects expose students to design opportunities and constraints, building fluency in communication, business and presentation techniques. Throughout the program, students are encouraged to publish their work on the department website, and will be instructed on the most effective techniques for getting their designs published in design blogs and other publications (many of the faculty have extensive media experience). Finally, students will be encouraged and supported to enter international design competitions, gaining recognition for their creative work and building their portfolios. Students will acquire the skills, network, evidence and passion that distinguish them as leaders in the new practices of design.
Thesis I is an opportunity to explore design-thinking, design-making, and design-doing that is ambitious in scope, innovative in approach and worthwhile in enterprise. Each student chooses an area of investigation and then begins rapid design-making exercises to create a body of design work, research, ideation and presentation materials. Research and exploration help to surface the design opportunities that resonate most powerfully with a point of view, the urgencies of design needs, the scale of potential solutions and the richness of design endeavor. Since theses tend to be multilayered, students are encouraged to execute design work on a continuum of enterprise—from design gestures and discursive design concepts through primary and secondary research to prototypes, systems and business models.
Workshop: Design Interventions
In this weekend workshop, over the course of 72 hours, students will participate in a full-immersion creative urban experience that challenges designers to “stop, drop and design.” Through “on the street” research, all-night charrettes, clever material selections and guerrilla installations, students will collaboratively engage with New York City to execute social design responses that enlighten, disrupt, question and posit. The workshop will take place almost entirely outside of a traditional studio environment. Intervention projects may range from graphic installations to publicly placed objects, spatial editing and more. Workshop: Global Vectors for Development
The work undertaken in this course represents the culmination of the program and will embody the knowledge and strategies students have learned during the past two years. Thesis II culminates with a written thesis and a formal verbal and visual presentation by each Master of Fine Arts degree candidate. Two-Dimensional Presentation: drawing design and graphic and identity design
A crucial skill of the designer is the ability to explore and communicate processes and ideas quickly through two-dimensional representation. In Drawing Design, we cultivate multiple drawing techniques on paper and on electronic drawing tablets, helping students “think out loud” in live, two-dimensional space. In Graphic and Identity Design, we acknowledge that the products of design are increasingly experienced through their graphic representation. Here students will explore the fundamental principles of graphic and identity design, building identities and portfolio templates.
Design can play a profoundly meaningful role in supporting global development, public health and quality of life. In this immersive weeklong workshop, we look at the shifting nature and models for global development and international aid, and their intersections with design and design thinking. These include public health, sustainable development and public policy. Examples may include the design of new products and systems for maternal health in a rural setting, appropriate products to set up schooling in an emergency refugee camp after a disaster, and social enterprise ideas for communities in emerging markets that want to access Western markets. The key objective is to engage students in an overview of global development issues and practices in the context of design.
The Integrated Designer: Combining Information and Inspiration Faculty Profile: Ingrid Fetell
Ingrid Fetell is a Human Factors Specialist at IDEO, one of the premier design and innovation consultancies in the world. Her work takes her from homes in Kansas City to the New Zealand Alpsâ€”engaging in research, insight generation, opportunity framing and concept development.
IDEO employs the process of design thinkingâ€” user-centered, researched, iterative, prototyped and then validatedâ€”helping organizations in the public and private sectors innovate and grow.
“I’ve always been interested in how things are made. My dad
is a Human Factors specialist at ideo, and she’s also writing a book
bought me my first microscope when I was very young. I had
titled Aesthetics of Joy, based on her popular blog, which folds her
chemistry sets, robot arms—all kinds of cool science stuff. There
interests in neuroscience, evolutionary psychology, and positive emo-
was also a policy in my house that I couldn’t have everything that
tion in design into a proposal of ten principles of designing for joy.
I wanted—but if it was a book, I could have it. So I got the strang-
For Ingrid, her book (as well as her approach to design) begins
est, most random books. I was a rabid reader. I definitely feel like
with a question: Why does a product make me feel joy? “There’s an
the seeds of the work I do today were sown in my childhood: I was
underlying logic to the way we respond to things the way we do,”
interested in everything, how everything works together.” Like many of her co-workers at the prestigious, socially-minded
she says, which neuroscience and evolutionary psychology are constantly hinting at, if not pointing to. So her focus is in figuring out
design firm ideo, Ingrid Fetell took a rather circuitous path to get
why we might feel joy, say, or delight, about certain products, and
there. Her parents were both doctors, and they encouraged in her a
then parsing out systems and protocols that yield joyful products
precocious affinity for science and its tricky, Latin lingo. She earned
or services. “The more we enjoy a product, the more connected we
her ba in creative writing at Princeton, and then traveled to Sydney to
feel to it, the longer we’re likely to hold onto it, and the less often
work at the brand consulting and design firm Landor, as a grant strate-
we’ll throw it away.”
gist. Ingrid immersed herself in her job and Sydney’s natural land-
This intersection of intuition (our emotional response to a
scapes, and found herself rethinking her relationship to design when it
product) and information (our scientific discoveries of the causes
came to consist of designing consumer goods and packaging that often
and features of our emotional responses) is exciting. Ingrid will be
went straight to landfills. She decided that if she was going to be doing
teaching the course Design, Research and Integration, which will
this—design—she wanted to make things better, not worse.
prompt students to research an element of user experience, and then
She went back to nyc for grad school, and developed a more
integrate their findings into the design of a product to advance the
systems-based view of design: moving beyond the formal design
design. She expects to learn from her students, and anticipates that
properties of the object, and understanding it as a system, a human
research will take place mostly in the city, outside of the studio, and
system of relationships, networks, ecologies, materials. Today, Ingrid
that guest critiques and field trips will round out the class.
The MFA Products of Design Department takes a holistic view of both curriculum and studio life. Dedicated space for food preparation, private phone booths and collaborative and solitary areas for contemplation have all been factored into the architecture and layout of the department.
“Industrial design is a bizarre profession,” admits Allan Chochinov, a smile revealing that this doesn’t bother him in the slightest. “It’s unlicensed,” he continues, “and it can even be an asset to not know what you’re talking about! Why would someone hire you to design, say, a new lawnmower if you’d never designed a lawnmower before? Well, because you’d be best placed to bring a fresh look to it.” Chochinov “I’m a critic of design, but I’m also its biggest cheerleader. I really believe in its power.”
began his own life as a design professional working on tools of a rather more precise nature, from hypodermic needles to surgical instruments, before moving on to other projects and eventually to writing and teaching. “Design education is a real passion of mine,” he says. “I’m a critic of design, but I’m also its biggest cheerleader. I really believe in its power.” As long-time partner and editor-in-chief of design website Core77, Chochinov is also one of the best-connected individuals in the field, a standing reflected in the diversity of contributors to the new
mfa Products of Design program. “At sva,” he says, “I’ve tried to create a balance between skillbuilding and education, in part through an amazingly eclectic faculty that includes numerous renegades and rule-breakers.” Chochinov’s online work has also kept him up-to-date with current debates in the profession, one that he perceives as being in a state of flux. “Design is changing radically right now,” he elaborates. “Some of the changes are taking place in the context of process—through things like business design—others through the status of its participants. Many people who aren’t ‘qualified’ designers are now using the field’s methodologies and languages. And there’s a really interesting overlap between diy, craft, art and design.” But the biggest change of all, argues Chochinov, is in design’s output—the products of design. “They’ve exploded to encompass everything from sets of instructions to social interventions,” he says, “from hacking and ‘modding’ to short-run manufacturing and speculative objects. But the way we make things now is fundamentally unsustainable, so that has to change. Everyone loves their artifacts, but if we accounted for the true cost of the stuff we like—extraction, manufacture, transport, material, labor and energy—we’d be horrified. The new program is a safe environment for students to help determine the next stuff, and to do it in a way that’s optimistic, joyful and immersive. Our world has critical problems in terms of health, poverty, gender inequality and the collapse of natural systems, but designers are well placed to address these issues by acting as connective tissue, negotiating between the various stakeholders.” “Ezio Manzini argues that you can’t give people the same and less, you have to give them different and better,” Chochinov concludes, “and I think he’s right. Simply decreasing our consumption of the same things isn’t going to get us out of the mess we’re in. We need to create systems, services and artifacts that are sustainable yet gratifying. It’s hard to get rid of things, so we need to recontextualize them. And it all starts with human behavior.”
Products of Design
The MFA Products of Design Department occupies a sun-drenched floor in the heart of the Flatiron district of Manhattan, and is home to an environment of invention, enterprise and play. To that end, our campus location has been selected to maximize exposure and collaboration—including weekend charettes—with SVA graduate students from related programs, such as Designer as Author, Interaction Design, Branding, Design Criticism and Design for Social Innovation, and a larger interdisciplinary student body of vital and curious learners. Immediately adjacent and “through the red door” of the Products of Design Department is the new state-of-the-art Visible Futures Lab, where students experiment, build, prototype, 3D print, solder up, and otherwise realize their design investigations. A gallery provides space to display finished and in-process work, and expert staff is available to advise and inspire.
On any given day... 8am First-year students take an early field trip to the Etsy Headquarters
2pm The first-years are off to Material ConneXion, one of the world’s
in Brooklyn to talk about craft, design and community. Jill Singer and
premier materials specialists (and only a few blocks away from SVA!) to
Monica Khemsurov of Sight Unseen facilitate the visit and then it’s off to
present their first set of home assignments for faculty member Andrew
nearby Junior’s for their world-famous cheesecake. (Not a usual breakfast,
Dent. All of the Material Futures classes take place in MC’s vast library
admittedly, but not to be missed either.)
of advanced and sustainable materials.
9am Half of the second-years gather with Bill Moggridge, faculty-at-
5:30pm Logistics discussion around the upcoming Biomimicry
large and Director of the Cooper-Hewitt, National Design Museum to
Weekend Workshop with Janine Benyus and her team. (The upcoming
review the progress they’ve been making in integrating their thesis topics
spring semester’s 3 day / 72-hour workshop with Emily Pilloton and
with the broader world of design. The other half meet with faculty-at-large
Matt Miller of Project H promises to be a huge success.)
William Drenttel of Winterhouse, who helps them brainstorm opportunities around social impact and sustainable practices.
6:30pm Faculty member Emilie Baltz brings in molecular gastrono-
11am After a provocative discussion around the “future of making,” the
of several Products of Design students who provide meals for each other
first-years head back to work on their projects for the Making Studio class
once a week.
mist Mihir Desai to talk shop with the food co-op, a dinner collaborative
taught by Becky Stern, associate editor of Make Magazine. Some work at their own studio workstations, others move to the Visible Futures Lab,
7:30pm Lecture by Aimee Mullins, athlete, model and advocate.
a state-of-the-art making and experimental space, adjacent to the studio.
Aimee will discuss the state of prosthetics design and the limiting role of
Arduino circuit boards, hybridized craft objects, and “smart softgoods”
economics in the domain. In two weeks, Valerie Casey, founder of the
emerge from soldering irons and sewing machines.
Designers Accord will be in town to run an evening workshop on
sustainability and business viability, and students can discuss their
In the Lab’s Rapid Prototyping Room, 3D models are being digitally
printed as accessories for Antenna Design’s Intervention/Interaction
questions around funding and sustainable models.
class—a five-week immersion into creating design for social spaces taught by Sigi Moeslinger and Masamichi Udagawa.
9pm Following Aimee’s talk and reception hour, several students take her out to a nearby café and invite her to help them pitch an industry-
12pm Lunchtime microclass on intellectual property. Necessitated by the
sponsored project around access and body image. Perhaps advisor
surge of Kickstarter-based design projects and Instructables tutorials,
Dale Dougherty, founder of Maker Faire, could be in the mix. They’ll
Katy Frankel, lawyer and alum of Creative Commons conducts a
schedule a call for tomorrow.
crash-course session. (Katy later posts her notes on the department wiki.) www.sva.edu/grad/productsofdesign 13
Faculty: Scott Chapps and David Malina
Scott Chapps and David Malina argue that brand, product and experience need to be considered simultaneously, and their practice reflects this belief. Developing iconic products such as the paradigm-breaking Help Remedies identity and packaging, or the iconic, awardwinning Home Hero fire extinguisher for Home Depot, their company ChappsMalina represents a new breed of integrated design practice.
Faculty: Richard Tyson
Squarely at the intersection of large-scale systems, strategic innovation and leadership development, Richard Tyson has developed multi-year innovation programs for IBM, SK Telecom, Mars Foods, governments, and NGOâ€™s such as the United Nations. Heâ€™s been a strategy director at the leadership and innovation firm Stone Yamashita Partners, and a thought leader and global account manager at Doblin, Inc. and Monitor Group.
Workshop Leader: Manuel Toscano
Daily conversation in the Zago studios generates a broad scope of ideas, providing topics for investigation as well as opportunities for intervention. Clients include Unesco, Human Rights Watch and the United Nations. Manuel Toscano, principal, believes that one of the greatest challenges for designers is bringing creativity and intuition to projects that are challenged by the greatest limitations and constraints.
Faculty: Ayse Birsel
Ayse Birsel of Birsel+Seck employs a humanistic approach in everything she designs. Some of her favorite clients are Herman Miller, Target, Johnson & Johnson, HP, GE and Moroso, where her practice emphasizes simplicity beyond complexityâ€”moving past existing preconceptions and striving to imagine elegant new possibilities. On the left, design(er) storytelling from one of Ayse Birselâ€™s design sketchbooks, exploring the relationship between process and product.
Allan Chochinov, chair
Partner, Core77 Education: BA, University of Toronto; MID, Pratt Institute Professional experience: Editor-in-chief, Core77.com, Coroflot. com, DesignDirectory.com; design consultant, Herman Miller, Olive 1:1, Crunch Fitness, Pentagram; designer, Tanaka Kapec Design Group; designer, Louis Nelson Associates. Board member: Designers Accord, Design Ignites Change, DesigNYC Clients include: Autodesk, Adobe, Alias, I.D., Print, HOW, PSFK, Design Observer, Industrial Designers Society of America, AIGA, Interaction Design Association, Herman Miller, Johnson & Johnson, DuPont, Nidecker, Autism Speaks, GE Plastics, Dessault Systems, Karim Rashid Studio, Metropolis, Art Directors Club, Scholastic, BMW North America/MINI USA, Lippincott, Neenah Paper, Green Electronics Council, Consumer Electronics Association of America, OgilvyEarth Publications include: Core77; The New York Times; The New York Times Magazine; Design Observer; Design Revolution; Voice: AIGA Journal of Design; Print; Wired; TreeHugger; Adobe Inspire; Design Glut; See magazine; Before & After series; Design Disasters: Great Designers, Fabulous Failure, and Lessons Learned; I Love Design Awards and honors include: I.D., Communication Arts, Art Directors Club, The One Club Patents: D 338,002; D 324,721; 5,069,782; 5,016,303; 5,400,572; 5,588,745 websites: www.core77.com, www.coroflot.com, www.designdirectory.com
Steven Heller, program co-founder
Co-chair, MFA Design Department, School of Visual Arts; special assistant to the president, School of Visual Arts; co-founder, MFA Design Criticism Department, School of Visual Arts; editor, Voice: AIGA Online Journal of Graphic Design; contributing editor, Print, Eye, I.D., Baseline; contributing writer, Metropolis, Grafik, Step, Visuals; columnist, The New York Times Book Review. Formerly, art director, The New York Times Book Review Education: New York University Books authored or co-authored: More than 100 books on graphic design, illustration and political art, including The Design Entrepreneur; Iron Fists: Branding the 20th-Century Totalitarian State; Art Direction Explained, At Last!; Design Disasters: Great Designers, Fabulous Failure, and Lessons Learned; Paul Rand; Design Literacy: Understanding Graphic Design; The Swastika: A Symbol Beyond Redemption?; The Education of a Graphic Designer; Faces on the Edge: Type in the Digital Age; German Modern: Art Deco Graphic Design; French Modern: Art Deco Graphic Design; Graphic Wit: The Art of Humor in Design; Art Against War; The Art of Contemporary Caricature; Seymour Chwast: The Left Handed Designer; Innovators of American Illustration; The Graphic Design Reader; Design Humor; Cuba Style; Citizen Designer; Graphic Style; Typology; The Education of an Art Director; Euro Deco: Graphic Design Between the Wars; Merz to Emigre: Avant-Garde Magazine Design of the 20th Century; Becoming a Graphic Designer
Products of Design
Curator: “Simplicissimus, Germany’s Most Influential Satire Magazine,” Goethe House; “Political Art, Ten Years of Graphic Commentary,” AIGA; “L’Assiette au Beurre,” French Institute; “Typographic Treasures, The Work of W.A. Dwiggins,” ITC Center Awards include: Special Educators Award, Art Directors Club; AIGA Medal for Lifetime Achievement; National Endowment for the Arts; Society of Illustrators; Outstanding Client Award, Graphic Artist Guild; Richard Gangel Award for Art Direction; Hershel Levit Award, Pratt Institute; Masters Series Award, School of Visual Arts
Founder, publisher, Open Source Cities Education: New York University Professional experience: Founder, publisher, Open Source Cities; executive director, Green Parking Council; president, Marc Alt + Partners; co-chair, founder, partner, Greener Gadgets Conference; cofounder, co-chairman, AIGA Center for Sustainable Design; Advisory Board, Designers Accord, Opportunity Green, Design Ignites Change Clients include: BMW North America/MINI USA, Lippincott, Neenah Paper, Green Electronics Council, Consumer Electronics Association of America, OgilvyEarth Publications include: Open Source Cities Awards and honors include: Art Directors Club website: www.marcalt.com
Senior curator, Department of Architecture and Design, Museum of Modern Art Education: Laurea di Dottore, Polytechnico Di Milano Professional experience: Editor, Abitare; contributing editor, Domus; visiting professor, Harvard Graduate School of Design Exhibitions curated include : “Talk to Me,” “Design and the Elastic Mind,” “Humble Masterpieces,” “Achille Castiglioni: Design!,” “Thresholds: Contemporary Design from the Netherlands,” “Safe: Design Takes on Risk,” “Mutant Materials in Contemporary Design,” “Projects 66: Campana/Ingo Maurer,” “Workspheres,” Museum of Modern Art Books include: Objects of Design from the Museum of Modern Art; SAFE: Design Takes On Risk; Humble Masterpieces: Everyday Marvels of Design; Design and the Elastic Mind Publications include: Harper’s Bazaar, Harvard Design, I.D., Metropolis, Nest, Paper, Seed Awards and honors include: Design Mind Award, CooperHewitt, National Design Museum; senior fellow, Royal College of Art, London; honorary doctorate, Kingston University
Creative director, BALTZ WORKS Education: BA, Film Studies, Vassar College; MID, Pratt Institute Professional experience: Manager, visual brand strategy, Aruliden; art director, L Design Clients include: Limoges Porcelain; Museum of Sex; Marc Ecko Enterprises; Umami Food & Art Festival; Central Park Conservancy; The Battery Conservancy; Wired; GOOD; Design Workshops at Boisbuchet, Vitra Design Museum; Ark Restaurants Corporation; Picnick; Joovy; Aventino Restaurant Publications include: So Good, Frankfurter Allgemeine Zeitung, The New York Times Magazine, Create, Apicius, Traditional Home, Jack. New York Restaurants, Time Out New York, Oxford University Press, Wired, American Theatre, London Financial Times One-person exhibitions include : Florian Papp, Inc. Group exhibitions include: 3rd Ward; Max Lang; Israeli Design Center; Angel Orensanz Foundation, Inc.; Salone Satellite Awards and honors include: Central Park Conservancy Food Service Design; GreensCart; American Design Club website: www.emiliebaltz.com
Founder, co-principal, Birsel + Seck Education: BID, Middle Eastern Technical University, Class Valedictorian; MID, Pratt Institute Professional experience: Founder, principal, Olive 1:1; founder, principal, Birsel Design Ltd. Clients include: Herman Miller, Knoll, Hewlett-Packard, OfficeMax, Target, Johnson & Johnson, Toyota, Museum of Modern Art, Renault, Toto, Victoria’s Secret, Ann Taylor, Hasbro, International Flavors & Fragrances Inc., HBF, Acme, Merati One-person exhibitions include : Resolve Office System Launch, Herman Miller Showroom; NeoCon Group exhibitions include : Moroso M’Afrique; Museum of Modern Art; Design Trust for Public Space; New York Autoshow; P.S.1 Contemporary Art Center Café; International Contemporary Furniture Fair; Milan Furniture Fair; Pratt Institute Publications include: Huffington Post, I.D., Metropolis, Interiors, Intramuros Collections include: Museum of Modern Art; Cooper-Hewitt, National Design Museum Awards and honors include: Gold Award, IDEA; Gold Award, I.D.; Athena Award, Rhode Island School of Design; Best of Show, Best of Category Awards, NeoCon; Young Designer Award, Brooklyn Museum; Fulbright Scholar website: www.birselplusseck.com
Co-founder, creative director, ChappsMalina Inc. Education: BA, high honors, Ravensbourne College of Design and Communication Professional experience: Lead product designer, Arnell Group Clients include: Panasonic, Samsung, Electrolux, Johnson & Johnson, Kimberly-Clark, PepsiCo, Home Depot, Help Remedies Inc. Publications include: New Design, Simply Packaging, Wallpaper, The New York Times, Monitor, Innovation, IDSA Yearbook of Industrial Design Excellence, Becoming a Product Designer: A Guide to Careers in Design Awards and honors include: RSA, Industrial Designers Society of America /IDEA, Red Dot, iF Award, MDEA, The Dieline Award, GOOD Design, I.D. Patents: D612268, D611846, D611845, D601353, D600569, D599216, D598300, D505206, D501558, D492248 website: www.chappsmalina.com
Brian Chui Designer
Education: BID, Pratt Institute Professional experience: Industrial designer,
Smart Design New York Publications include: The New York Times, designboom One-person exhibitions include : NYCoo Gallery, ChopsticksNY,
Cut&Paste International Design Tournament Group exhibitions include : International Contemporary Furniture Fair; Motorola Club 903, Hong Kong; Cooper-Hewitt National Design Museum: ICFF; Brooklyn Design Patents: USD583,602S; USD583,616S; USD582,195S; USD582,196S; USD589,291S; USD537,004S; USD529,404S Awards and honors include: GOOD Design Award; Industrial Designers Society of America Merit Award
Designer, photographer, filmmaker Education: BS, San Jose State University Professional experience: Content guide, project lead, IDEO Clients include: Johnson & Johnson, Chase, Eileen Fisher, Intel, HP, Zyliss, Handspring, Motorola, Samsung Publications include: I Miss My Pencil, Photography Served, clickblog.it, photodonuts.com, dabomba.net Awards and honors include: Industrial Designers Society of America, I.D., iF Award, Red Dot, INDEX, One Life International Photos Project website: http://cinematic-reality.com
Andrew H. Dent
Vice president, Library and Materials Research, Material ConneXion Education: PhD, Cambridge University Professional experience: Rolls Royce PLC; Postdoctoral research at Cambridge University and at the Center for Thermal Spray Research, SUNY Stony Brook (research projects include work for the United States Navy, DARPA, NASA, British Ministry of Defence) Clients include: Adidas, BMW, Proctor & Gamble, Whirlpool Publications include: Ultra Materials: How Materials Innovation is Changing the World; Material ConneXion: The Global Resource of New and Innovative Materials for Architects, Artists and Designers; bi-weekly “Material Innovation” column for BusinessWeek website: www.materialconnexion.com
Senior designer, Smart Design Education: BE, The Cooper Union; MFA, Cranbrook Academy of Art; Pratt Institute Professional experience: Senior design technologist, frog design; creative director, Planetii; director of engineering, The Good Housekeeping Institute Clients include: HP, Microsoft, Samsung, Hitachi, Mazda, Gulfstream, TurboChef, Scholastic, Neato Robotics One-person exhibitions include : Museum of Fine Arts Houston, TX; Spruill Center for the Arts, Atlanta, GA; Telfair Museum of Art, Savannah, GA; Galerie Bleue, Lacoste, France; Nuove Modalita Espressive Nell’era Del Digitale; Villa Aragona Cuto, Palermo, Italy Group exhibitions include: MAD Museum; St. Etienne Design Biennial; Berkeley Art Museum, CA; Hosfelt Gallery; Spruill Center for the Arts, Atlanta, GA; SUNY Oswego; Zajazd w Dolinie, Mragowo, Poland; Art Directors Club; Cranbrook Art Museum, Bloomfield Hills, MI Publications include: Core77; Interactions, Journal of the ACM; AIGA Journal; Good Housekeeping Awards and honors include: MAD Museum Residency; Gold Award, Output; Gold Award, International Yearbook; Brown Foundation Fellowship, Museum of Fine Arts, Houston; Digital Design Competition, Print; Presidential Fellowship, Savannah College of Art and Design; Horizon Interactive Design Awards; Art Directors Club Young Guns; Flash Forward Film Festival, San Francisco; Flash in the Can Film Festival website: www.carladiana.com
Products of Design
Tina Roth Eisenberg
Founder, Swissmiss Studio; creative director, organizer of lecture series CreativeMornings Education: BS, Kantonschule Trogen; MA, University of Applied Science Munich; Ecole des Arts Decoratifs Professional experience: Consultant, Smart Design; consultant, Museum of Modern Art; design director, Plumbdesign/Thinkmap, Inc.; senior designer, Drumbeat Digital; senior designer, New York Zoom Clients include: Museum of Modern Art, Food Network, Geneva Labs Awards and honors include: AIGA, The One Show website: www.swiss-miss.com
Human factors specialist, IDEO Education: BA, cum laude, Princeton University; MID, Pratt Institute Professional experience: Strategist, Redscout; senior brand consultant, Landor Associates; research manager, Penn Schoen Berland Clients include: Time Inc., Condé Nast, Diageo, PepsiCo, Cadbury Schweppes, Amend, Eileen Fisher, Johnson & Johnson Awards and honors include: Worldchanging website: www.ingridfetell.com
Account lead, Fuseproject; founder, Superhappybunny Education: BS, Industrial Design, Art Center College of Design Professional experience: Organizer, Industrial Designers Society of America SF, LA; Design Management 3, Art Center College of Design Clients include: Coca-Cola, General Electric, Puma, Litl, Augen Optics, Nixon, NY Department of Health, JimmyJane, Johnson and Johnson, Mastercard Publications include: Los Angeles Times, I.D. Exhibitions include: Cooper-Hewitt, National Design Museum; Pasadena Museum of California Art Awards and honors include: Projects with fuseproject: Spark!, CES Design and Engineering Award, GOOD Design Award websites: www.superhappybunny.com and www.fuseproject.com
Sitopian designer, researcher, project developer Education: BA, Swarthmore College; MA, Central Saint Martins College of Art & Design Professional experience includes: Hungry New York with Carolyn Steel, author of Hungry City: How Food Shapes Our Lives; The Dirt Cafe Projects; The Green Rabbits; Shoe Town to Brew Town: Craft Brewing Meets Green Development; Eco-Feast, Lower East Side Ecology Center; The Willow School’s Health, Nutrition & Wellness Center; outreach strategy for documentary film, What’s Organic About Organic?; The Rye Bread Project; New Amsterdam Market; Jimmy’s No. 43; La Fromagerie, London; collaborator, The Borough Market Cookbook; London Design Festival; British Design Council. Website: www.clairehartten.com
Co-editor, Sight Unseen; writer; co-founder, curator, Noho Design District Education: BA, Northwestern University Professional experience: Senior editor, I.D. Clients include: The Future Perfect, Great Jones Lumber, Areaware, Roll & Hill Publications include: T, The New York Times Style Magazine; W; Surface; New York; Details; Wallpaper; Wall Street Journal; Travel + Leisure; V Man; Business 2.0 website: www.sightunseen.com
Editor, Change Observer Education: BA, Wesleyan University Professional experience: editor-in-chief, I.D.; editor-in-chief, Interiors; managing editor, Print Books include: Some People Can’t Surf: The Graphic Design of Art Chantry; Borrowed Design: Use and Abuse of Historical Form; Bespoke: The Handbuilt Bicycle Publications include: The New York Times, Dwell, Eye, Architecture, Graphis, Metropolis, The National Scholar, Grid, Print, Slate Awards and honors include: National Arts Journalism Fellowship, Columbia University; Richard J. Margolis Award; chair, Design Jury, CLIO Website: http://changeobserver.designobserver.com
Co-founder, ChappsMalina Inc. Education: BS, Art Center College of Design Professional experience: Design Director, Arnell Group; Senior Designer, Design Continuum Clients include: Panasonic, Johnson & Johnson, PepsiCo, Kimberly-Clark, Samsung, Electrolux, Samsung, Help Remedies, Bob Vila, Estee Lauder Publications include: Simply Packaging; Boxed and Labeled: New Approaches to Packaging Design; Monocle; The New York Times; Monitor; Wallpaper*; Creativity Awards and honors include: Red Dot, IDEA, COR, Good Design, The DieLine website: www.chappsmalina.com
Partner, Antenna Design New York Inc. Education: BS, Art Center College of Design; MS, New York University Professional experience: Interval research fellow, New York University, Interactive Telecommunications Program; senior industrial designer, IDEO Product Development Clients include: Bloomberg, JetBlue Airways, Johnson & Johnson, Knoll, McDonald’s, Microsoft, Metropolitan Transportation Authority, Sony Group exhibitions include: Cooper-Hewitt, National Design Museum; Flexibility—Design in a Fast Changing Society, Turin; Museum of Modern Art; Brooklyn Bridge Anchorage; Walker Art Center, Minneapolis, MN; American Museum of Natural History Collections include: Museum of Modern Art, Corning Museum of Glass Publications include: Businessweek, I.D., Wired, The New York Times, Monitor, AXIS, Creativity, Design Week, eDesign, Architektur&Wohnen, Metropolis, Design Report, Dwell, Berliner Zeitung, Profil, Die Presse Awards and honors include: Gold, silver, bronze awards, IDEA; National Design Award, Cooper-Hewitt, National Design Museum; United States Artists Target Fellowship; Wired Rave Award; iF Award; I.D. website: www.antennadesign.net
Co-founder, The Future Well, Co-founder, Hello Health Education: BA, Washington University; MD, Pennsylvania State University; MPH, Johns Hopkins; Department of Pediatrics residency, Saint Vincent’s Hospital, New York Clients include: National Health Service (UK), Sanofi-Aventis, The Freelancers Union, Brown Forman website: http://blog.jayparkinsonmd.com
Director, Brand, Reinstein/Ross, Goldsmiths Education: BA, MS, University of Oregon; MID, Pratt Institute Professional experience: President, ABS Design; partner, Bernstein Design Associates Clients include: Penhaligon’s Perfumers, Zelco Industries, George Kovacs, Artemide SpA, Disney/Fantasma, Columbia Presbyterian Hospital, Just Toys, Hands on Toys, Benza, ABC School Supply, Childtime Learning Centers, Warnaco, Diamond Direct, David Torres Productions Publications include: Businessweek, Washington Post, The New York Times, Los Angeles Times, Travel + Leisure, ELLE, W, Sportstyle, Men’s Health, GQ, New York, Promenade Magazine, Style New York, Sun Valley Architecture and Interiors, Lighting Design, Ready Made, I.D., Interior Design Awards include: Gold Medal, IDEA; I.D.; Early Childhood Education Director’s Choice Awards, Best of Show, Supershow, Speedo Authentic Fitness Group exhibitions include: Museum of Modern Art; Design Exchange; Cooper-Hewitt, National Design Museum; Milwaukee Institute of Art & Design, WI; Moss; Philadelphia Museum of Art, PA; NEC STEP; Samsung Exhibit of American Product Design Collections include: Cooper-Hewitt, National Design Museum; Design Exchange Patents: 6,694,893; D471,730; D470,320; 6,363,865; 6,283,544; D437,706; D436,263; 6,171,173, D429,097; D423,825; D423,254;D423,171; D385,002; D372,750 website: www.reinsteinross.com
Principal designer, practice lead, frog design Education: BFA, Memphis College of Art; MA, Columbia Universty Teachers College; George Brown College Professional experience: Designer/technologist, Condé Nast Publications; designer, Bruce Mau Design and the Institute without Boundaries; designer, Columbia Center for New Media Teaching and Learning Clients include: American Express, AT&T, Colgate, Cox Communications, ETS, Fiat, GE, Humana, HP, LG, Neutrogena, Qualcomm, Sandisk, Thomson Reuters, Vonage. Publications include: Contributing author, Massive Change, The Future of Global Design; The Fabric of the Cosmos; The Hidden Reality Exhibitions include: Mixed Greens Gallery; Vancouver Art Gallery; AGO Toronto; Museum of Contemporary Art Chicago; HERE Art; Meat Market Art Fair Awards and honors include: Design Research Fellow Columbia Center for New Media Teaching and Learning website: www.jasonsevers.com
Products of Design
Co-editor, Sight Unseen; writer; curator; co-founder, curator, Noho Design District Education: BA, Stanford University Professional experience: Managing editor, I.D. Clients include: The Future Perfect, Oak, Great Jones Lumber, Areaware, Roll & Hill Publications include: T, The New York Times Style Magazine; W; Surface; Print; New York; Departures; Interior Design; V Magazine; Co Design; The Faster Times; Core77; GQ; Cultured; Popular Science Awards and honors include: Young Guns of Design, Dwell magazine website: www.sightunseen.com
Industrial designer Education: BFA, New York University; MID, Pratt Institute Professional experience: Product designer and consultant; design/build contractor; cinematographer Clients include: Microsoft, Anomaly, Braun, Disney, P&G, PSFK, Target, Samsung, BMW, Staple Design/Reed Space, Airwalk, Umbro, HLW, This American Life, The Canary Project, Kipling, DKNY, Dolce Vita. website: http://s3id.com
Associate editor/video producer, Maker Media (MAKE: magazine, craftzine) Education: BFA, Parsons School of Design; Arizona State University Clients include: Maker Shed, Adafruit Publications include: MAKE: magazine, CRAFT magazine, The Best of Instructables Group exhibitions include: Museum of Craft and Folk Art; NYC Resistor; Gizmodo Gallery; Schmancy Gallery, Seattle, WA; Bragg’s Pie Factory, Phoenix, AZ website: www.sternlab.org
Co-founder, managing principal, Helsinki Group Education: Harvard College, Whitman College, The New School for Social Research Professional experience: Strategy director, Stone Yamashita; global account manager, associate partner, Doblin Inc./Monitor Group; CEO, Bloodstone Networks; founder, managing principal, ITVR. Clients include: IBM, Mars Foods, Baxter Healthcare, Office of the Secretary General of the United Nations, Nikon, Sony, Kraft, Microsoft, Audubon website: www.helsinkigroup.net
Partner, Antenna Design New York Inc. Education: BS, Chiba University; MFA, Cranbrook Academy of Art Professional experience: Project manager, lead designer, IDEO Product Development; senior industrial designer, Apple Computer, Industrial Design Group/Advanced Technology Group; senior industrial designer, Emilio Ambasz Design Group; industrial designer, Yamaha Product Design Laboratory, Hamamatsu, Japan Clients include: Bloomberg, JetBlue Airways, Johnson & Johnson, Knoll, McDonald’s, Microsoft, Metropolitan Transportation Authority, Sony Group exhibitions include: Cooper-Hewitt, National Design Museum; Flexibility—Design in a Fast Changing Society, Turin, Italy; Museum of Modern Art; Brooklyn Bridge Anchorage; Walker Art Center, Minneapolis, MN; American Museum of Natural History Collections include: Museum of Modern Art, Corning Museum of Glass Publications include: Businessweek, I.D., Wired, The New York Times, Esquire, Monitor, AXIS, Creativity, Design Week, eDesign, Architektur&Wohnen, Metropolis, Design Report, Dwell, Berliner Zeitung, Profil, Die Presse Awards and honors include: National Design Awards, CooperHewitt, National Design Museum; United States Artists Target Fellowship, Architecture and Design Category; Muriel Cooper Prize, Design Management Institute; Wired Rave Award/Industrial Design; iF Award; I.D. website: www.antennadesign.net
Jen van der Meer
Executive vice president, strategy, Dachis Group Education: BA, Trinity College; MBA, HEC Paris Professional experience: Independent strategy consultant; general manager, frog design; client partner, director of business development, strategy, Organic Inc.; equity analyst, Needham & Company; research associate, Japan Development Bank Clients include: Toyota, Target, Discovery Communications, Levi’s, GE website: www.jenvandermeer.com
Journalist. Freelance: The New York Times Magazine, Slate. Education: BS Radio Television Film, Critical-Cultural Studies; University of Texas at Austin Professional experience: Editor at The New York Times Magazine, Money, Fortune, SmartMoney, American Lawyer; writer at GQ, Fortune, Wall Street Journal, New Republic, Details, Washington Post, Wired, The Nation, Inc, New York magazine, Texas Monthly, Adbusters, World Art, The New York Times Book Review Publications: Letters From New Orleans, Buying In, Significant Objects website: www.robwalker.net
Writer, researcher, Doblin Education: BA, Bristol University Professional experience: Editor, Innovation Design, Bloomberg Businessweek; Contributing editor, Creative Review Publications include: 100% Cotton: T-Shirt Graphics; 200% Cotton: New T-Shirt Graphics; 300% Cotton: More T-Shirt Graphics; GH avisualagency; Animation Unlimited: Innovative Short Films Since 1940; Core77.com; 4; Ampersand; Black Book; BusinessWeek; California Home + Design; Creative Review; Creativity Spark*; Design Observer; Design Week; Fast Company, Grafik; i-D; Mojo; Playboy; Print; Res; Spread: ArtCulture; Step Inside Design; Stereotype; TED.com; The Face; The Times Awards and honors include: Jury member Ad.Print; Alt Pick; BAFTA Interactives; BusinessWeek/Architectural Record Architectural Awards; Catalyst Award, Industrial Designers Society of America; Creative Review Creative Futures; Young Guns website: http://helenwalters.wordpress.com
Author, creative strategist Education: BA, magna cum laude, Williams College; MBA, Yale University; MFA, Slade School of Fine Art, University College, London Professional experience includes: Project manager, Jenny Holzer Studio; special projects coordinator, Solomon R. Guggenheim Museum; sales and marketing associate, Museum of Modern Art; business strategy associate, Tate Modern Clients include: Locus Analytics; Alamos; Crosstown Arts, Memphis Presentations include: “What Would Leonardo Do? Visual Thinking, Creativity, and Imagination in the Workplace and Everyday Life,” IBM, Armonk, NY; “Business School for Artists: Tools for Social Practice,” Queens College. Presentations of “Museum Legs” include: Authors@Google Program, Mountain View, CA; Warhol Museum, Pittsburgh; Birmingham Museum of Art; Seattle Museum of Art. Books include: Museum Legs: Fatigue and Hope in the Face of Art; Business School for Artists Publications include: Commercial Appeal, The New York Times Awards and honors include: Fellowship, Vermont Studio Center; Association for Cultural Advancement Through Visual Art; Fine Art Project Grant, Slade School of Fine Art; Olin Fellow in Economics, Yale University Website: www.museumlegs.com
Co-founder, Fonderie47 Professional experience: Director, Strategos Clients include: The New York Times, AARP, Nokia, Telefónica Publications include: Boxes and Arrows, Perspectives,
Businessweek Exhibitions include: University of California, Berkeley; SIGCHI; Stanford University, Palo Alto, CA website: http://fonderie47.com
Faculty at Large William Drenttel
Partner, Winterhouse Studio; director, Winterhouse Institute Education: BA, Princeton University Professional experience: Partner, Winterhouse; publisher, editorial director, Design Observer; vice president Design & Communications, Teach For All; senior faculty fellow, Yale School of Management; founder, Polling Place Photo Project; publisher, Winterhouse Editions; trustee, Cooper-Hewitt National Design Museum; fellow, New York University Institute for the Humanities; president emeritus, AIGA Clients include: Teach For America, Mayo Clinic Center for Innovation, Archives of American Art, Poetry Foundation, The New Yorker, New England Journal of Medicine, New York University School of Journalism, Harvard Law Review, Yale Environment 360, University of Chicago Publications include: Looking Closer: Critical Writings on Graphic Design Exhibitions include: Narodna galerija, Ljubljana Slovenia; University of Hartford, CT; Grolier Club; Cooper-Hewitt, National Design Museum Collections include: Cooper-Hewitt, National Design Museum, Yale University Awards and honors include: Art Directors Club Hall of Fame; Alliance Graphique Internationale; American Academy in Rome; Rockefeller Foundation website: www.winterhouse.com and www.designobserver.com
Director, Environmental Health Clinic and Lab, New York University Education: BS, Griffith University; BFA, with honors, Royal Melbourne Institute of Technology; D.Phil., University of Queensland Professional experience includes: Associate professor of art and art professions, Steinhardt School of Culture, Education, and Human Development; affiliated professor in Computer Science, Courant; assistant professor of engineering, Yale University; affiliated professor in Environmental Studies, Arts and Sciences, New York University; visiting professor, Design Interaction, Royal College of Art, London; visiting global distinguished professor, College of Arts and Sciences, New York University; assistant professor, Department of Visual Art, University of California, San Diego and La Jolla Exhibitions include: Neuberger Museum of Art, Purchase, NY; Contemporary Arts Museum, Houston; Institute of Contemporary Art, Boston; Les Complices Espace libre & Editions, Zurich; CooperHewitt, National Design Museum; National Design Triennial; Postmasters Gallery; Whitney Museum of American Art; Whitney Biennial; MASSMoCA; National Gallery of Indonesia, Jakarta; Museum of Modern and Contemporary Art, Rijeka, Croatia; Carnegie Arts Center; Eyebeam; The Kitchen Publications include: The New York Times, Core77, GOOD, Slate, Washington Post, SEED, Flavorpill, I.D., Wired, The Guardian, MAKE: magazine, WorldChanging, San Francisco Chronicle, Adbusters Awards and honors include: 2011 Most Influential Women in Technology, Fast Company; Sentient City Commission, Architecture League of New York; New York Prize in Sustainable Cities and the Social Sciences, Van Alen Institute; New York State Council on the Arts; Daniel Langlois Fellowship; Revolutionary Minds Award, SEED Magazine; Mildred C. Brinn Endowed Chair, Skowhegan; I.D. Forty Award Products of Design
Director, Cooper-Hewitt, National Design Museum Education: Central School of Design Professional experience: Co-founder, IDEO Clients include: From Apple to Zyliss Publications include: Designing Interactions, Designing Media Awards and honors include: RID (Royal Designer for Industry) Lifetime Achievement Award; Cooper-Hewitt, National Design Award; Prince Philip Designers Prize websites: http://www.cooperhewitt.org, www.designing-media.com, www.designinginteractions.com
Director, Doors of Perception Education: BA, with honors, University of Kent; Diploma, Centre for Journalism Studies, Cardiff Professional experience: Director, Netherlands Design Institute; steering committee, Interaction Design Institute Ivrea; program director, Designs of the Time (DOTT 07); commissione, Cité du Design; managing director, Design Analysis International (London & Tokyo); director of research, Royal College of Art; senior editor, New South Wales University Press; editor, Design, London; modern culture editor, Harper’s Bazaar; design correspondent: The Guardian, The Spectator; correspondent, contributor, The Late Show (BBC) Clients include: Hong Kong Design Task Force; Design and Innovation Research Centre (DIEC); European Union; fellow of The Young Foundation; UK Parliament Standing Commission on Design; Asahi Shimbun; European Commission; Schipol Airport; Japan Air Lines; Architectural Association Publications include: Clean Growth: From Mindless Development to Design Mindfulness; wouldn’t it be great if...Designs of The Time Manual; In the Bubble: Designing in a Complex World; The New Geographies of Learning; Winners! How Europe’s Most Successful Companies Use Design To Innovate; Lost In Space: A Traveler’s Tale; Leading Edge; Image and Object: Nouveau Design de Londres; Design After Modernism; New British Design Exhibitions include: Saint Étienne International Design Biennale, France; Dott 07 festival, England; Centre Georges Pompidou, Paris; Victoria & Albert Museum, London; Axis Gallery, Tokyo websites: www.thackara.com, www.doorsofperception.com
Deborah Adler Deborah Adler Design
Anthony Dunne Dunne + Raby
Yves Behar fuseproject
Robert Fabricant frog design
Mariana Amatullo co-founder/vice president, Designmatters
Janine Benyus Biomimicry Institute
Steven Heller Program co-founder, Author
Tim Brown IDEO Valerie Casey The Designers Accord Stephen Burks Readymade Projects Matali Crasset Matali Crasset Production Dale Doherty MAKE / Maker Faire
Chuck Hoberman Hoberman Associates
MakerBot RedHook Design District Uhuru (and more to come!)
Aimee Mullins Athlete, Model, Advocate Fiona Raby Dunne + Raby
Matthew Miller project architect, Project H Design Emily Pilloton Founder, executive director, Project H Design Manuel Toscano Zago; co-founder, principal, Helsinki Group
Stefan Sagmeister Sagmeister Inc. Steve Portigal Portigal Consulting
Scott Wilson MNML
Tel: 212.592.2118 E-mail: email@example.com www.sva.edu/productsofdesign department site: productsofdesign.sva.edu Come to our Departmental Information Session or contact us directly for more information. All times and locations will be announced online: www.sva.edu/grad/visit To register for a departmental information session, please visit our website or contact the Office of Graduate Admissions at: firstname.lastname@example.org
An introduction to the MFA Products of Design program