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2 0 05 CA L ENDA RFebruary 6-March 11Exhibition by Gail Peter Borden: [X]perienceMechanismsFebruary 26Design Guild Dinner honoring Gail A. Lindsey, FAIA,ExplorisMarch 7NC State University Founder’s DayMarch 13-April 2Art + Design Painting ShowMarch 21Architecture Lecture: Stanley SaitowitzMarch 28Architecture Lecture: Branko KolarevicApril 3-22Graphic Design ExhibitionApril 4Architecture Lecture: Brad CloepfilApril 11Architecture Lecture: Adam YarinskyApril 20University Installation of 13th ChancellorJames L. OblingerApril 21Spring Fashion Show, Kamphoefner Hall CourtyardApril 23 - May 8Graphic Design: Senior ExhibitionApril 232005 R. Stanhope Pullen Society MembersUniversity EventMay 9-14Graduation ExhibitionMay 14Spring CommencementMay 19-21AIA National Convention, Las VegasAlumni & Friends Reception, Thursday,March 19, Mandalay Bay ResortMay 19-21Early Childhood Outdoors Design Institute:Design for Active Childhoodswww.design.ncsu.edu/cont-ed/June 4-11Alumni & Friends Drawing Trip to Praguewww.design.ncsu.edu/cont-ed/June 12-17Design Camp – ResidentialJune 20-24Design Camp – DayJuly 10-15Design Camp – ResidentialAugust 4-6AIA NC Summer Design Conference, RichmondAlumni & Friends Reception, Time andlocation TBAAll ARCHITECTURE LECTURES are held in the auditoriumin Kamphoefner Hall at 6 p.m. and are co-sponsoredby AIA-Triangle and the School of Architecture at NCState University. A reception follows the lecture. AIA CEScredits are provided.EXHIBITIONS are featured in the Brooks Hall Gallery.VISITORS are encouraged to verify time and locationof events, which are subject to change. For moreinformation, call 919/515-8313 or sign up forDESIGNlife, an e-newsletter, at www.design.ncsu.edu(link to “news & events” from pull-down menu).OUR THANKS College of Design lectures and exhibitionsare sponsored in part by Design Guild Dean’s Circle andBenefactor members.For more details, go to www.design.ncsu.edu/events.C O N T E N T SDEAN’S MESSAGE2 Voices of Achievement/Voices of DesignRECOGNITIONS4 Design Guild Award Honors Gail Lindsey5 Rodney Swink Named Distinguished AlumnusFEATURES6 NC State Grads Work Magic8 Marching for the Pack10 A Match Made in Design School12 Design Connections Lead to Success14 Graphic Design Student Helps Launch Wolfgrid16 NC State to Improve Affordable Housing Options for the Lumbee Tribe18 Sponsored Go Kart Studio Yields Good Results19 COMMENCEMENT ADDRESS22 COLLEGE NEWSNOTES24 Alumni/Friends26 Students28 Faculty/Staff32 Design Guild Support33 College Faculty & Staff ListingWe hope you like the changesto the official magazine of theCollege of Design. Renamingthe publication Design Influencecaptures the essence of themission of the college — toexpand as a center of influenceon design.The Design Guild is an association of alumni, friends,design professionals and industry leaders establishedin 1996 to promote design education at the NC StateUniversity College of Design through private contributionsand gifts. The publication of Design Influenceis fully supported by Design Guild funds.We welcome your submission of alumni newsitems in addition to your comments about thispublication. To receive our electronic newsletter,DESIGNlife, please send us your e-mail address.design@ncsu.eduor address correspondence to:NC State UniversityCollege of DesignCampus Box 7701Raleigh, NC 27695-7701919/515-8313Marvin J. Malecha, FAIAdeanCarla Abramczykdirector of developmentJean Marie Livaudaisdirector of professional relationsEmily Freemandevelopment assistantSherry McIntyreeditor; director of communicationsCraig McDuffie (BEDV 1983)designerCOVERResolution Tree, by Jennifer Van Orden(BAD 2004), commissioned for City of Raleigh’sFirst Night Celebration. Photo by Ian Quate,senior in Art + Design.

D E A N ’ S M E S S A G EVoices of Achievement / Voices of Designby Marvin J. Malecha, FAIA, DeanOver the past several years it has beenencouraging that design professionals havebeen thrust into the public consciousness.The conditions for this attention have rangedfrom the desire to resolve the unfinishedbusiness of a response to a national tragedyat ground zero to the renewed appreciationfor the role of the creative individual in theeconomic well being of our culture. Thepopular press, from The New York Timesto Time magazine, has chronicled theindividuals and decisions related to designin such detail that even the eyewear ofcertain designers became a story of interest.It has become apparent that the designendeavor is distinct from either the hardsciences and engineering and the humanitiesand social sciences. Further, it is the rigor ofthe design process reflected in the integrationof disparate sources of information andmaterials and tested by the application ofideas to the most vital questions beforesociety that distinguishes the role of thedesigner. How these questions are addressedis the measure of achievement of the designprofessions, it is the measure of the strengthof the voice of design in society.Increased attention brings the scrutiny ofbroad constituencies. It places a bright lighton behaviors that constitute the nature ofdesign professionalism. As the achievementsof design professionals are considered, it isimportant to derive the lessons that havebeen learned from the perspective of themany constituencies affected by the workof design professionals. This measure, notthe self-congratulatory tendencies of aprofession, will determine if the designerhas a voice in society.While the attention of the media hashighlighted the possibilities of the designprofessions it has also provided a case studyof the implications of work disengaged fromthe priorities of society. This increasedattention has provided witness to teams ofthe most talented individuals completelyabsorbed in formal investigations almostentirely disengaged from the constituenciesthey intended to serve. While a nation waitedfor the expression of creative individuals tospeak on its behalf, design teams minimallyinvolved themselves with any purpose beyondthe satisfaction of personal explorations asthough that should satisfy the greater need.What should have been leadership of ourculture on the expression of renewal andoptimism turned instead into competingegos and development intrigue. Finally,market forces reigned in the process anda significant opportunity for the designprofessions to act as guides with enhancedsight has been lost. The beauty of the artifactsdesigned has had little relevance to theexpression that was needed.David Walker in a speech to a conference“Going Beyond Green” observed theimportance of maintaining a properperspective in design. He observed,The competitive differences in the 21stCentury will be people…it will not beprocess. It will not be technology. Itwill be people…The stakes are high.David Walker, from conference materials,Going Beyond Green: Strategic TransformationThrough Human Capital Planning,November 2002We must never forget the designer’s chargeto work on behalf of others, to seek toenhance their possibility for success, and touse our work to celebrate it when it occurs.The talents of designers are much neededin our world. If we wish our voice to beinfluential we must work beyond selfinterest.Through our work it is possibleto improve peoples lives, to enhance theircapabilities and to stir their imagination.David Walker’s admonition reminds us thatthis begins with people. It is a challenge tostructure the education of designers thatextends the discourse on design beyondpersonal objectives into the preparation ofthe most talented and creative individualsto engage the needs and interests of others.It is necessary to prepare individualswho are most inclined to work alone toparticipate productively on teams.The voice of design is dependent on the mosttalented among us. It is dependent on thecommitment of the design disciplines topromote those who address the issues of mostconcern to society. Similarly, if our Collegeseeks to be a true center of influence we mustseek out those who provide the example forour students to live a life of relevancy andinvolvement. In the context of a universitywith a land grant mission the College of Designhas a responsibility to do no less. Many issuesdemand our attention. These issues requirethe creative spirit of our graduates. How willcommunities be designed to promote thehealth and welfare of the citizens? What can bedone about the development of products thatrespect green principles? How do designersaddress the needs of individuals with varyingphysical and financial capabilities? Is there astrategy to promote understanding of an evermore complex world through communication?Can designers identify the deeper meaningsof contemporary life through their work?If we do not even attempt to address thesequestions, we will have little influence andno voice.Over more than 50 years the College ofDesign has established a reputation ofrelevancy to community need. There aremany examples of student and faculty projectsthat have made significant contributions tothe life of individuals in small communitiesfulfilling the cooperative extension missionof the University. Graduates of the Collegehave made significant contributions to theunderstanding of green design in both theacademic and professional settings. Alumnihave influenced the development of buildingtypes from airports to research laboratories.And, advances made through productdevelopment by a graduate of our Collegehave influenced medical applications.Environmental studies within the Collegehave included water quality management aswell as view-shed protection contributingto the preservation of the quality of theNorth Carolina environment. Principles ofuniversal design evolved within the Collegeof Design as a model for the nation. Inshort, the College of Design community iscomprised of individuals of considerableachievement and therefore we have becomea community with an influential voice.We owe it to our predecessors and to ourdescendants at the College to maintainour commitment to addressing the mostpressing issues of society. It is time to addour voice to all of the voices of the past evenwhile we teach others to speak up.Our voices of achievement have become thevoices of design.2 DESIGN INFLUENCE / SPRING 2005 DEAN'S MESSAGE 3

NC S t ate Grads Work MagicAfter getting his start running errands in the art department ofGeorge Lucas’s special effects company Industrial Light and Magic(ILM), Jonathan Harb (BID 1995) now supervises the ILM DigitalMatte Department, and has been instrumental in bringing other NCState graduates to the company.“Watching The Empire Strikes Back and Big Trouble in LittleChina about a million times and poring over the ‘Making of’ StarWars books” piqued Harb’s interest in special effects. “Fortunately,the best place on this planet to learn visual effects is Industrial Lightand Magic,” says Harb, “and the opportunities here are endless.”Patience and persistence pay off in the industry, as Harb’s ownexperience illustrates.In the summer of 1995, Harb participated in Professor PercyHooper’s Model Building Workshop. Hooper invited ILM’s LornePeterson and Charlie Bailey to visit the workshop.Harb calls Peterson and Bailey “veteran model makers…these arethe guys that built the original Deathstar trench, Millennium Falcon,etc., from the first Star Wars films, and countless film icons since. Imanaged to show some work to them both, then kept in touch by mail.”Through these contacts, Harb was able to get an interview withILM. He was hired as a production assistant in the company’s ArtDepartment.“After throwing some things into my truck and driving acrossthe country, I started at ILM 13 days after graduating from State, onJanuary 2, 1996,” Harb says.Favorite aspects of his job include “creating realistic imagesof things that do not exist in reality, and identifying, guiding, andlearning from people who can do the same.”Jonathan Harb (BID 1995) Bryant Griffin (BID 2003)Barry Williams (BAD, BID 2003)Photos courtesy of Lucas Digital, Ltd.Harb began creating concept art soon after his start in the ArtDepartment, and in 1998 moved into the Digital Matte Department,a unit that specializes in backgrounds and environments. He wasleading projects in the Matte Department by 2000, and in 2002 hetook 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 withhelping him attract promising employees, Harb and ILM RecruiterLala Gavgavian included NC State on a trip in November 2002, whichwas NC State’s first time on ILM’s recruiting list.Harb says the “hardest people to find are those with a widevariety of skill sets. Artists that have strong traditional skills, coupledwith 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). Patienceand persistence paid off for Griffin and Williams just as they had for Harb.Griffin, a Charlotte native, learned about the College of Designthrough a contest he won while he was a student at the N.C. Schoolof Mathematics and Science in Durham. In addition to the $200he received as a prize, he got the opportunity to take an idea fromconcept to completion with Professor Charles Joyner. Introducedby Joyner to the world of design and the numerous career pathsavailable, his view of a potential career path was reshaped.“I broke into the industry with a lot of nagging, persistence andthe charity of Jonathan Harb. In November of 2002 I gathered all ofmy work and interviewed with Jonathan and Lala Gavgavian during(their) recruiting trip to NCSU. I received kind feedback, but nomagic call,” says Griffin.Determined to stay on task, Griffin “prepared a portfolio for ILM andLucas Arts for the summer internship program [in 2002], but still nocall. In the fall of 2003 I noticed a flyer with information about thePumpkin 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 begina dialogue that would turn into some opportunity months or yearsdown the line.”“I won the scholarship and quickly started nagging professorChandra Cox for Jonathan’s contact information. Chandra workedher magic and fortunately for me, Jonathan was willing to gambleand ILM was in a position to hire artists,” says Griffin.Griffin grew up seeing The Empire Strikes Back and Raiders ofthe Lost Ark, both Lucas films. “I’m currently working on Star WarsEpisode 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 whatthey 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 lastyear, he freelanced for a few months and Harb called him to comein for an interview as an apprentice. “That same enthusiasm thatBryant 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 knowledgeof some software help him with his current work. According toWilliams, industrial design internships and working on outsidepublic art projects really helped him get his feet wet.“The depth of talent that others have around me and theexcitement of seeing something I’ve worked on projected on ‘the bigscreen’” interests Williams most about his work at ILM.The list of films that Harb, Griffin and Williams have worked onrecently include: Star Wars Episode Three, XXX State of the Union, Warof the Worlds, The Day After Tomorrow, Harry Potter III: The Prisonerof 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 doso, some people figure that as selfless,” Harb says, “but it’s just asmuch selfish. You feel great when you’re able to see positive resultsfrom 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 establishingthe Pumpkin King Scholarship, and professionally by introducingILM to NC State students and graduates.6 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 7

Marching for the PackIs it hard to choose between your dream of becomingan architect and your love of music? Not if you are HeidiCharron or Giana Malak, both sophomores in the Schoolof Architecture and both members of the NC StateWolfpack Marching Band. High Point native Charronplays the trumpet. Philadelphia area resident Malak playsthe cymbals.Charron says managing the rigors of architectureacademics and the time commitment required to participatein the marching band is worthwhile because she could notchoose between her two interests, even though she forfeitsvaluable studio time for the love of music.“I love design and I love music. It’s hard to pick one togive up,” says Charron, who also plays in the Pep Band forWolfpack basketball games. “I spent 15 hours at Carter-Finley Stadium for the Miami game this fall. Footballseason means that two-day weekends all become one-dayweekends, so lots of work has to go into studio projectsand other assignments in that one day.”Malak, who last year was a member of the CarolinaHurricanes Storm (dance) squad, too, has “overloaded herschedule since middle school.” Her father is in academiaand advises her on time management. He convincedMalak to give up band after high school. What he had notplanned on, though, was that her NC State orientationcounselor was a drum major in the Marching Band.After encouragement from the counselor, Malak triedout for band and made it. She says, “I don’t feel fulfilledunless 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 requiredsome missed practice. Charron explains, “It stresses me out to be lateand one time I was an hour late because our review ran long. Gianaand I just have to learn things on our own that we miss at practice.”“Last year my academics were not as stressful, having been mostlynon-design related,” says Malak. “Now that I’m understanding mycourse work, I have a greater appreciation for being here and havedeveloped a stronger dedication for studio work.”In addition to the Marching Band, Charron plays in the Pep Bandthat plays for women’s and men’s basketball games and works parttimein the Materials Lab (shop). Charron adds, “I really enjoy bothbands. Pep Band doesn’t require as much practice, but there are a lot ofwomen’s and men’s basketball games.” She explains that members earnpoints for each game in which they participate in Pep Band. Charronplans to get in as many basketball games over the break as possible.Last year, she earned enough points to be chosen as one of the30 members who flew to Maryland to perform at the NCAA women’stournament.Right: Giana Malak building a model in studio.Below: Heidi Charron working in the Materials Lab.Giana Malak, left, and Heidi Charron, right, are musicalarchitecture students. Photo by Dan Jahn.8 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 9

A Match Made in Design SchoolJim Barefoot (MPD 1986) and Wendy Miller (MLAR 1986)Wendy Miller (MLAR 1986) and Jim Barefoot (MPD 1986)met while enrolled at NC State’s College of Design. Today they aremarried, living in Winston-Salem with their two children, and stillworking in design.Speaking about their successes today, they both attributeinspiration derived from Professor Joe Cox. While in school, Millerwas a teaching assistant for Cox’s Color & Light class while Barefootwas enrolled in the class.The two fondly remember Cox’s nighttime community art classcritiques as a major bonding force. In fact, the pair attended Cox’swatercolor workshop in Oriental, N.C., for their honeymoon trip.Miller’s Work Combines Design and ScienceAn English major with pre-med sciences under her belt, WendyMiller decided to continue her studies after working for a landscapearchitect in the University of Virginia (UVA) campus planningdepartment. “It opened up a whole new world to me,” says Miller.After UVA, Miller moved to Chapel Hill. While there, she enrolledin a planning course that led her to NC State’s design school. She metBarefoot during her second year.Today, Miller is using her talents and interests in the TransportationPlanning Department for the City of Winston-Salem. As PrincipalPlanner, she works with the Winston-Salem Metropolitan PlanningOrganization (MPO), and she is involved with the overall systemplanning including bike paths, pedestrians, and long-range planning.A new project for Miller is participating in developing an AestheticsManual for the N.C. Department of Transportation (NCDOT).The federal government is pushing comprehensive, multimodaltransportation planning, which includes all modes of transportationfrom trains to passenger cars to buses and airplanes. NCDOT istrying to revamp how it plans for aesthetics in roadway design.Context sensitive design, the newest government buzz words inroadway planning, serves to build the road in the landscape context.When speaking of this, Miller shares that “landscape architectswere the first to design scenic parkways that used the land to shapethe road without destroying the landscape.”Her first affiliation is with the American Society of LandscapeArchitects (ASLA) and she served as president of the North CarolinaChapter in 1996. She participates in the Transportation Research Boardas a member of the Landscape andEnvironmental Design Committee.Miller was a charter member ofthe alumni advisory board for theLandscape Architecture Departmentat NC State. When she was asked toserve, Miller confides she reviewedher projects from design school to getreacquainted with the work. “Halfof my projects were road-related. Itwas stunning to realize I had donethat,” she says. “One of my projectswas working on sign ordinances andvisual aesthetics in the public realm.Roads are a big part of that.”Keeping in touch with the peoplefrom school is important to Miller.She says her landscape architecturetraining brings a different way oflooking at the problems she runs intoas a transportation planner. “It’s a comprehensive view,” she explains.Barefoot’s chair Alana, produced by Patrician.Professor’s Question Leads to a CareerWhile majoring in Wood Science and Technology at NC State,Barefoot had designed a table. On the advice of his father, who as afaculty member in Forestry had served on committees with VinceFoote, Barefoot showed it to Foote for input.Barefoot says he will never forget Foote’s response, “Where’s thechair?”Inspired by Foote’s challenge to build a chair, Barefoot transferredfrom the master’s program in Wood Science into the Industrial Designmaster’s program. He was in and out of the program because heworked, but continued work on his master’s part-time.When he and Miller relocated to Winston-Salem, Barefoot beganworking with Hy Zelkowitz at Stendig doing product development oflounge chairs. They would take the sketches from the Vignellis orSOM and convert them into something that could be manufactured.Barefoot also made the prototypesfor showroom samples, whichwas a crash course in upholstery.Unfortunately, Stendig went out ofbusiness.Barefoot then worked at BraytonInternational in product development.He served as an in-housedesigner. While there, several of hischair designs were produced.After that experience, he setup as an independent designer andhas “a 12-foot commute across hisdeck.” Barefoot either responds todesign briefs from clients or speculatesby creating chair designs thathe thinks companies might need.He creates computer renderings forpresentations and often builds prototypes.His clients then license thedesigns and pay him on a royalty basis. His clients include Brayton,HBF, Paoli, AGI, and Patrician.His success is linked to maintaining long relationships with clients.That generates more than enough work to keep him going part time.Barefoot says his design business is just one of his jobs. “I’m astay-at-home dad for our 14- and 11-year olds, I renovate the house,and I have my design business.”As for the first chair Barefoot designed at the request of Foote tomatch his table….it is still in their home.10 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 11

Design Connections L ead to SuccessLittle did Mark Kimbrough (MPD 1985) know when he was asenior at Duke University that he would have NC State connectionsto thank for leading him down the road to success. Kimbrough wasmajoring in fine art when he took the advice of Christian Holljes(MPD 1984) to come visit him at NC State in the industrial designmaster’s program. “Holljes had been a year ahead of me at Duke.Fortunately,” says Kimbrough, “I did take him up on his offer and Iwent to visit the design department at State.”Kimbrough says that Holljes, who was majoring in zoology andfine arts at Duke had taken an independent study in the ID programat State his senior year. Holljes encouraged Kimbrough to do the same,so he decided to follow the same path. Kimbrough enrolled in anindependent 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 theMark Kimbrough (MPD 1985)Midwest, Kimbrough heard aboutwhat Chipp Walters (MPD 1982) hadbeen doing in the ‘Texas computercircuit’ with firms like IBM and TexasInstruments. Walters had startedDesign Edge and within a few months,Kimbrough became the first employeeand helped get the industrial designcompany off the ground. Before long,Design Edge was designing products formany Fortune 500 companies.One of their clients was MichaelDell, founder of Dell Computer (thenPC’s Limited). Dell had just moved hisoperation to a warehouse facility andasked Design Edge to develop his firstproducts inside and out. According to Kimbrough, “That put us onthe map…. designing Dell’s first laptop on the market.”Still based in Houston at the time, Kimbrough and the otherDesign Edge consultants would travel to Austin, commuting twoand a half hours each day to make the 150-mile trip. They decidedto relocate Design Edge to Austin, which was becoming a minisiliconvalley area. The company continued to grow and flourish andKimbrough became partner in 1994.While the product development side of Design Edge was doing well,Walters was pioneering the use of multimedia and animation; wellbefore there was much available software. Eventually, Walters spun off anew company called Human Code, and continued exploring the integrationof animation, graphical user interface and gaming on the Internet.When Kimbrough became a full partner, Design Edge was strictlyindustrial design focused, but there was amovement in the industry to incorporatemechanical engineering into its suite ofservices in order to provide a more comprehensiveservice to its clients. PearceJones, a mechanical engineer, becamepartner 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 (strategicbranding and web site development).With this talent-stocked staff, DesignEdge is able to offer comprehensiveservices from corporate branding toproduct line extensions.After years of the tradition ‘fee forservice’ consulting business, Kimbrough and Jones began lookinginto other business models to generate income. In 2000 they decidedto explore the notion of creating a true ‘product’ based company; onewhere they would design, manufacture and sell their own products.They employed their years of experience to research and select amarket segment which had little exposure to design as a strategicdifferentiator. Six months and many pounds of coffee later, theyselected the pet market to be the primary focus.The pet industry is a $35 billion industry which has proven lesssusceptible to economic fluctuations. According to their research, evenin a down market, people continue to spend money on their kids andpets. They then broke down the various market segments. “Other thanin food products, there was absolutely no brand awareness in hardgoods. There really aren’t any memorable name brands… where wasNike, Oakley or Coca Cola in this industry?” says Kimbrough. Theirstrategy was to develop a brand first and then to develop productsthat would support their brand message in the marketplace.That venture, called WetnOz (pronounced “wet nose”), beganwith targeting the ‘icon’ of the industry. . .the dog bowl. . . seeminglymundane accessory, yet, one which every pet-household needs. TheyTop: WetnOz booster stand and feeding dish: complies with the Vetsrecommendation for elevated feeding.Right: Kimbrough’s dog, Alamo, sneaking a treat from his WetnOz Treat Jar.launched with high-end, high-style food dishes and containers forboth cat and dog lovers. Since their product launch in 2001, productlines 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 petand gift stores in the U.S. and 12 different countries, and havegarnered international design acclaim since their introduction.Kimbrough now splits his time between the two businesses, whileJones remains fully focused on Design Edge. WetnOz has grown at30-40 percent in each of the past three years. So far, Kimbrough saysthat WetnOz has managed to exceed their every expectation with thefuture looking very bright. Further expansion is anticipated.For a Duke grad who learned about the NC State program through afriend, Kimbrough says the time he spent at NC State “was an absolutelyphenomenal experience for me.” The small graduate program wasbeneficial and he still is in contact with several people from State.“The network of students and NC State grads helped me get myfirst consulting job in the Midwest and another NC State connectionled me to Houston as the first employee of Design Edge,” addsKimbrough. He adds that he came a long way in what seems like arelatively 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 enoughabout him and what he did for me.”12 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 13

Graphic Design Student Helps Launch WolfgridSince early in 2004, graphic design graduate student Jon Harrishas had a hobby that requires most of his extra time.Armed with a BFA in graphic design with an undergraduate minorin electrical engineering from The Cooper Union for the Advancementof Science and Art, Harris is now a fourth-semester graduate student.He has always been interested in the space where art and designand technology meet. His membership in the Mac Users Group oncampus led to his interest in creating a supercomputer at NC State.When Apple released its Xgrid software in January 2004, theMac Users who were interested started Wolfgrid as an experimentto connect many Macintosh computers together as a supercomputerto share the workload for processor-intensive applications. Thiscreated 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 centralcomputer. The Information Technology Department lends a handby allowing some of their computer servers that use grid controllersoftware to be used by Wolfgrid.Harris and Sammie Carter, a computer science senior, volunteeredto begin to build Wolfgrid across the NC State community. Thestudent-initiated Wolfgrid project was launched in February, withguidance from Everette Allen, computing consultant with NC State’sInformation Technology Division and staff advisor for the project.Wolfgrid currently allows collaborative computations on networkedMacs; soon, Linux boxes will be added to the grid.Wolfgrid now includes about 25 computers, and the number growsdaily, Carter says. He and Harris have done a bit of troubleshootingand creative problem solving while building the grid.As one of the grid architects of Wolfgrid, Harris has written severalsoftware applications to test it. What interests him most is thatWolfgrid is a social experiment as well as a computer experiment.For Harris, “The fun of it is seeing the grid work.” He wondersif a community can create a useful grid to support itself in itscomputing needs. As a demonstration, Harris gets out his laptopand to explain the computer network. He visits the http://packmug.ncsu.edu/wolfgrid page and goes to the applications page. He plugsin that he wants to get prime numbers from 0 to 10,000. Whilewatching his monitor (that shows which computers are idle that areavailable to help crunch the numbers), instantaneously he sees thePictured 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 showswhat computer had which part of the problem to solve. It is easy tounderstand 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 submitjobs to the grid and anyone can become agent computers on the grid.The goal for Harris is to have more software available to makethe grid more useful for a largervariety of disciplines. He explainsthat Wolfgrid is a secure systemso no agent computers (idlecomputers that do the work) areharmed in the process.Right now Wolfgrid is setup so anyone can write software or collaborate with a handful ofinvolved Computer Science students to write software. The Wolfgridteam will evaluate the software before putting it on their web site.According to Harris, the reason the web interface exists is fornon-Apple users to be able to benefit from the software. The webportal 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 thefinished product available for download. There is also the potentialfor 3-D animation movies to be generated through the grid, whichwould greatly reduce file-processing times for people using the grid.Harris hopes to learn how to sustain users’ interest in the gridand wants to encourage grid members to involve others. “To me, thismeant that people had to understand the grid as a communal experience.It is very important that the users have a sense of community andfeel that they are an active participant in this community, whichworks for the benefit of everyone involved,” says Harris.“At the same time I am very interested in this project from atechnology standpoint, since I wanted to see if a socially basedcomputing grid is something that can even exist and help people.I also wanted to see how building a socially based computing grid isaccomplished. This is what happens at the intersection of design andtechnology and I think approaching this problem from both of thoseangles benefited the project,” he adds.14 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 15

NC S t ate Team Helping ImproveAf fordable Housing For L umbee TribeFather and son pair Michael Clark (B.Arch. 1971), and Ché Clark(M.Arch. 2004), and Architecture Professor Georgia Bizios are leadinga team of NC State students who are working to improve housingfor North Carolina’s Lumbee Tribe by designing affordable homesfor 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 washired to assist the Tribe with creating home design guidelines.The Tribe had received a grant to support housing needs from theFederal Department of Housing and Urban Development (HUD).The HUD grant allows qualifying potential homeowners to receiveguaranteed loans for the construction of new, quality-built houses.“I thought it would be a great marriage between the Collegeof Design and the Tribe,” says Michael Clark. He realized thatthere was a great opportunity for collaboration between Tribemembers and architecture students, who could bring a great dealof energy and design experience to the project. This kind of realworld challenge inspires enthusiasm among design students. Inprojects like this, they must examine the unique cultural needs ofa particular community and take responsibility for developing realsolutions through design.Michael Clark talked about this idea with his son Ché, whowas completing his last semester toward earning a master’s degreein architecture, and with Georgia Bizios, whose architecture firmspecializes in residential design. The Clarks and Bizios discussedthe possibility of the College of Design’s involvement in the project,and then met with the Tribal Council. Together they developed aproposal which began to generate excitement for the collaboration.Designs to Accommodate Cultural DifferencesClark and many of his fellow Tribal members felt that much ofthe recently built stock of affordable housing in the Robeson Countyregion does not adequately meet the needs of the occupants in termsof durability, quality of construction and standards of design. As ameans of addressing this issue, the Lumbee home design initiativewill place an emphasis on the use of durable, high quality materialswhile incorporating recent trends in the production of affordablehousing. As a result of the interaction with the ultimate homeowners,the team plans to engage elements of traditional Lumbee housingculture in the designs.Bizios also saw an opportunity in a project that has dual benefitsboth for the community and for the students involved. In addition toproviding a valuable service for the homeowners, this type of projectis an excellent chance for students to learn by addressing issues ofsite and place for a unique client. In doing so they are able to workwith broad concepts of home design while specifically enriching theproject by their participation. She recruited graduate students whoare working on the project at many different levels, from culturalPhotos from Lumbee community workshop held September 2004.research to the home designs. In addition to Clark, the design teamincludes Marshall Dunlap, Katie Wakeford, K.C. Kurtz and WendyLegerton. The project will continue over the coming years, andBizios envisions a rotating membership as some students graduateand others are recruited to join the team.The students have made a number of trips to Robeson Countyto get to know the environment. On September 21, 2004, theyconducted a community workshop in Pembroke in order to get inputfrom their eventual clients. The meeting was attended by over fiftymembers of the Lumbee Tribe, who represented all fourteen of theLumbee districts in Robeson County.The community meeting served as a brainstorming session,which brought up issues of housing that the community felt neededattention in the design of new affordable homes in the region. “Theparticipants realized that their input is valuable,” Michael Clarksaid. “Even if each and every idea is not eventually included, theparticipants know their concerns were heard.”Based on feedback from potential homeowners, the team isincorporating Native American themes and cultural elements– such as open spaces for meals and family gatherings – intotheir home designs. The ideas arising from the meeting focusedon affordability, energy efficiency, sustainability, and traditionalcultural gathering places.The next step in the project will be a meeting with members ofthe Tribal Council to show them preliminary home designs basedon the information gathered at the community meetings. Thedesigns will be for 1500 square-foot prototypes with variations oneach design. After getting feedback on the prototype designs, theteam will begin to address issues of construction methods andneighborhood design.Exposure to Architecture an Additional BenefitSeeing the project as a mutually beneficial exercise betweenstudents and the Lumbee community and being a die-hard NC Statefan, Michael Clark knew the Tribe would benefit from the pride thatNC State takes in whatever it sets out to do for the community.“Traditionally, homeowners in affordable housing communitiesdo not get exposure to the profession and practice of architecture,”Michael Clark says. “This was a way to get young people in theregion involved with the community at the meetings, and it educatesthem 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 DesignCamp and learn more about the design disciplines and NC State.“This is a very fulfilling project,” Ché Clark says. “I see theextensive need for housing for my people, and I am proud to use myskills to help relieve some of that need. It means a great deal to beable to team up with my dad and provide much-needed architecturalservices to the Lumbee people.”16 DESIGN INFLUENCE / SPRING 2005 FEATURE ARTICLE 17

Sponsored Go Kart Studio Yields Good ResultsC O M M E N C E M E N TThis fall, Vialink Corp. sponsoreda design competition in Bong-Il Jin’sIndustrial Design 400 Studio. The ideacame to Professor Jin and Charles Kim,VP of Design and Marketing for Vialink,while Kim was co-teaching the studio.Kim, who holds a Masters ofIndustrial Design from Pratt Institute in Brooklyn, New York, welcomedthe opportunity. “We felt it was a requirement to provide an experiencethat would push students to draw upon the individual talents as wellas technical and problem-solving skills they’ve acquired to date, butmore importantly push the students to realize the skill sets they didnot yet possess, and discover the challenge of uncovering resourcesneeded to bridge that gap. Forcing them to apply their skills outside ofthe school environment gave them a great snapshot of what to expectas professionals while allowing them to discover their own particularareas that needed improvement” said Kim.“We [Kim and Jin] thought a go-cart design project would be greatgiven the current market consists only of crudely designed vehicles. Agood analogy would be to think about the mini bike of years ago andmotorcycles today with all the beautifully styled models on the market.The go-cart industry has fallen behind this wave of technical innovationand creative expression, showing no design progression in the same period.We felt young creative minds applying sound design processes wouldyield some interesting results. We weren’t disappointed,” Kim added.The competition had two parts. One part judged individualdesigns, and the second judged teamwork. Three teams consistingof three students each collectively conducted research for referenceand to stimulate ideas. Each group received $500 for materials. Theneach student independently generated design concepts, drawings, andconcept models. Winning designs were chosen on an individual basisWinning designs by (l-r) Chadley Jaziri, Derick Harris, and Hong-youl Choiand teams were rewarded based on teamwork, quality of research,organization, analysis, and how well they could both communicateand validate their findings.The final studio presentation was held December 3, 2004, with keyVialink staff in attendance, including President Steve Shankin, andHardy Lim, who graduated from NC State College of Design and iscontinuing to pursue a master’s degree in design.The winners of the individual portion of the competition wereChadley Jaziri, Derick Harris, and Hong-youl Choi, and each won amountain bike (valued at $700). The winning group, Group ‘C’ (ChadleyJaziri, Hong-youl Choi, and Anthony Lee), won $600 in materials.“We are very pleased with the student’s body of work. They allworked very hard at gathering their reference data, analyzing, andorganizing it into cohesive and compelling conclusions for what wasrequired in a new design. The students all attacked the problem andcame up with creative solutions while honing their presentationskills. We enjoy the opportunity to get involved with the school and toprovide the help, input, and resources we can to assist in enriching theeducational experience,” Kim stated.“Many students have vision and don’t apply the necessary process.In order to be progressive, using the correct processes will dictate andensure an emotionally compelling validated design. It is critical fordesigners to be able to explain and validate their designs in a clear,concise, and professional manner,” Kim added.Commencement Address by Tony BrockNC State University College of DesignDecember 15, 2004Graduates, Family, Dean Malecha, Faculty and Staff of the College ofDesign, Friends, it is truly and an honor and a pleasure to be with youtoday. Commencement has always been a favorite time of year for me.Graduates, congratulations on a job well done. I wish you many years ofgood health and prosperity in your life of design.I graduated from NC State with a graduate degree in Graphic Designjust a few years ago and I enjoy graduation much more now than the dayI 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 andthe fact that my bike got stolen.If I prove to be so dry and uninvolving that you completely zone outand come back thinking you missed something of importance, I will beposting my speech on the web for you all to reference (repeatedly). You arewelcome to go ahead and zone out, sleep, whatever—you’ve earned thisday of celebration and relief.I think it is tradition to now say that I will be brief in my remarks eventhough 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, notserious—you’ve blown your ethos. This string of words cannot helpbut be cliché to some, lacking to others, and far too deconstructionist,introspective, and self-conscious. For all the effort, I can’t get away fromcritique. 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 thegood life in a digestible list. One of my favorites is the not-so-well-knownTony 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. Toaccumulate wealth, to win the highest office, to become famous for learning,eloquence, or statesmanship, may not be success. One or all of these objectsmay be gained, and still life be substantially a failure. Wealth acquired atthe expense of principle, honors won by chicanery, learning and politicaldistinction used for personal emolument instead of usefulness, do notconstitute success. The highest success is achieved by making the most ofone’s powers and opportunities.Calvino’s Six Memos for the Next Millennium is as fine a list as one canhope for. Calvino describes the virtues of Lightness, Quickness, Exactitude,Visibility, and Multiplicity in such a way that the admonitions move beyondthe act of writing to design. He suggests gradients—descriptions of extremethat transfer to one’s breadth and depth of exploration and understanding.The descriptions and details of Calvino’s list bring a level of reflection thatelevates and encourages a meaningful creative life—$9.00 on Amazon.Now for my list. This is how I saw things as of 3:00 pm yesterday. I don’t18 DESIGN INFLUENCE / SPRING 2005 COMMENCEMENT ADDRESS 19

think it will change much in the next 24 hours, but if they do I will updateit on the website.First, BELIEVE THE FACT: You have been given the perspective neededto continue your education. Design is in your hands, and in no morecapable hands could it be. Believe this, know this, and never doubt it. Forhowever over-the-top this may sound, it is the fact.You have the skills to apply what you have learned. You have the skillsto continue learning. You have the solutions to combat misinformation,malicious manipulation, misdirection, and a thousand pains—greatand small. You have the potential to do nothing less than change how wecommunicate, learn, imagine, and ultimately live. That is fact.STAY ALERT WHILE MAKING YOUR WAY TO WORK: Use yourmorning commute to analyze the social tendencies exhibited by your fellowdrivers, riders, or walkers. This trip is repetitious and can be used to gathera great wealth of information. Your morning commute will have you analyzea 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 chainlink fence that once had a large line of bushes growing beside it. Some arestill there, but several were chopped down—I have not been able to discernwhy. The interesting part is that what was left was a pegboard of stumps thathad grown through, in and around the chain link fence. It is a horizontalnet that has caught a school of logs. I have used these suspended logs toillustrate 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 highlightedintersection of two disparate forms. It is the meeting point betweendisciplines and how that fusion of thought may remain as the strongestmarker—even after the components are gone. It also speaks of collaborationand commonality. Smell the roses. What do you see in the clouds?An early diagram of the disciplines represented in the College of Designshows a tree branching out from a common foundation. Its branchesintertwine and intersect. The College has established a Ph.D. program andis planning programs in Design Studies and Animation. With the existingareas of study, these new programs greatly increase the opportunity fornew ideas and collaboration. This stop on my way to work continuouslyreminds me of these meaningful intersections.BUILD A SUPER COMPUTER: Your super computer will blow all othersaway! My first super computer was built at the North American Headquartersof Philips/Magnavox in the fall of 1993. It was composed of several papermailing tubes with a fine array of textures, a miniature cow bell, a fewcardboard boxes, a rectangular magnifying lens, and the name plate froma vintage Frigidaire refrigerator for cooling purposes—I needed to keep thesystem cool or the whole cubicle would most certainly have gone up in smoke.Your super computer will stave off any angst caused by a fulfillingcareer delayed. The super computer will keep your mind fresh when yourprojects do not. Those who visit you will ask what that pile of junk is andyou will tell them with a strait face that it is your super computer, smileand say nothing more.Your super computer will need constant upgrades and may grow to ascale beyond the patch of real estate that you have been assigned. That isthe case with my current super computer. Many of the hard drives are attheir limit even with periodic optimization. They are filled with a steadilygrowing 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 studentsfear will fail some day and crush me under a mound of weather-wornpaper and stainless steel.No matter how busy you are, no matter how difficult the day, you mustmaintain your super computer. It is what keeps you going. I have at timesquestioned the hours that it demands—I really should be doing somethingelse. Something more important—like my job. Or to be more specific, whydo I collect all these scraps of paper and spend hours rummaging throughbookstores, antique stores, junk sales, movie sets, and the like? Then thereare the hours of sorting, resorting, arranging, rearranging.At one point I swore off hoarding this flotsam and told myself thatthe NC State University and State of North Carolina surplus sales were offlimits. The super computer promptly crashed and I had no other choicethan to upgrade it. Your super computer is demanding, but it will keep youwell through your career.STRIVE TO BE AN EQUAL OPPORTUNITY CONNOISSEUR: Don’t bea design snob. Take the hulking octagonal end table that my folks won onThe Newlywed Game in 1967. I keep it, albeit at arms length, but appreciateit because it forces me to look beyond aesthetics to contemplate the fullrange of meanings and interrelations an artifact may possess.I am reminded of these inter-relations and interpretations every day asthe direct view from my front porch is of a vintage mobile home suspendedon blocks. It takes surprisingly little to see a spare, elegant, modern geometrycantilevered gracefully between the pines. There is no need to erase thisfrom sight. It is a poster of economic form and economic reality worthreview—worth new eyes and possibilities.SPEAK UP AND SPEAK OUT: Share your design opinions openly.You are being hired for your opinion. If you are not being hired for youropinion go somewhere else. Get over any shyness immediately. If youdo not get a three-month or six-month review then you have a greatopportunity to exercise your newly found volume. This is the point atwhich 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 creativedirector and principle of the firm called it the most beautiful work ofits kind. No more care had ever been put into such a design. The piecewell exceeded the brief, and anyone’s expectations. It was printed by thehundreds of thousands. I was pretty happy with myself thinking that thismaster work had the potential to subvert advertising from within and callinto question one’s very own eating habits. Maybe it would change lives forthe better. Just maybe some parents would wonder if they should let junioreat that Happy Meal. This was the best McDonald’s tray liner to grace theplanet. It met the goals of the client, a zoo seeking visitors; the sponsorand distributor, expressing community involvement; the ad agency, alsoexpressing community involvement; and me, the designer, hoping tostrategically subvert the fast food eating habits of parents in the four-stateregion between the age of 25 and 40 and their children by employing ablatant juxtaposition of a fine raw fruit and veggie diet preferred by severalwild animals with that of the super-processed cholesterol feast tucked inits formaldehyde-laden, Styrofoam container.Believe that there are no bad projects.KNOW THAT THERE ARE STINKING ROTTEN, ILL-CONCEIVEDPROJECTS: That is to say there are projects that are devoid of any meritwhich all known skills of empathy and imagination will not excuse. In thiscase, expend all necessary energy to explain that the best solution is todesign nothing. This is possibly the most proactive of all design solutions.PEOPLE ARE YOUR LIVELIHOOD: By all means don’t put thoughts intheir heads. You are great at analysis and evaluation of artifacts—houses,chairs, voting ballots, and the like. Do not make the mistake of transferringthese talents to the private thoughts and motives of another. Your ability tomaster form is a mere fraction of the equation when put next to the abilityto 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, butnever, never, never allow any of these people to get between you and yourclient, 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 confusingthem with your super computer. This works every time.LIVE TO SURPRISE YOURSELF: Reinvent and renew yourselfcontinuously. It is the only way to gain perspective on where you have beenand what your capabilities are. Be patient with yourself and others—theymay be working on surprising you and themselves.And finally, WRITE A COMMENCEMENT ADDRESS: It is a gift toyourself. 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 severalmonths coming to grips with the task and examining your motives,successes, failures, and how to honestly step up to this podium and shareyour findings with others will you truly get the message and have theexperience that I wish for you today. There are few challenges that will fillyou 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 freshlook at the audience and put yourselves in the proper shoes—those of thespeaker—but I thought better of it. Better that you don’t know exactlywhat it looks like and what you might be in for. This bit of mystery willleave you sufficiently off balance and motivate you all the more to dredgeyour soul for untold days only to express a mere whisper of what youintended.I hope you will all strive to maintain the first sparks of excitement andengagement that you experienced early in your design studies, and thatyou will share this energy with all those you meet in the course of yourdesign endeavors. I trust you will all find an attentive audience.20 DESIGN INFLUENCE / SPRING 2005 COMMENCEMENT ADDRESS 21

C O L L E G E N E W SSTUDIO NEWSArt + Design to offer Summer Studios AbroadStudents will get the opportunity to study paintingabroad in the magical city of castles and fairytales— Prague, Czech Republic. Art + Design AdjunctFaculty Member Kathleen Rieder is the instructorfor this class. Additionally, an Art + Design SummerStudio in Ghana, West Africa, will run from May 18-June 18. Students complete projects stateside and attendan orientation session before traveling to Ghana.New Sponsored Architecture Studio: SacredSpace in a Monastic SettingProfessor Paul Tesar will lead a new sponsored studiothis spring called “Continuity and Change inArchitecture: Sacred Space in a Monastic Setting.”Dr. John Tector, associate dean for undergraduateNew Master’s Degree Program in Art + DesignBegins Fall 2005The College of Design is now in the process ofimplementing the new Master’s of Art + Designprogram, which will begin in the fall of 2005.There are two concentrations available for study.The Fibers and Surface Design concentrationis unique because the program lies in thecombination of digital technologies withtraditional hand processes in the conception andproduction of unique textiles. The Animationand Digital Imaging concentration will emphasizeeducating artists/designers to creatively andeffectively utilize digital technologies, whileintegrating traditional artistic practices. Thedeadline for application is February 1 each year.studies, is co-instructor. A bequest from the lateGeorge Smart, Sr., Raleigh architect and friend of theCollege of Design, provided financial support for thestudio. The studio project will focus on the design ofa small Benedictine Monastery and to specificallyprobe the nature of Sacred Space. Dean MarvinMalecha and School Director Tom Barrie will participatein studio instruction. Students will also takefield trips to Belmont Abbey and Mepkin Abbey.Graphic Design Begins New Sponsored StudioThe Graphic Design department is running a sponsoredstudio to redesign the university alumni magazine,NC State. Seniors and juniors will be workingunder the instruction of Visiting Lecturer MollyRenda, former designer of “DoubleTake” magazineFor more information about the Master’s of Art+ Design, contact Professor Susan Brandeis,Director of Graduate Programs for the Departmentof Art + Design, at susan_brandeis@ncsu.edu.Looking for talent?In July 2004, Amy Frisz was appointed as theCareer Counselor to the College of Design. Sheholds a Master of Science in Architecture aswell as a Master of Design, both earned at theUniversity of Cincinnati. Amy would like to makeour students aware of job opportunities that maysurface within your professional sphere. Pleaseforward formal job descriptions to her at amy_frisz@ncsu.edu. College of Design students havelots of talent; now Amy can help you find it.published by the Center for Documentary Studies.USA TODAY’s Managing Editor for Graphics andPhotography Richard Curtis (BPD 1972) will participatein studio reviews.Design for Active Living Sponsored StudioAn advanced, interdisciplinary studio was offeredwith the objective of making a contribution to theemerging field of design for active living for counteractingsedentary lifestyles and obesity. The studiowas conducted by Professors Robin Moore (LandscapeArchitecture), Frank Harmon (Architecture), andPercy Hooper (Industrial Design). Nilda Cosco(Natural Learning Initiative) was the educationalconsultant. Doctoral student, Evrim Demir, wasthe teaching assistant.Update on the Center for Universal DesignWhile federal funding for the Center for UniversalDesign has been discontinued, the College is pleasedto report that the continuation of important activitiesof the Center will be continuing in a new restructureddirection, which will be serving the publicthrough extension activities. As this new organizationdevelops, we will bring you more informationthrough Design Life, the College’s e-mail newsletter.If you do not currently receive Design Life and wouldlike to, please e-mail design@ncsu.edu to sign up.Drawing Class to be Offered in PragueFormer Associate Professor of Architecture BrianShawcroft and Industrial Design Department HeadBryan Laffitte are leading an alumni/friends group tripto Prague June 4-11 to teach drawing and sketching.Visit www.design.ncsu.edu/cont-ed/ for details.Graphic Design Students Design ChancellorInstallation IdentityUnder the direction of Graphic Design DepartmentChair Denise Gonzales Crisp, a team of students ledby senior Forrest Causby have designed printedmaterials and collateral for the installation of NCState’s 13th Chancellor James L. Oblinger. Otherdesigners on the team are Mia Blume (senior),Caroline Madigan, Britt Hayes, Candace Powell,and Colleen Simon.The Design Guild held its second annual fallevent Friday, October 22, from 3:30 to 6 p.m.Design Guild members and their guests wereinvited to a 3:30 p.m. presentation by students in theinterdisciplinary studio Active Living by Design,demonstrations of the latest technology used inteaching (laser cutter, rapid prototyper, digital loomand multimedia lab) and a College update andreception sponsored by Michael Cole of ColeJenest& Stone that began at 5 p.m. in the rotunda.Above: Design Guild event attendees uniquelycelebrate Marvin Malecha’s reappointment as Dean.Professor of Architecture Robert “Bob” Burns to RetireRobert Paschal Burns is a native of Roxboro, N.C., and attended WakeForest College and North Carolina State University where he receivedthe Bachelor of Architecture degree in 1957. In that same year, hewon the 44th Paris Prize in Architecture, which permitted him tostudy at the Ecole des Beaux Arts in Paris and to travel in Europe fora year. In 1961 he entered the Massachusetts Institute of Technologyand received his Master of Architecture degree a year later.After several years working as an architect in Cambridge, contributinghis talents to such projects as the MIT Student Center and theJuilliard School of Music in New York, he returned to Raleigh to jointhe faculty of the School of Design at NC State. He was promoted to fullProfessor 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 Designbecame the College of Design in 2000, the Architecture Department was reorganized as the School ofArchitecture. 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 architecturaldesign work and his academic contributions. He directed a statewide study of North Carolina courtfacilities 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 judicialfacilities since that time, and the study as a whole served as a model for similar studies in other states. In1979, 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 AmericanInstitute 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 inrecognition of his achievements in the field of architecture and his “genuine interest in contributing tothe education of students and to the improvement of architecture.”Most recently, Burns was presented a 2003 Gertrude S. Carraway Award of Merit by Preservation NorthCarolina for his work to save the Kamphoefner House. Burns was instrumental in reviving The StudentPublication and served as faculty advisor for Volume 30. In 2004, Burns received the AIA North Carolina’sDietrick Medal for performing extraordinary service to the chapter, the profession and community.Although Burns will retire from the classroom in the spring, he will continue as managing architectfor the Pavilion for the Court of North Carolina donated to NC State by Eduardo Catalano.22 DESIGN INFLUENCE / SPRING 2005 COLLEGE NEWS 23

NOTESA L U M N I / F R I E N D SJessica Thomas Capps (BAD 2000), who designsand produces Jessica Thomas Jewelry in Raleigh,was featured in The News & Observer on September13, 2004. She was awarded the designation of JACertified Bench Jeweler Technician. She earnedthe designation after receiving a diploma fromRevere Academy of Jewelry Arts in San Francisco.She is only the third jeweler in North Carolina toreceive this distinction.William Griffin Jr. (BADN 2000) participated inthe Student Documentary Festival at Duke Universityduring November 2004. The documentary festival,hosted by the campus group Duke Students of theWorld, showcased works of film, photography,oral history, and writing from both Duke andUNC students. It was an all-afternoon event,with film screenings, student and guest panels,and photography exhibits. Griffin has been acontinuing studies student at Duke since the fallof 2000 and is currently working toward earningthe certificate in documentary studies from theCenter for Documentary Studies at Duke, anadult educational option.Aly Khalifa (BEDN 1990) and Beth Khalifa gave aweeklong series of lectures and workshops in lateDecember to discuss creativity and professionaldevelopment in product and graphic design. Ownersof Gamil Design, and the founding members ofDesignbox, the Khalifas visited with numerousdesign classes in Education City at the satellitecampus of Virginia Commonwealth Universitylocated in Doha, Qatar. Their visit concludedwith a public lecture on the future of professionalcreativity and the rise of the creative consortium.Tim Kirkland (BGD 1990) has first narrative film,Loggerheads, accepted at the 2005 Sundance FilmFestival in the dramatic competition. After completinghis undergraduate degree in graphic design at NCState, Kirkland received master’s in film at theSchool of Visual Arts and works for Miramax as agraphic designer in New York (he does the largetheatre marquis posters for Miramax films accordingto Meredith Davis.)Lee Nichols Clark Patterson announces a companyname change to Clark Patterson Associates DesignProfessionals. The firm will continue to providefull service in-house architecture and engineeringwith 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 amember of the Board of Directors.Ramona Lewis (M.Arch. 1995) was invited to participatein an art exhibition on Social Justice at PeaceCollege. The show featured several local and internationalartists whose work emphasized social responsibility.Her work (pictured, above) was a digitalphotographic of the people and culture in Ghana WestAfrica. Lope Max Díaz also had a piece in the show(see faculty notes). Lewis is participating in a fivewomanshow called “Submergence” at MoonshadowGallery in Cary from January 15 - March 15, 2005.J. Mack Little (MLAR 1974) and Susan P. Little(MLAR 1974) of Little & Little, Landscape Architectsrecently received a Triangle Access Award for theirachievements in removing architectural barriersat Pullen Park, NC State University, and ChristEpiscopal Church. The awards, presented annuallyby the Alliance for Disability Advocates and theCenter for Independent Living, recognize people,businesses and organizations in the Triangle areawhose awareness and actions have created accessibilityand inclusion for people of all ages and abilities.Guy Marshall (BPD 1990) was featured in The News& Observer on December 6, 2004, for his contributionsas creative director for Frye Boots. Marshallsays in the article his greatest contribution was to“take the heritage and repackage that look withoutcompromising the history and heritage of the brand.”Elizabeth Lundberg Morisette’s (BEDN 1994)new work was featured in the January-February issueof STEP Inside Designmagazine. Her series ofweavings using collectionspurchased on eBay will bein several venues this yearincluding the Abington ArtCenter in Jennkinstown, Penn., Glenview MansionArt Gallery in Rockville, Md., Gaithersburg andThe Hoyt Institute for Art in New Castle, Penn.“Bee’s Knees” (pictured, left) was featured in theAbington Art Center and “Puzzle Piece” (above)was featured in the Gaithersburg Art Barn Show.More information about her work can be found athttp://home.comcast.net/~rugworks/.George Roushakes, RA (BEDA 1992; M.Arch.1995) is included in a book titled The Home HouseProject released on MIT press, including workof his solo effort, Pulse3am. The book featuresprojects in the realm of future affordable housing.Carol Wilson (BEDA 1976; M.Arch. 1978), of CarolA.Wilson Architect in Falmouth, Maine, receiveda 2004 Honor Award for Excellence from AIA NewEngland for her design of a Writer’s Studio in Mt.Desert Island, Maine.Carrie Winecoff (BGD 2003) recently wrote inabout her move to Seattle in August to start her yearof service with Americorps. She began work for anon-profit called City Year. She is one of 40 peoplefrom all different kinds of backgrounds, from ages17-24. They are learning how hard it is to work withsuch a diverse wealth of experience. She says theservice experience is wonderful. Winecoff is workingat B.F. Day Elementary School in Fremont, Wash.She and her team members tutor children duringthe day. One of her “graduation requirements” wasto give a workshop. She presented a workshop onMultiple Intelligences, based on Gardener’s SevenKinds of Smart that she read while in a class withMeredith Davis.In MemoriamMarian Scott MoffettMarian Scott Moffett, Professor ofArchitectural History and Theory at TheUniversity of Tennessee, died September26, 2004, at University Hospital. Dr. Moffettwas born June 6, 1949, in Johnson City,Tennessee. She received the Bachelor ofArchitecture degree from North CarolinaState University in 1971 and the Master ofArchitecture and Ph.D. in Architecture fromthe Massachusetts Institute of Technologyin 1973 and 1975. She is survived by herhusband, Kenneth M. Moffett (BArch 1969)of Knoxville and daughter Alison E. Moffettand her husband, Chris L. Cornish, ofLondon, England. She joined the facultyof the University of Tennessee in 1975.Dr. Moffett’s professional work took herfrom study of the cantilevered barns of EastTennessee to the wooden architecture ofPoland. She recently published a majorwork, Buildings Across Time: An Introductionto World Architecture written with twoco-authors.Dr. Moffett was an active participantin University governance, having servedas an Associate to the Vice Chancellorfor Academic Affairs from 1993 to 1999,Associate Provost from 2000 to 2001, andAssociate Dean in the College of Architectureand Design in 2003 and 2004. She servedas President of the Faculty Senate in1985-1986 and offered tireless service onmany University committees. She receivednumerous awards from the University,including the Chancellor’s Citation forExtraordinary Service to the University.William Franklin Freeman, Jr.William F. Freeman, Jr., an architect and nativeof High Point, North Carolina, died Friday, January21, 2005. He was 78 years old. He was married tothe late Beverly Hancock Freeman for 53 years.After graduating from High Point HighSchool in 1943, he attended North Carolina StateUniversity before serving one year in the U.S. ArmyAir Force during World II. In 1946, he returnedto N.C. State, and in 1948 he graduated with aBachelor of Architectural Engineering degree.As a licensed registered architect formore than 50 years, Freeman was a memberof the American Institute of Architects,he was affiliated with the North CarolinaChapter as a Past Director, and he served onits AIA-Associated General Contractors JointCommittee. He was a member, Director, and PastPresident of the Piedmont Section of the NorthCarolina Chapter of the AIA.During his career he was employed byVoorhees and Everhart, Architects in HighPoint, North Carolina and William HenleyDeitrich, AIA of Raleigh North Carolina. In1950 he accepted a position with G. MiltonSmall, AIA-Architects, also of Raleigh, NorthCarolina. In 1952, he joined his father, aConsulting Civil Engineer, to begin a generalpractice 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 notableprojects include the Southern FurnitureExposition Building in High Point; the MasterPlan for Bald Head Island; the GreensboroCountry Club; Westchester Academy; MarketSquare in High Point, N.C.; and GrandfatherMountain Golf and Country Club. In addition,Freeman was active in numerous civic andsocial organizations.24 DESIGN INFLUENCE / SPRING 2005 ALUMNI/FRIENDS NOTES 25

NOTESS T U D E N T SMarshall Dunlap, Jr. Receives Dean’s Awardat Fall CommencementIn addition to graduating with a Master’s inArchitecture in December, Marshall Dunlap, Jr.was recognized with the Dean’s Award at fallcommencement held December 15, 2004. DeanMarvin J. Malecha presented Dunlap with theaward during the College’s graduation ceremonyheld in Stewart Theatre.According to Professor Bob Burns, “Marshallis that rare person who has never met anotherperson he didn’t like or that assuredly did notlike him. He is optimistic, outgoing and eager toengage new ideas and opportunities.”Pictured (L-R, above) at the fall commencementreception are Marshall Dunlap, Jr. holding his newson (Willi) with his father William Dunlap.While a student in landscape architecture, HansHeselein received a University research grant tostudy issues regarding inclusion of gardening andhorticulture work in prison programs as rehabilitationeducational elements under the supervision ofAchva Benzinberg Stein. Heselein found that PenderCorrectional Institution, located in Burgaw, N.C.,has an exemplary therapeutic rehabilitation programdesigned to address the needs of mentally retardedinmates. While providing developmentally disabledinmates with practical skills, useful in post-releasejob acquisition, the central purpose of this programis to allow for the application of therapeutic interactionwith therapists/teachers. Heselein feels furtherresearch needs to be done and more programsshould be adopted in North Carolina prisons tohelp inmates live healthy, independent lives andbecome law-abiding citizens.Graduate student Allen Nelson and Bryan Laffitte,industrial design, received an $8,000 researchgrant from NC State to fund research for Nelson’sMID thesis on “Biofuel Compatible Diesel-PoweredEquipment for Residential/Consumer Use.” Nelsonwill work closely with the NC State Solar Centerstaff who are interested in biofuels, as well asother people within the University who haveinterest/expertise in this area.The purpose of this project is to design smallengine diesel power equipment for consumer/residential use that have the ability to run on arange of fuels including clean-burning, domesticand renewable biofuels. With this project, thetraditional Industrial Design focus of creatingfunctional, ergonomic and aesthetically attractiveproducts will have the secondary purpose ofraising the awareness of domestic biofuels to theAmerican consumer.Art + Design Senior Jennifer Van Orden (whograduated on December 15) had her 12-foot metaltree (photo on cover) unveiled in front of the BTICenter in downtown Raleigh. Artsplosure approachedVan Orden about crafting the tree after learning abouther bumble bee installation earlier this year. The treewill become part of the First Night Celebration.More photos can be seen at jvodesigns.com.The College of Design was recognized with its fifthCollege Performance Award at Freshman HonorsConvocation in the past five years. First-year AfricanAmerican, Native American and Hispanic studentsat NC State are identified for academic achievementduring their first year. Design students recognizedat the January 25, 2005, event were Nicole Alvarez,Maxwell Dorsey, Rhonda Lewis, Jordania Moore,Edward Daryn Paschall and Lauren Smith.In October, three of Kathleen Reider’s DF101Design Fundamentals students participated inthe Raleigh Street Painting Festival in downtownRaleigh at the BTI Center. The event was sponsoredby the Visual Art Exchange. Students participatingwere Justin Leblanc, Katelyn Baird andStephanie Greene. Justin Leblanc (pictured,opposite page, bottom right) won Best in Showfor Design and a $500.00 prize.Masonry Design Competition held in OctoberThe annual Masonry Design Competition Jurywas held October 14 in the West Gilbert Gallery inBrooks Hall. Susan Cannon (Cannon Architects)and Doug Bennett (Whitman Masonry) served asjurors. Pat Rand is the instructor. Pictured aboveare, Juror Susan Cannon, first-place winnersEmily Schneider, Courtney Sowa, NicholasWade, Juror Doug Bennett, and Professor PatRand.Each year more than $3,000 in scholarshipsand tools are contributed by the NC MasonContractors Association toward this project. LynnNash, Executive Vice President of NCMCA waspresent for the award presentations.The project emphasized innovation andskillful resolution of contemporary masonryconstruction. The vehicle project was ahypothetical office and showroom for TheMasonry Society, located on an urban infill sitesuch as Fayetteville Street Mall.The work was on display as a mini-exhibitduring Open House.Holden Beach, North CarolinaThe Department of Landscape Architecture held its annual design charrette in Holden Beach, NorthCarolina, October 21-23, 2004. Holden Beach requested that the department provide conceptualdesign ideas addressing several key issues including: 1) the need for alternative visions for the townscommercial area, conceived by the community as a future town center, 2) alternative uses andpedestrian linkages to several marsh and natural areas, and 3) the need to improve the visibilityand use of beach access points. For the first time, NC State University collaborated with faculty andstudents from NC A&T State University, as well as Cooperative Extension agents to provide a diverseand dynamic team.Holden Beach is located on a barrier island in Brunswick County. Barrier islands form NorthCarolina’s outer banks and are home to unique dune and maritime forest environments. Humansettlement on Holden Beach dates back to the Revolutionary and Civil Wars. More recently, it hastransformed 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 producedmany challenges. Holden Beach has a year-round population of 800, but swells to 15,000 in the peakof the summer season. This fluctuation produces many challenges requiring design input.Over an intense three-day period, faculty and students conducted discussions with communitystakeholders and focus groups. After collecting community input, student-led teams were assembledand they began their design process. Students used inventory and site analysis undertaken and designswere formulated. GIS mapping and internet resources were used to study the island.The final presentation waswell attended and well receivedby charrette participants, arearesidents, city commissioners,and local business owners. Oneattendee was Dr. Mike Davis,Assistant Vice-Chancellor forExtension and Engagement at NCState University. Dr. Davis wasvery impressed by the collectiveeffort, citing in a letter to theCollege of Design that the charretteis as a “model of an engagedinstitution,” and speculated thatwe will see “positive spin offs fromthis effort.”Five faculty from NC Stateattended: Achva Stein, DavidStein, Kofi Boone, FernandoMagallanes and Julie Sherk alongwith 30 undergraduate andgraduate students.26 DESIGN INFLUENCE / SPRING 2005 STUDENT NOTES 27

NOTESF A C U L T Y / S T A F FCatherine Bishir, adjunct professor inarchitecture, has received with co-author MichaelSouthern, a national Award of Merit from theAmerican Association for State and LocalHistory for the series of architectural books onNorth Carolina, published by the University ofNorth Carolina Press. All three books are in theLyons Design Library: A Guide to the HistoricArchitecture of Eastern North Carolina, A Guideto the Historic Architecture of Western NorthCarolina, and A Guide to the Historic Architectureof Piedmont North Carolina. Bishir has justpublished The Bellamy Mansion, Wilmington,North Carolina: An Antebellum ArchitecturalTreasure and Its People.Gail Peter Borden, architecture, has beenselected for an invited competition to designa garden pavilion at the Philbrook Museum ofArt in Tulsa, Oklahoma. The jurors selectedfrom emerging architects around the globe toparticipate in the construction of an exhibitionof four garden pavilions that celebrate the “next”generation of design. The competition entries willbe open to the public in April 2005.Additionally, Borden displays his work in anexhibition titled “[X]perience Mechanisms” inthe Brooks Hall Gallery from February 6 throughMarch 11, 2005.Susan Brandeis, art + design, was visiting artistin the Art Department at Indiana University(Bloomington) during the last week in October. Shegave a workshop for fibers students on machineembroidery and a lecture for the department titled:“Post-Digital Textiles: Rediscovering the Hand.”Brandeis is also one of seven artists from theU.S. and Canada featured in an exhibit of wovenand printed textiles titled “Hypertextiles,” at theIndiana University School of Fine Arts Galleryfrom 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 fromJanuary 11 through March 26, 2005. The exhibitionwill be open during the College Art AssociationConference in February.Tony Brock, graphic design, is currently workingon a Learning in a Technology Rich Environmentgrant focusing his research on synthesizing faceto-facevirtual studios.Timothy Buie, industrial design, and AppalachianState University ID Assistant Professor and AlumnusBanks Talley (MID 2002) visited each other’s studiosduring the fall semester. Pictured below, Buie (farright) visited Talley’s studio at Appalachian State onNovember 2, 2004, to make a slide presentation andinteract with students. Appalachian has a relativelynew industrial design program. Pictured below,Talley (foreground) returned the favor on December3, 2004, when he returned to his alma mater toserve as guest jurist in Buie’s ID 201 MarionetteProject. Talley is pictured with Jeff Poon.The Third Edition of Precedents in Architecture byRoger Clark, architecture, and Michael Pause,art + design, is now printed and available. Thepublication provides a vocabulary for architecturalanalysis that illuminates the works of leading architectsand aids architects and designers in creatingtheir own designs.Roger Clark, Frank Harmon and Gail PeterBorden, architecture, served on the design jury forthe Chesapeake Bay AIA Honor Awards Programin October. Part-time faculty Jeffrey Lee, SusanCannon, and Phil Szostak also served on the jury.Denise Gonzales Crisp, graphic design, is featuredin a book by Stefan G. Bucher titled All Access: TheMaking of Thirty Extraordinary Graphic Designers(Rockport Publishers, 2004).Crisp was an invited speaker at GraficEurope,Oct. 14-16, 2004. Both Crisp and Meredith Davishave accepted an invitation to be on the editorialboard 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 Teachingand Learning through Inquiry: A Guidebook forInstitutions and Instructors, edited by Virginia S. Lee.Stylus Publishing published the book in September.Lope Max Díaz, art + design, was invited to be solejuror for the Carol Woods Retirement Communityresidents 2004 Annual Art Exhibition in Chapel Hill,N.C., on December 3, 2004. He reviewed the artworksubmitted for the art show, granted awards, and gavea brief talk on his award selections as well as on theshow in general. Díaz was also invited to participatein an art exhibition called “Social Justice” heldat Peace College in Raleigh, N.C. from September27 -November 5, 2004. An exhibition of his worktitled “Lope Max Díaz/Recent Paintings 2004”was on display at Galeria Botello, Hato Rey, PuertoRico, from October 21 - November 14, 2004.Jeremy Ficca, architecture, presented a researchpaper on recent work at the ACSA northeastconference held Oct. 28-31 at Syracuse University’sSchool of Architecture; he exhibited design worktitled “Performative Surfaces and Skins” at theACADIA/AIA conference held Nov. 8-14 in Toronto/Cambridge, Ontario, Canada; and Ficca and GailPeter Borden presented at ArchEx (formerly BuildVirginia) on the topics of digital representationand fabrication on Nov. 10 in Richmond.Frank Harmon, architecture, recently had hiswork included in Business Week as one of “TenProjects that Illustrate How Good Design AchievesBusiness Objectives are Recognized with a 2004Business Week/Architectural Record Award” inthe November 1, 2004, edition. Harmon’s awardwinningPenland School of Arts project wasrecognized. 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 akeynote address at the Industrial Designers Societyof America Educators Conference in Pasadena,California, October 25, 2004. The title of Hooper’spresentation was “Finding ID Education Fundingin a Culture that Does Not Seek Grants.”Charles Joyner, art + design, was included amongthe 75 artists participating in the “Art on Paper 2004”exhibition held November 14, 2004, – January 23,2005, at the Witherspoon Gallery at UNCG inGreensboro. 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 IndustrialDesign Summit, held October 18-21 in Wuxi, in theprovince of Jiangsu. The conference was the largestdesign event in China’s history. The theme of theconference was Innovation, Exchange andDevelopment of Design in China, and convened theworld’s most influential designers, design firms andorganizations, as well as academic institutions inbuilding a more cooperative global design community.Glenn E. Lewis, IDSA, industrial design, has beenselected to serve on the Licensure Team for Nonpublicpost-secondary educational institutions to conductdegree activity in North Carolina. The LicensureTeam serves the Board of Governors of the Universityof North Carolina and is administered through theoffice of the President for Academic Affairs, Officeof the President of UNC. Lewis also has beenawarded a third travel grant in the amount of$1,000 from the NCSU Africa Project, administeredthrough the Africana Studies Program. His workis focused on providing Ghanaian artisans accessto computer graphics in their design process,establishing a multimedia lab for computergraphics and 3-D modeling, and encouragingcollaborative relationships to assist artisans inresponding to a changing western market.A Randallstown, Md., steering committee that hostedan Urban Design Assistance Team has received theChapter Community Initiative Award from theMaryland Chapter of the American PlanningAssociation. The team was chaired by FernandoMagallanes, landscape architecture, and wasrecognized at an APA awards ceremony during theWorld Town Planning Day on November 8 inBaltimore. The team, which consisted of 12 professionalsdrawn from the design disciplines, alsoincluded two NC State College of Design landscapearchitecture students, Jesse Turner and JoelOsgood. Peter Batchelor, FAIA, FAICP, architecture,managed the Randallstown team and hasbeen involved as manager, chairman, or participantfor 19 teams throughout the United States since 1970.Marvin Malecha, dean, has been appointed to athree-year term on the Board of the American Instituteof Architects (AIA). He also serves as the AIA’sSoutheastern Region director, which includes NorthCarolina, South Carolina and Georgia. Additionally,the editors of the journal DesignIntelligence recentlyranked Malecha second on its national list of “30Leaders Who Bridge Practice, Education.” The 30“role models” were selected based on nominationsfrom architecture firms in the United States.Lee-Anne Milburn, landscape architecture, joinedthe college in January as an assistant professor.Prior to coming to NC State, she taught at MississippiState University. Milburn holds degrees in Fine28 DESIGN INFLUENCE / SPRING 2005 FACULTY/STAFF NOTES 29

Natural Learning Initiative UpdateProfessor of Landscape Architectureand Director of the Natural LearningInitiative Robin Moore and EducationalSpecialist Nilda Cosco were mentionedin “A Chip Off the Old Park,” article thatappeared in The New York Times Sept.30, 2004. The article was referring tothe opening of the new Teardrop Park atBattery Park City in New York on whichthe Natural Learning Initiative served aspart of the design team.Moore and Cosco were invited toparticipate in Open Space: PeopleSpace, an international conference oninclusive outdoor environments, heldin Edinburgh, UK, Oct. 27-29, 2004.Cosco presented the Plenary Sessiontitled “Environmental Interventions forHealthy Development of Young Childrenin the Outdoors.” Moore, director ofNLI, presented a paper titled “UrbanChildhood Outdoors: Retrospect andProspect for Evidence-Based Practiceand Action Research on a Critical Issueof our Time.” Both Cosco and Mooreled a workshop, “Evaluating UniversalOutdoor Design: Kids Together Park PostOccupancy Evaluation.”The pair also taught an intensivefour-day course on children and theenvironment for the master programin child development at the Schoolof Human Kinetics, TechnologicalUniversity of Lisbon, Portugal, heldNovember 22-26, 2005.Arts and Landscape Architecture. In 2004,Milburn won the national award for researchin landscape architecture in Canada and wasnominated for an Award of Excellence for herwork with professional landscape architects.Her current research examines the relationshipbetween research and practice in the profession.Vita Plume, art + design, had work on displayat Artspace, in downtown Raleigh, in the juriedexhibition “Fine Contemporary Craft” on viewfrom November 20 - January 15, 2005. SandraBlain, a professor of ceramics at the Universityof Tennessee, juried the national exhibition andselected 57 pieces from 297 entries. NCSU alumniwhose work is also in the show are: GeorgiaSpringer, Peg Gignoux, and Jeana Klein.Following the success that Dana Raymond,art + design, and his sculpture studio class hadwith a public art installation in Knightdale lastyear, the Garner Arts Association is sponsoring asimilar project in Garner. The artwork has beencommissioned as Garner’s first public sculpturesin honor of the town’s 100th anniversary. The artis scheduled to be unveiled in April.Wendy Redfield, architecture, has an articletitled “The Suppressed Site: Revealing theInfluence of Site on Two Purist Works,” in the newbook Site Matters: Design Concepts, Histories andStrategies edited by Carol Burns and Andrea Kahn(Rutledge Press). A release party was held at TheVan Alen Institute in New York in February, 2005.Molly Renda, visiting lecturer in graphic design,won first place in the Scholarly and Reference divisionfor design and production in the 19th annualNew York Book Show for her work designingthe interior of Rarest of the Rare, Stories Behindthe Treasures at the Harvard Museum of NaturalHistory published by HarperCollins Resource.Renda is currently teaching the Graphic Designsponsored studio focusing on the redesign of NCState alumni magazine.Multiple Perspectives, an installation (on the backcover) by Kathleen Rieder, art + design, opened atMeredith College’s Frankie G. Weems Art Galleryon November 7 and ran through December 12,2004. A gallery talk and opening reception washeld on Sunday, Nov. 7 in the Gallery.Henry Sanoff, Professor Emeritus of Architecture,won a Reviewer Recognition Award from the fifthannual international DesignShare Awards program,co-sponsored by School Construction News and theC/S Group. The Laguna Child and Family DevelopmentCenter designed by Henry Sanoff received a designaward. Sanoff also served as keynote speaker atthe 6th International Conference for Environment-Behavior Studies School of Architecture, TianjinUniversity held in Tianjin, China, October 22-25,2004. Sanoff’s presentation was titled “Cross-Cultural Methods of Community Participation.”Jay Tomlinson, extension and engagement, is workingwith the Town of Broadway, N.C., and graduatestudents to upgrade the appearance of the townand to plan a means to attract new business to thedowntown area. Workshops were held in the fallwith plans to hold two more meetings this springto start developing a plan for revitalization. Theproject has been featured in The Sanford Herald.The College’s Center for Universal Design as wellas its Director of Design Leslie Young were among21 individuals and organizations who received 2004Ron Mace Designing for the 21st Century Awards.Adaptive Environments, a Boston-based, internationalnonprofit organization dedicated toresearching, gathering and promoting the mostcurrent ideas and information on Human-CenteredDesign worldwide, presented the awards.ACSA Award WinnersAssistant Professors of Architecture GailPeter Borden and Jeremy Ficca both receivedone of five national faculty design awardsfrom the Association of Collegiate Schools ofArchitecture (ACSA).Borden won for his research into affordablesingle-family housing called “20 propositionsfor suburban living.” Borden’s award-winningdesigns have been featured in several publications.An exhibition by Gail Peter Borden,[X]perience Mechanisms, will be held inBrooks Hall Gallery from February 6 throughMarch 12, 2005.Ficca won for his research, “PerformativeSurfaces” which investigates plywood andmdf surfaces that respond to their changingprogrammatic and environmental conditions.In addition, Borden received the ACSA/AIASNew Faculty Teaching Award.An awards ceremony will be held at the ACSANational Convention held in Chicago inMarch 2005.Top: Gail Peter Borden’s “20 propositions forsuburban living”Bottom: Jeremy Ficca’s “Performative Surfaces”shows bendable light-defusing surface.30 DESIGN INFLUENCE / SPRING 2005 FACULTY/STAFF NOTES 31

D E S I G N G U I L DDesign Guild is an association of alumni,friends, design professionals and industryleaders established in 1996 to promote designeducation at the NC State University Collegeof Design through private contributionsand gifts.For information on how to join the DesignGuild, please contact the Office of ExternalRelations at 919/515-8313.Design Guild Board of DirectorsCharles H. Boney, Jr., LS3P/Boney, PresidentFred Adams, Jr., Adams Paving CompanyDavid Burney, AIGA, Red HatH. Clymer Cease, Jr., AIA, Pearce Brinkley Cease+ Lee PAMichael S. Cole, ASLA, ColeJenest & Stone PATuran Duda, AIA, Duda/Paine Architects, LLPPhilip G. Freelon, FAIA, The Freelon Group Inc.Mary C. Humphrey, Humphrey Creative CompanyW.G. “Bill” Monroe III, AIA, WGM Design Inc.Monty Montague, IDSA, BOLTFrank D. Thompson, AV Metro, Inc.Frank J. Werner, Adams Products CompanyDean’s Circle ($5,000)Richard A. Curtis, USA TODAYBenefactor ($2,500)Adams Products Company,Frank J. WernerGeorgia/Carolinas PCICharles H. Moretz, Jr.Partner ($1,000)AV Metro, Frank D. ThompsonBMS Architects PC,Herbert P. McKim, Sr.LS3P/Boney, Charles H. Boney, Jr.Louis W. CherryColeJenest & Stone PA,Michael S. ColeCroxton Collaborative Architects,P.C., Randy CroxtonDuda/Paine Architects LLP,Turan DudaEmpire Properties LLC,Greg HatemFentress Bradburn,Curt FentressThe Freelon Group Inc,Philip G. FreelonRichard J. GreenMary C. Humphrey,Humphrey Creative CompanyLandis Inc, Barrett L. KaysMarvin J. and Cindy MalechaDavid L. MayfieldEugene R. MontezinosMoseley Architects,Douglas D. WestmorelandCharles A. Musser JrWilliam Lee O’Brien Jr.O’Brien Atkins Associates PA,John L. Atkins IIIPearce Brinkley Cease + Lee PA,H. Clymer Cease Jr.Skinner, Lamm & Highsmith, PA,William T. HighsmithPatricia M. TectorMichael A. WeeksWGM Design Inc.,W. G. “Bill” Monroe IIIAssociate ($500)Carla C. AbramczykMark P. AshnessKaren Ireland KoestnerGantt Huberman Architects,Jeffrey A. HubermanPolly R. HawkinsLuanne P. HowardAlyn J. Janis Jr.Chris JordanCharles R. Ladd Jr.The LSV PartnershipOdell Associates Inc,Marley CarrollDavid M. ReeseThe Sales FactoryBruce H. SchaferMartha ScotfordRodney L. SwinkFred M. TaylorIndividual ($250)Donald E. BasileBates & Masi Architects P.C.,Harry BatesDaniel Davis BayleyWilliam K. BayleyBCWHL. Franklin BostPaul H. FalkenburyScott GarnerDixon B. HannaDorothy M. HaynesWilliam B. HoodNathan C. IsleyElizabeth S. JoynerRichard E. KentW.C. McIntire IVJulie McLaurinLinda Perry MeeksFred G. Mills Sr.Monty MontagueRobert S. PetersonAlwyn H. Phillips IIIO. Earl Pope Jr.William F. PritchardChristopher C. RhyneSmall Kane Architects PAJ. Ray SparrowRaymond F. Stainback Jr.John O. TectorDavid W. TobiasCOLLEGE OF DESIGNFACULTY AND STAFFAngelo AbbateProfessor of Landscape ArchitectureCarla AbramczykDirector of Development,External RelationsDelsey AveryAdministrative Assistant,Research and ExtensionKermit BaileyAssociate Professor of Graphic DesignDr. Donald A. BarnesProfessor Emeritus of ArchitectureThomas BarrieDirector, School of ArchitectureProfessor of ArchitecturePeter BatchelorProfessor of ArchitectureBill BayleyDirector of Information TechnologyLaboratoryGeorgia BiziosProfessor of ArchitectureKofi BooneAssistant Professor of LandscapeArchitectureGail Peter BordenAssistant Professor of ArchitectureSusan BrandeisProfessor of Art + DesignTony BrockAssistant Professor of Graphic DesignRobert P. BurnsProfessor of ArchitecturePamela Christie-TabronAdministrative Secretary,Graduate StudiesRoger H. ClarkProfessor of ArchitectureArmand V. CookeProfessor Emeritus of Industrial DesignNilda CoscoEducational Specialist,Natural Learning InitiativeChandra CoxChair, Art + Design Department;Associate Professor of Art + DesignDenise Gonzales CrispChair, Graphic Design Department;Associate Professor of Graphic DesignMeredith DavisDirector, PhD ProgramsProfessor of Graphic DesignJim DeanManager, Materials Technology LabsKaren E. DeWittHead of Harrye B. Lyons Design LibraryLope Max DíazAssociate Professor of Art + DesignEd DriggersAccounting TechnicianRichard DuncanCoordinator of Training in UniversalDesign, Research and ExtensionCheryl EatmonAdministrative Secretary,Industrial Design and Graphic DesignJeremy FiccaAssistant Professor of ArchitecturePatrick FitzGeraldAssociate Professor of Art + DesignVincent M. FooteProfessor of Industrial DesignFrank HarmonAssociate Professor of ArchitectureDottie HaynesAssistant Dean for AdministrationPercy HooperAssociate Professor of Industrial DesignJoey JenkinsComputing Consultant,Information Technology LaboratoryBong-il JinAssociate Professor of Industrial DesignChris JordanDirector of Materials Laboratory andFacilitiesCharles JoynerProfessor of Art + DesignHaig KhachatoorianProfessor of Industrial DesignBryan LaffitteChair, Industrial Design Department;Associate Professor of Industrial DesignJack LancasterTechnician, Materials LaboratoryEd LeeComputing Consultant,Information Technology LaboratoryGlenn E. LewisProfessor of Industrial DesignJean Marie LivaudaisDirector of Professional Relations,External RelationsAustin LowreyProfessor Emeritus of Graphic DesignFernando MagallanesAssociate Professor of LandscapeArchitectureMarvin J. MalechaDean,Professor of ArchitectureJoe McCoyCoordinator of Network & HardwareServices, Information TechnologyLaboratorySherry McIntyreDirector of Communications,External RelationsClaude E. McKinneyProfessor Emeritus, DesignLee-Anne MilburnAssistant Professor of LandscapeArchitectureRobin C. MooreDirector, Natural Learning Initiative;Professor of Landscape ArchitectureMarva MotleyAssistant Dean for Student AffairsDr. Michael PauseDirector, Design Fundamentals Program;Professor of Art + DesignDr. J. Wayne PlaceProfessor of ArchitectureVita PlumeAssistant Professor of Art + DesignJ. Patrick RandAssociate Director, School ofArchitectureProfessor of ArchitectureDr. Cymbre RaubAssociate Professor of Art + DesignDr. Shishir RavalAssociate Professor of LandscapeArchitectureDana RaymondAssociate Professor of Art + DesignWendy RedfieldAssistant Professor of ArchitectureArthur C. RiceAssociate Dean for Graduate Studies,Research & ExtensionProfessor of Landscape Architecture;Holly RichardsStudent Services AssistantDr. Fatih RifkiProfessor of ArchitectureJackie RileyOffice Assistant, School of ArchitectureJackie RobertsonAdministrative Secretary,Academic AffairsMichael RodriguesBudget ManagerHenry SanoffProfessor Emeritus of ArchitectureDr. Kristen SchafferAssociate Professor of ArchitectureMartha ScotfordDirector, International Programs;Professor of Graphic DesignCarla SkuceExecutive Assistant to the DeanSharon SilcoxLibrary Assistant,Harrye B. Lyons Design LibraryStephanie StathamLibrary Assistant,Harrye B. Lyons Design LibraryAchva Benzinberg SteinChair, Landscape ArchitectureDepartment;Professor of Landscape ArchitectureDavid SteinPlanning Specialist, Research andExtensionRachel StinehelferVisual Resources Librarian,Harrye B. Lyons Design LibraryDr. Robert E. StipeProfessor Emeritus of LandscapeArchitectureWayne TaylorProfessor Emeritus of Art + DesignDr. John O. TectorAssociate Dean for UndergraduateStudies and Academic Support;Associate Professor of ArchitectureDr. Paul TesarProfessor of ArchitectureJames D. TomlinsonAssistant Dean for Research andExtensionSusan ToplikarAssociate Professor of Art + DesignScott TownsendAssociate Professor of Graphic DesignHazel TudorRegistrarKatie WalstonAccounting TechnicianRichard R. WilkinsonProfessor Emeritus, LandscapeArchitectureLeslie YoungUniversal Design Training Specialist,Research and Extension32 DESIGN INFLUENCE / SPRING 2005

NC State UniversityCOLLEGE OF DESIGNCampus Box 7701Raleigh, NC27695-7701CHANGE SERVICE REQUESTEDMultiple Perspectives, an installation by KathleenRieder, art + design, was held at Meredith College’sFrankie G. Weems Art Gallery from November 7-December 12, 2004.NONPROFIT ORGANIZATIONU.S. POSTAGEPAIDRALEIGH, NCPERMIT NO. 2353