2015–2016

Michael Zahn created this untitled piece for his Graduate Art thesis exhibition.

Contents

Art and Design for a Changing World: Art Center’s Graduate Leaders — 3

Graduate Studies — 15

Art — 16

Environmental Design — 26

Film — 36

Industrial Design — 46

Media Design Practices — 56

Transportation Systems and Design — 66

Graduate Admissions — 76

Academic Calendar — 83

Art Center at a Glance — 84

artcenter.edu/viewbook

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From business ventures to social justice, cultural research to experimental mediums, transportation systems to spatial experiences, Art Center’s renowned graduate programs offer designers and artists exceptional opportunities to create unique and personal career and life paths.

Art Center Provost Fred Fehlau recently invited leaders from the College’s six graduate programs—Art, Environmental Design, Film, Industrial Design, Media Design Practices, and Transportation Systems and Design—to offer their perspec-tives on the current state of their fields, and what it means for prospective graduate students.

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10 years—in your program and in the field—that makes graduate study at Art Center so relevant?

Today’s global systems of information, goods and power bring with them a stream of complex sociological questions and challenges. It’s not enough to say you’re preparing interaction and media designers for rapidly changing technological futures—the question is whose futures? To answer this question with depth and criticality, we recently restructured our curriculum into two distinct tracks—Lab and Field. Lab students prepare to work in the resource-rich cutting-edge science and tech domains—areas in which designers explore the cultural impact of new discoveries. Field students address hard-hitting social issues by moving between fieldwork abroad and our partner organizations’ headquarters, using design to challenge the conventions of international development. Our philosophy has always been that divergent perspectives can generate new thinking; the co-existence of these two tracks takes that one step further.

Graduate Art cultivates students working in mediums from the traditional to the wholly contemporary, and from many different artistic and intellectual backgrounds. This means our program both responds to and anticipates changes in the field. Two parallel developments in the last decade seem to define where we find ourselves today. On the one hand, there’s been a resurgence of interest in painting and sculpture; on the other, the Museum of Modern Art has started taking video games into its collection. At Art Center we have always had artists working in both the traditional arts and with the newest technologies.

The biggest change in the last decade is box office globaliza- tion. Foreign revenues now make up, on average, two-thirds of a film’s total revenue. Accordingly, great visual storytelling skills that transcend language and cultural boundaries have become highly valued. A graduate Film education at Art Center combines rigorous, individualized, hands-on classes covering all technical aspects of filmmaking, combined with a strong foundation in critical studies and an immer-sion in visual storytelling techniques. Entrepreneurialism,

Anne Burdick

Media Design Practices Chair

Ross LaManna

Film Chair

Jeremy Gilbert-Rolfe

Former Art Chair

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a cornerstone of our curriculum, is also essential for success in the contemporary entertainment industry. Our appren-tice filmmakers are treated like professionals, not students. Each student’s curriculum is tailored to best meet their needs based on their interests and experience. They create their own projects; they choose their crew; they own their negatives.

Everything about how we do business has changed: from the way we conceive ideas and build stories to the tools we use and how things are fabricated. The main changes are shifts towards brand-driven sensorial spatial design and industry-driven furniture and fixtures design. Our entering students tell us they searched far and wide and that we offered the only industry-focused program. Most students entering our Spatial Experience track come from architec-tural programs that still teach architecture as monument building. They see that the industry is changing to strong research-, narrative- and design strategy-driven projects. In our Furniture and Fixtures track, our students come from traditional furniture programs or product design programs that have only taught style-driven, singular-focused object design, but not total sensorial experience design.

Over the last 10 years we’ve seen unprecedented cultural changes amplified by the development of new technologies that have increased market competition and disrupted previously stable business models. As a result, organizations everywhere find themselves challenged to remain relevant to the communities they serve. They need to continuously reinvent themselves and redesign how they achieve their business goals by providing new value to customers whose needs and choices keep changing. These companies have a great need for creative professionals who have the ability to understand their unique issues from a systems view, design a successful way forward for their enterprise, and inspire others in the organization to work together to make it real. Our program is uniquely designed to prepare individuals to thrive in this role.

Andy Ogden

Industrial Design Chair

David Mocarski

Environmental Design Chair

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To create his graduate Film project, director Elran Ofir tapped skilled student talent for his crew including Aaron Shapiro (above) as director of photography.

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portive sector of the transportation field to Art Center—faces an uncertain future due to numerous factors, including: an emerging Chinese automotive industry poised to challenge U.S., European, Japanese and Korean companies; increasing public dissatisfaction with the car as a means of trans-portation; strong political, public and scientific pressure to reduce the environmental impact of automobiles; and rising interest in different solutions to urban mobility problems. Unfortunately, transportation designers are not at the forefront of conversations, initiatives or study groups for these issues—they’re usually delegated to making vehicular and transportation products “look beautiful.” There’s an urgent need for a new kind of transportation designer, one who understands that the real value of design stretches way beyond styling. This is what Transportation Systems and Design is all about.

Fehlau What are the most urgent questions students in your program are currently addressing?

While opportunities to find an audience for one’s work are expanding due to the proliferation of cable TV channels, online distribution platforms and micro-budget filmmaking, the economies of a career in entertainment have evolved drastically. It’s essential for film students to learn how to practically manage a gratifying, productive and financially sustainable life in show business. They can no longer focus their ambition and interest solely on one specific aspect of moviemaking, such as writing, editing or directing. Anyone interested in contributing creatively to the filmmaking process needs a deep overall understanding of the crafts, technologies and artistry of visual storytelling. Today, thanks to the new availability of inexpensive but professional-quality filmmaking, post-production and visual-effects tools, contemporary moviemakers have an unprecedented opportunity to take their creative ideas all the way from conception to distribution.

A major reason young designers seek a graduate education is that the world is changing at an alarming pace along with the creative skill sets necessary to stay relevant. For

LaManna

Mocarski

Geoff Wardle

Transportation Systems and Design Executive Director

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has become holistic. We draw from culture, not napkin sketches. In order to make an impact, designers need to understand the users they are designing for, the brand, materials and manufacturing. They need to understand pricing and business practices. They need to study current trends and historical influences in order to re-examine how we can interface with the future. Changes in the world have opened up more options to creatively interact with culture, but all these changes require more time and more thought—a depth beyond what most undergraduate programs offer.

Our graduate Transportation students are addressing the fundamental forces that shape the world of transportation to see where they can most effectively bring about real change. They’re seeing through the obvious manifestations of transportation—cars, trains, bike lanes—and asking the question: Why this? At the same time, they are learning how to understand the needs, aspirations and expectations of end users and all other stakeholders. They’re researching how designers can effect change by facilitating and leading cross-disciplinary collaboration. Transportation is too huge a field for designers to work in alone. Alone, our voice is not heard. Harnessing our creativity to lead progress through strategic big-picture thinking, empathizing with all the stakeholders in transportation, and facilitating meaningful collaboration among them is the future of the profession.

Wardle

Burdick

Fehlau What kinds of research and critical discourse within your discipline are producing new insights?

Through designing and writing, our core faculty participate in the lively debates of critical design, human-computer interaction, social innovation, architectural theory, anthro-pology, the digital humanities, design research and more. Ben Hooker and Tim Durfee are working on “The Metropolis of Me”—a way of understanding the city as social media. I just completed a book titled Digital_Humanities about design and knowledge in the networked age. Sean Donahue, who is also a visiting researcher at the Royal College of Art, works on the future of aging. Elizabeth Chin brings the

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critique of afrofuturism to speculative design with her “Laboratory of Speculative Ethnography.” And Phil van Allen’s “object animism” explores the Internet of Things. That’s just a sample—at the graduate level we continually expect our students, faculty and alumni to produce new insights.

Our program has always responded to social and cultural developments—Mike Kelley, for example, was one of our founding core faculty members—and has come to represent more contemporary approaches to the social, political and socio-anthropological. At the same time, our program’s strength lies in its diversity of approaches and mediums, and their messy relationships to one another. When our students engage with new mediums or technology, several outcomes are possible: they do something unexpected with the technology, including exhausting or breaking it; they create work that consciously or involuntarily imitates or embodies the medium’s visual qualities; or they explore or critique the effects the technology is having on both the shape and meaning of art as well as the larger world. In our program, we represent all these approaches.

Our students engage in research and critical discourse that prepares them to take on the kinds of complex and unstructured problems companies face today. We study the behavior of organizations and explore the dynamics of cross-disciplinary teams. We develop analytical and systematic methods adapted from the fields of business, future studies, systems dynamics, the humanities, sciences and technical fields and then combine them with the perceptual literacy, “making” skills and creative thought process inherent in the art and design fields. The result is an evolving methodology for illuminating important areas of opportunity across a broad range of products and services focused on unmet human needs and aspirations. We explore new methods to visualize and validate—complete with new business models—our ideas for a better future.

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87 STUDENTS IN THE GRADUATE ART PROGRAM HAVE THE FREEDOM AND SUPPORT TO BECOME ANY KIND OF ARTIST THEY

CAN IMAGINE. RAYMIE IADEVAIA, REDONDO SUNBURNS (DETAIL), MIXED MEDIA MASTER’S THESIS 6, FALL 2013

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artcenter.edu/gradart

ART

Associate ChairJason E. Smith Core facultyLita AlbuquerqueWalead BeshtyStan DouglasJeremy Gilbert-RolfePatti PodestaAnnette Weisser

Full-time facultyTaft GreenBruce HainleyGabrielle JenningsTim Martin Adjunct facultyTom AllenSkip ArnoldCindy BernardFred Dewey Harry DodgeKim FisherM.A. GreensteinJames HaywardPatrick HillAlice KönitzT. Kelly MasonLaura OwensJan TumlirBenjamin WeissmanJohn Welchman Visiting artistSharyar Nashat

Graduate Art is an interdisciplinary Master of Fine Arts program that encourages divergent ideas and methods. It provides degree candidates with a com-prehensive understanding of art history, art making and contemporary art. Students are given the free-dom and support to become any kind of artist they imagine, and to make any kind of art there is—or that they can invent.

Studies are led by a core faculty of seven artists (including the department chair), supplemented by five other full-time faculty and an adjunct faculty of approximately 15 artists, critics and theorists. Students spend the majority of their time in one-on-one studio visits with faculty members, balanced with rigorous critical, academic and practical coursework. Through its Graduate Seminar course, biannual conference series, and annual artist-in-residence partnership, the program also welcomes internationally recognized artists, historians and writers to the College who address the cultural, historical and political currents that shape art making and the creative process.

In their last two terms, candidates work towards a final show and written thesis under the guidance of a committee composed of three senior faculty members, culminating in a public defense.

Among the many resources available to students, the Graduate Art Complex at Art Center’s South Campus provides students with individual artist studios, indoor and outdoor tool shops, gallery spaces, dedi-cated computing and video production facilities, and a student lounge.

Art Diana Thater

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POLYMEDIATED BASTARDIZATION THREE-CHANNEL VIDEO WITH INSTALLATION

MASTER’S THESIS 6, SPRING 2013

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PURPLE WAVE, POLYESTER AND RESIN UNTITLED, SILK, IKAT AND RESIN MASTER’S THESIS 6, FALL 2013

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SIGHTSEEING GOGGLES (FRIEDRICHSHAIN AND WEISSENSEE) MIXED MEDIA

MASTER’S THESIS 6, FALL 2013

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Keith Monda

IT WILL COME TO YOU MIXED MEDIA INSTALLATION

MASTER’S THESIS 6, SPRING 2013

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UNTITLED CEMENT AND PAPER

MASTER’S THESIS 6, FALL 2013

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Andrew Cameron

SHADOW MIXED MEDIA

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Program of Study

Term 4Theories of Construction 3Writing About Art 3Graduate Seminar 0Master’s Project 4 6Electives 6

Term 5Theories of Construction 3Graduate Seminar 0Master’s Thesis 5 6Master’s Thesis Meetings 3Electives 6

Term 6Theories of Construction 3Graduate Seminar 0Master’s Thesis 6Completed Thesis 0Electives 6Total required units 96

Term 1Theories of Construction 3Graduate Seminar 0Master’s Project 1 6Electives 6

Term 2Theories of Construction 3Graduate Seminar 0Master’s Project 2 6Electives 6

Term 3Theories of Construction 3Graduate Seminar 0Master’s Project 3 6Electives 6

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Alumni

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Art Center is “a place where multiple ideas fuse together to become a greater whole,” says video artist Filip Kwiatkowski. Originally from Poland and now based in Denmark, Kwiatkowski fuels his work by exploring ways that new media transform the temporal form of the narrative, and by researching past and present narratives of immigration, “contextualized in our global economy where the word ‘immigrant’ has taken on a new meaning,” he says. Kwiatkowski came to Art Center after a freelance career in photography and film—including multiple jobs for The New York Times. Graduate Art opened many new possibilities for him. “My impulse as a photographer was to define things through the images I produced,” he recalls. “As a student, I realized that the type of art that I responded to raised questions and challenged the viewer.” After graduation, Kwiatkowski was awarded a fellowship at the Academy of Media Arts in Cologne, Germany, where he had done a study abroad program while at Art Center. Earning his MFA, Kwiatkowski says, “gave me the tools to move forward as an artist.”

fkwfoto.com

WORKING TITLE (I AM NOT YOUR FATHER), 2013

HD VIDEO PROJECTION WITH SOUND 23:39Filip Kwiatkowski

MFA 2013

ART

FACULTY MEMBER PENNY HERSCOVITCH (RIGHT) REVIEWS THESIS PROJECT BY GRADUATE ENVIRONMENTAL DESIGN STUDENT

SHERINE TEYMOUR. OUR TWO-TRACK PROGRAM OFFERS SPECIALIZATION IN SPATIAL EXPERIENCE, AND FURNITURE AND FIXTURES.

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Full-time facultyRobert BallKenneth CameronCody ClarkDaniel GottliebCory GrosserPenny HerscovitchJames Meraz Emil MertzelMichael NeumayrNolen NuiYo OshimaJason PilarskiDewi Schoenbeck

Our Master of Science degree in Environmental Design focuses on the parameters of sensory-based design and its ability to deliver a complete user experience on a variety of scales. The program takes candidates beyond the confines of style to consider the links between the psychological, physical, emotional and sensory effects of design. Our graduates become uniquely qualified to advance the impact and discipline of environmental design.

Drawing from a diverse array of fields, the Environ-mental Design Department investigates the dynamic qualities of story-driven design to conceive staging and sequencing which captures the dramatic qualities and needs of a specific spatial experience. The graduate program concentrates on conceptual rigor crossed with professional practice and a focus on theoretical thinking, technical innovation, manufacturing, fab-rication and project execution. Rather than merely following trends, students define the future of our living environment.

Graduate Environmental Design is a two-track pro-gram that enables degree candidates to specialize and obtain advanced knowledge of theory and practice. The Spatial Experience track addresses the relationship among body, materials, space and emotions, and our approach dictates that we work in a multidisci-plinary way; this program is for students interested in elevating a multiscale spatial design direction with a strong industry focus and application. The Furniture and Fixtures track investigates the relationship among space, place, function and application of furniture and fixture design, emphasizing innovation, industry standards and the manufacturing process; this pro-gram deepens understanding of production furniture, case goods and fixtures and their relationship to manufacturing, materials, market and brand.

Environmental Design

David Mocarski

Chair

Hines Fischer

FURNITURE AND FIXTURES TRACK SOFT WORKING OFFICE FURNITURE SYSTEM

For many years the office has been designed around accommodating the desktop computer. Office furniture’s job was to support the tools of the office and their use. But as technology has become more integrated, Hines Fischer (MS 14) believes that the most important thing for office furniture to support is people. The workspace should encourage and nurture people’s interactions, collaborations and ideas.

It’s a concept Fischer calls “Soft Working,” which is the name he gave to a line of furniture he designed as a grad student in Environmental Design’s Furniture and Fixtures track. His concept began with the observation that traditional office environments are formal, emo-tionally sterile, even forbidding. The meeting room is one place that the office community typically comes together, but—usually centered around a giant table— it too can feel alienating.

Because today’s businesses want their employees collaborating, innovating and working together—to be less of a staff and more of a family—Fischer saw that what the “family room” is to the home, the meeting room could be to the office: a comforting space that encourages interaction, community, mental clarity and openness.

Through its innovative use of form, color and texture, including wood and natural fabrics, Soft Working re- invents the modern office, improving human connection, workflow and productivity.

In 2013 and 2014, Fischer presented his work as part of Art Center’s student showcase at the International Contemporary Furniture Fair in New York. His lightweight task chair “Brisa,” named after the Spanish word for “breeze,” was chosen by the Ecuador-based furniture manufacturer Atu to fabricate and bring to market.

The Furniture and Fixtures track in graduate Environ- mental Design provides high-level opportunities for students to engage directly with industry—including the International Contemporary Furniture Fair (ICFF), North America’s premier annual showcase for contemporary design, where Hines Fischer presented his work two years in a row.

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Shuning Li

SPATIAL EXPERIENCE TRACK PINPORIUM RETAIL PLATFORM

What’s next? is the driving question behind much of the exploratory and experimental work underway in our studios. Our graduate students see themselves as proactive “opportunity seekers” in the creative process, ideating and collaborating across disciplines, platforms and cultures.

Inspired by Pinterest, the popular online visual discovery tool used to collect and share ideas, Shuning Li designed “Pinporium” as a dynamic retail platform. More than simply a store, the project proposes an entirely new business model for the retail industry in the digital age. Supported by advanced technology, virtual community, and a focus on interactivity and flexibility, the Pinterest- branded emporium-style retail spaces envisioned by Li

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Graduate Environmental Design students are trained in state-of-the art digital design processes and introduced to a range of entrepreneurial and career opportunities in a rapidly expanding field.

in her thesis project would engage and inspire users with a customized shopping experience based on their Pinterest user data and preferences.

In Li’s concept, “pinning” becomes a more powerful act than merely bookmarking and sharing images. Online and offline platforms converge to create dynamic, adaptive spaces that promise more interactivity be-tween shoppers and sellers and significant potential to bring new life to physical stores, with lasting social and economic impact.

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William Shin

SPATIAL EXPERIENCE TRACK VERTICAL FARM MIXED-USE HIGH-RISE

Master’s candidates in the Spatial Experience track look beyond the single object, moment or place to see how collectively these make an impact in projects ranging from branded retail and theme-driven dining, to hospitality, exhibition and residential design. Issues and methodologies of sustainable design are integrated throughout the curriculum.

While a graduate student, William Shin noticed a 21st-century trend toward cities coexisting in greater harmony with nature and the environment. As urban populations increase around the world, the pursuit of different lifestyles in those cities is also increasing. As environment-friendly lifestyles and locovore food culture take root in cities, green spaces and gardens are becoming increasingly important. Already many city dwellers and even commercial restaurants are growing their own vegetables and fruits.

Stepping into role of “conductor,” Shin orchestrated a set of spatial ideas around these emerging realities. His thesis project boldly re-envisions the urban neigh-borhood in the form of a “Vertical Farm”—a space that combines residential, agricultural, business, educational and leisure activities within a single structure. Centered around organic food production, spaces also foster research and learning, the coming together of families and neighbors, and the pursuit of healthy activities.

Art Center’s facilities (including 3D prototyping and fabrication shops), engaged and accomplished faculty, and small class sizes help prepare graduates for professional success.

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Program of Study

3-Year Path

Term 1Branding Strategies 3Materials & Making 3Digital Process 2; Digital Process 3; Digital Process 4; OR Digital Process 5 3Visual Communication 2 3Topic Studio 3

Term 2History & Theory of Space 2 3Illumination: Lighting 3Digital Process 2; Digital Process 3; Digital Process 4; OR Digital Process 5 3Topic Studio—Lighting 3Topic Studio—Furniture 3

Term 3Topic Studio—Furniture 3Topic Studio—Lighting 3Digital Process 6 3Materials & Innovation 1 3Space, Brand & Experience 3

Term 4Advanced Topic Studio— Furniture 3Advanced Topic Studio— Lighting 3Digital Process 7 3Grad Seminar 3Theory, Concept, Culture 3

Term 5 (ACL)Research Project—Industry Sponsor 6

Term 6Thesis Studio 1 6Fabrication Innovation 1 3Concept—Management Process 3Topic Studio 3

Term 7Thesis Studio 2 9Documentation—Presentation 3Fabrication Innovation 2 3Total required units 96

3-Year Path

Term 1Digital Process 2; Digital Process 3; Digital Process 4; OR Digital Process 5 3Environmental Design 2; Environmental Design 3; OR Experience Design 3Design Lab 2 OR Studio Independent Study 3Visual Communication 2 3Topic Studio 3

Term 2History & Theory of Space 2 3Digital Process 4 3Environmental Design 4 3Structure—Interior Architecture 3Design Lab 4 3

Term 3Digital Process 6 3Materials & Innovation 1 3Spatial Scenography Studio 1 3Ambient Media & Interactivity 3Space, Brand & Experience 3

Term 4Digital Process 7 3Grad Seminar 3Spatial Scenography Studio 2 3Advanced Spatial Graphics 3Theory, Concept, Culture 3

Term 5 (ACL)Research Project—Industry Sponsor 6

Term 6Thesis Studio 1 6Fabrication Innovation 1 3Concept—Management Process 3Topic Studio 3

Term 7Thesis Studio 2 9Documentation—Presentation 3Fabrication Innovation 2 3Total required units 96

Furniture & Fixtures track

2-Year Path

Term 1Topic Studio—Furniture 3Topic Studio—Lighting 3Digital Process 6 3Materials & Innovation 1 3Space, Brand & Experience 3

Term 2Advanced Topic Studio— Furniture 3Advanced Topic Studio— Lighting 3Digital Process 7 3Grad Seminar 3Theory, Concept, Culture 3

Term 3 (ACL)Research Project—Industry Sponsor 6

Term 4Thesis Studio 1 6Fabrication Innovation 1 3Concept—Management Process 3Topic Studio 3

Term 5Thesis Studio 2 9Documentation—Presentation 3Fabrication Innovation 2 3Total required units 66

Spatial Experience track

2-Year Path

Term 1Digital Process 6 3Materials & Innovation 1 3Spatial Scenography Studio 1 3Ambient Media & Interactivity 3Space, Brand & Experience 3

Term 2Digital Process 7 3Grad Seminar 3Spatial Scenography Studio 2 3Advanced Spatial Graphics 3Theory, Concept, Culture 3

Term 3 (ACL)Research Project—Industry Sponsor 6

Term 4Thesis Studio 1 6Fabrication Innovation 1 3Concept—Management Process 3Topic Studio 3

Term 5Thesis Studio 2 9Documentation—Presentation 3Fabrication Innovation 2 3Total required units 66

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Hines Fischer, gaining notice for his residential, “people-centric” furniture design transformations of impersonal office spaces, studied industrial design at Carnegie Mellon University and furniture design at the Royal Danish Academy of Fine Arts before enrolling in the graduate Environmental Design Furniture and Fixtures track—“the best program for furniture in the world right now,” says Fischer. “I’ve been to other schools, and just don’t feel like they address the fact that you’re trying to have a career. Art Center is amazing at addressing that in a very liberating way.” Among a select group of students representing Art Center at the 2013 and 2014 International Contemporary Furniture Fair showcase in New York, he says, “Students learn what is going on in furniture design right now and where a young designer has opportunities to make an impact.” He notes that it has become important in the industry that “each piece of furniture is wrapped up in a story and in an idea beyond its physical form. To me it’s important that every piece I’ve designed just makes people smile.” On the eve of his graduation, Fischer accepted a full-time position with luxury design studio Yabu Pushelberg in New York.

hinesfischer.com

Alumni

Hines Fischer MS 2014

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A FULL-SCALE PRODUCTION CENTER AND POST-PRODUCTION FACILITIES.

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artcenter.edu/gradfilm

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Full-time facultyVictoria HochbergEric Sherman Part-time facultyKen AguadoMonte BramerJay ChapmanJeremiah ChechikManohla DargisDoug EbochSteven FinestoneJean-Pierre GeuensDr. John HartzogHoward HeardStephanie NashNatalija NogulichJean Rasenberger Lee RosenbaumJohn Hilary ShepherdJohn Suits

The graduate Film program at Art Center provides de-veloping filmmakers an immersive opportunity to refine and expand their visual storytelling abilities under the mentorship and guidance of top Hollywood talent and decision makers. Our location in Los Angeles, the heart of the entertainment industry, enables us to build a faculty of working professionals and a constant flow of guest lecturers from all corners of the industry. At Art Center, students have the opportunity to cre-ate and own their personal work. They can focus on directing, screenwriting, cinematography, editing or producing. Faculty mentors are working professionals who guide and assist students in the design, develop-ment and production of their projects. Our program attracts a diverse community of story-tellers. Traditional disciplinary boundaries melt away. Collaboration among students and faculty from other disciplines allows ideas to flourish. In a program that provides industry solutions for all phases of production, filmmakers are encouraged to network and seek out professional relationships early on. The Art Center culture of exploration encourages filmmakers to stretch as they find personal, inventive solutions. They are expanding the possibilities of the existing media landscape into as-yet unexplored directions.

Our graduates join a large extended family of creative professionals who are widely recognized for bringing a unique approach to every project they tackle.

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DIRECTOR “UNCOMFORTABLE SITUATIONS”

TEEN MIDOL COMMERCIAL

When Lizbeth Chappell visited the graduate Film De-partment as a prospective student, she liked what she heard: the program caters to the individual; students own the rights to their work; and the faculty focuses on preparing its graduates to work professionally.

When Chappell toured Art Center, she also liked what she saw: the high quality of the work in the student gallery indicated she would be surrounded by talented individuals. Working with students from other majors would prove to be one of the most rewarding aspects of her Art Center career.

One such collaboration with Advertising student Jamie Yuen (BFA 12), a speculative Teen Midol commercial Chappell directed called “Uncomfortable Situations,” proved particularly fruitful. In the commercial, a high school football team’s female mascot unwittingly finds herself in the male players’ locker room and, once dis-covered, improvises her way out of the situation.

For the concept, Chappell and Yuen first boiled Teen Midol down to a product that relieves uncomfortable situations. From there, their goal was to create some-thing bold and memorable or, in other words, the antithesis of a typical feminine product commercial. The Academy of Television Arts & Sciences agreed with their approach, awarding “Uncomfortable Situations” second place in the Commercials category at the 2013 College Emmy Awards.

As for Chappell’s professional prospects? While still a student, she co-produced A Better You, an independent feature directed by Upright Citizens Brigade co-founder Matt Walsh, and was signed to produce three other features upon graduation.

The best place to learn filmmaking is an art and design school, where creative freedom is a core value. In addition, opportunities abound for Film students to collaborate with those in other disciplines, from ad-vertising and graphic design to illustration and enter-tainment design.

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DIRECTOR OF PHOTOGRAPHY SAME LOVE

MUSIC VIDEO FOR MACKLEMORE & RYAN LEWIS

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degree in fine art with an emphasis in still photography. But some multimedia experimentation sparked within her a curiosity about filmmaking, so she decided to visit the College’s campus. After meeting with the graduate Film Department chair, she came away believing her ability to capture moments of people’s lives through imagery would translate nicely to cinematography.

Lin cites The Director and the Script as one of the most important courses she took at Art Center. As part of the two-term class taught by television director and DGA executive board member Victoria Hochberg, each student wrote a short film and then directed an on- campus shoot that needed to be completed within six hours. Students took turns directing and performing every other on-set job, an experience that gave Lin a strong understanding of the entire filmmaking process.

Beyond providing her with ample opportunities to hone her experience behind the camera, that course also proved important for Lin because it’s where she met her classmate Jon Jon Augustavo. The following year, Augustavo asked Lin if she’d like to accompany him to Seattle during a break between terms to shoot a few music videos. One of those videos? Macklemore & Ryan Lewis’ Same Love, a song which transcended pop music and became a rallying call for gender equality, garner-ing millions of views on YouTube and winning MTV Video Music Awards’ 2013 Best Video With a Social Message.

Since graduating, Lin has shot music videos for The Knocks, Mike Posner, Tori Kelly, Tinie Tempah and Scott Stapp.

A powerful network of industry contacts and alumni helps provide access for students and recent graduates to mentorships, internships and jobs.

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WRITER/DIRECTOR DAMNED

SHORT FILM

After earning an undergraduate degree at a large local state university and spending several years working in various fields, Matthew Ward decided to finally pursue his lifelong dream of writing and directing films. But, he told himself, if he was to return to school for his master’s, he needed: an intimate academic experience; an environment that taught all aspects of filmmaking; and, most importantly, a setting where he would get serious work done.

Ward entered the graduate Film program not only focused but determined to have experiences he missed out on as an undergraduate. Chief among those? Studying abroad, which he quickly amended by tra- velling to Berlin as part of a Transdisciplinary Studio hosted by the Illustration Department, in which he spent 10 weeks recording ambient sounds and con-ducting interviews with locals—all resulting in an audio installation back at Art Center that captured his impressions of the German capital.

Ward returned to Berlin months later to shoot his portfolio project, Damned. Written and directed by Ward, Damned tells the story of a woman who escapes a research facility only to discover the city around her has been devastated by a virus. To make the short film happen, Ward connected with a German actor he had met previously and also hired a local crew. The most memorable moment of the shoot? The final day of filming was interrupted by a power outage and the evacuation of a nearby medical research facility due to a real-life contamination fear.

Success in the film industry requires a broader range of tools, and the skills to use them, than ever before. In addition to a full-scale production center—featuring industry-standard cameras, a dedicated sound stage, a Foley Room with ProTools, and Music Recording Room with Digital Performer—Art Center offers private edit-ing suites with Avid Media Composer, DaVinci Resolve, Adobe Creative Cloud and, for VFX, compositing and color finishing, Autodesk Flame Premium, Smoke, and Lustre stations.

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Program of Study

Term 4 — FallWritten Thesis Development 1Film Thesis Development 2Narrative Editing: Workshop 3Sound Design: The Other Half 3Watching Films Like a Filmmaker 3Visiting Artist Seminars & Advisement 0

Term 5 — SpringColor Science & VFX 3Business Affairs for the Filmmaker 3Written Thesis Creation 1Film Thesis Production 2Individual Advisement & Transitioning to Pro 0Total required units 69

Term 1 — FallCPR & First Aid Certification Workshop 0Screenwriting: Writing Visually 3The Director & the Script 5Producing & Set Procedures 4Designing Movements & the Virtual Director 3Visual Narrative Workshop 3 Individual Advisement & Setting Your Goals 0

Term 2 — SpringNot Your Dad’s Film History Class 3Acting Workshop for Directors 3Cine Workshop: Lighting the Narrative 3Narrative Film Analysis 3Short Film Production 4Individual Advisement & Script Boot Camp 0

Term 3 — SpringPitching 3Narrative Editing: Theory & Practice 3Individual Advisement & Thesis Research 0Screenwriting: Rewriting Visually 2Visual Storytelling Techniques 3Selling Your Indie Film: Concept to Distribution 3

Film

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MACKLEMORE & RYAN LEWIS’ MUSIC VIDEO THRIFT SHOP, DIRECTED BY

JON JON AUGUSTAVO

Filmmaker/director Jon Jon Augustavo is a three-time MTV Video Music Award-winner and multiple nominee for his work with Macklemore & Ryan Lewis, and his collabo-rations with the Grammy-winning rap group and other musicians have hundreds of millions of YouTube views. Augustavo honed his signature evocative filmic style at Art Center after “a little bit of success” making music videos for several Seattle hip-hop artists. “I realized that if I wanted to get better, and wanted to get into filmmaking, I needed to learn more,” he says. Art Center helped develop his skills as a visual storyteller—“something I didn’t really have a full grasp on before”—and learning to collaborate and to create a good team prepared him to navigate the business side of creative work. Today, Augustavo works with former classmates whenever he can. “There is a certain trust level because we were all in the battle zone of film school together and we all gave everything for one another,” he says. “I know I can trust these people to deliver above and beyond strangers for hire.”

jonjonaug.com

Jon Jon Augustavo

FILM

THROUGH PROJECTS AND CRITICAL DIALOGUE, GRAD ID PREPARES ITS STUDENTS FOR LEADERSHIP ROLES IN BUSINESS AND CREATIVE

ENTERPRISES, OFFERING BOTH AN MS AND A DUAL MS/MBA DEGREE.

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Core facultyKatherine BennettJames ChuMarshall HamachiDyna KauStan KongSusan MarkiEric Ng Javier Palomares Adjunct facultyTylor GarlandStory MusgraveLloyd Walker

AdvisorDavid Cawley

Art Center’s “Grad ID” program offers a Master of Science curriculum focusing on theory and practice for the production of insightful research, development of human-centric innovations and the creation of new business opportunities. We combine the pursuit of extraordinary visual design and making skills with the knowledge, theories and methods essential to developing design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations. Our faculty of internationally renowned educators—accomplished professionals across a range of design, technology and business fields—help our students develop their abilities through projects and critical dialogue in a design studio environment. The program prepares graduates with an optimal combination of knowledge, skills and experience to lead innovation for enterprise and to create the future. We design with a consciousness that our innovations exist in a larger context. Our methodology, Strategic Innovation, takes a systems-level view and strives to balance the business, technological and human aspects of any challenge. This broadly applicable creative process produces empathetic solutions to essential human needs and allows designers—and enterprise—to be resilient and to grow. Grad ID also has joined forces with Claremont Graduate University’s Drucker School of Management to offer a dual MS/MBA degree in Innovation Systems Design (ISD). The two-year program prepares tomorrow’s innovation leaders by combining business strategy, leadership and management acumen with the rigorous development of creative skills and design innovation methodology.

Andy OgdenIndustrial

Design

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ETHEREAL RUNNING COMPANY THESIS PROJECT

Before coming to Art Center, alumnus Kevin Bethune (MS 12) had an unusual career trajectory: from mechan-ical and nuclear engineering for Westinghouse Electric Company, to financial analysis for Nike, to designing the Air Jordan Fusion 8 basketball shoe for Nike. But a desire for both a grounding in design fundamentals and a foundation in how to bring technology, business and design together led Bethune (above at right) to Grad ID.

Bethune’s thesis project, Ethereal Running Company, envisioned an ecosystem of products and services for runners designed to boost their experience holistically. Ethereal would provide runners with the most effective running techniques, tailor that knowledge for each run-ner’s specific needs, and create a running community to foster advice and encouragement.

Bethune’s research had him strapping a GoPro camera to his chest while sampling every mile of the Los Angeles Marathon, and meeting with the head coach of the Ethiopian Athletic Federation to explore motivations behind that country’s great distance runners.

After graduation, Bethune helped set up a boutique digital innovation agency that served Fortune 500 clients by provoking visions for disruptive end-user experiences. In 2014, Bethune and his colleagues relaunched as BCG Digital Ventures inside the Boston Consulting Group.

The word “innovation” is often used to mean all kinds of things that are novel. But in the business world, innovation means doing something new that gets to market and is successful in the market. Companies today need to innovate at an ever-increasing pace to remain competitive, and Art Center’s Grad ID program prepares students to meet that challenge.

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COAX UNMANNED AERIAL VEHICLE SYSTEM THESIS PROJECT

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Lienhard (MS 13) always had an interest in engineering and the arts. Lienhard came to Art Center with a wealth of product and transportation design experi-ence—including internships at Porsche Design Studio in Zell am See, Austria, and BMW Group Designworks USA in Newbury Park, Calif.—and entered Grad ID to fine-tune his knowledge in technical skills, including business and technology.

In Grad ID, Lienhard (above at left) finished not one, but two thesis projects. For one project, he conceived of a service that would cater to high-income business professionals who travel frequently for work. Lienhard’s service would afford business travellers the luxury of never having to pack for their travels; their clothes and other amenities would be delivered to their hotel room prior to their check-in.

Lienhard’s other thesis project, which he created during an eight-month master’s thesis mentorship at Porsche Design Studio in Austria, also targets business professionals by imagining a new method of business-class local air commuting. Informed by technological forecasts for the near future, Lienhard’s Coax imagines a fleet of autonomous helicopters that would allow executives to significantly reduce their commute times and even conduct meetings while flying high above the urban sprawl.

Since graduating, Lienhard became a consultant and designer for Booz Digital before moving on to work with several of his Grad ID colleagues as an industrial designer at BCG Digital Ventures inside the Boston Consulting Group.

A wide range of industries—from automotive and health-care to food-and-beverage and consumer products—regularly tap into Art Center’s talent pool while providing intern-ships for our students and job opportunities for our graduates.

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ONE DEGREE SYSTEM OF HIGH-PERFORMANCE SAILING PRODUCTS THESIS PROJECT

Recent alumna Nina Viggi (MS 13) believes extraordinary things can come from collaboration. And she should know. In 2013, a high-performance sailing shoe she designed as part of her Grad ID thesis project won a gold medal in the Industrial Designers Society of America’s prestigious International Design Excellence Awards (IDEA) competition.

The One Degree High Performance Dinghy Shoe is light, flexible and equipped to drain efficiently without sacri-ficing vital thermal capability. With more than 10 years of competitive sailing under her belt, Viggi knew her product would resonate with sailors.

But One Degree is more than a product.

Italian-born Viggi designed One Degree as a system of products and solutions to champion the sport of high- performance sailing. Viggi recognized that sailing apparel and equipment had not kept up with the sport’s growing popularity and that they had fallen behind the more aerodynamic products created for surfing and windsurfing.

Beyond the design of the shoe itself and the creation of an overall brand strategy, Grad ID required her to forecast product growth opportunities over the next five to 10 years. The program also required that she have a strong grasp of sourcing materials and manu-facturing constraints, all of which she put to good use when she built her prototypes in Hong Kong.

After graduation, Viggi interned at Continuum, worked as an interaction designer at Teague and then moved on to become an interaction designer at GE Software.

Art Center graduate programs attract students whose pas-sions and professional expe-rience may already provide clear direction for their future, as well as those who are seeking to combine business and design to forge a new career path.

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Program of Study

Innovation Systems Design

Term 1M1 Studio 3Visualization 1 3Visual Form 1 3Materials & Methods 1 3Sparks & Connections 33D Development 1 3Visualization CG Lab 3

Term 2M2 Studio (Tactical Design) 3Materials & Methods 2A 3Materials & Methods 2B 3Visual Form 2 3Visualization 2 33D Development 2 3Design Investigations 3

Term 33rd Term Review 0Materials & Methods 3A 3Materials & Methods 3B 3System Design Research 3M3 Studio 33D Development 3 3Visual Form 3 3Visualization 3 3

Term 4Quantitative Methods— Drucker 4Drucker Difference 2Financial Accounting—Drucker 4Strategy—Drucker 4Innovation Studio MB4— Drucker 4Organizational Behavior— Drucker 4Practice of Management A— Drucker 2

Term 5Marketing Management— Drucker 4Corporate Finance—Drucker 4Innovation Studio MB5— Drucker 4Applied Operations MGMT— Drucker 4Practice of Management B— Drucker 2Macroeconomics—Drucker 2Electives 4

Term 6Workshop 6 3M6 Studio 3Electives 6Total required units 123

Core Program

Term 1M1 Studio 3Visualization 1 3Visual Form 1 3Materials & Methods 1 3Sparks & Connections 33D Development 1 3Visualization CG Lab 3

Term 2M2 Studio (Tactical Design) 3Materials & Methods 2A 3Materials & Methods 2B 3Visual Form 2 3Visualization 2 33D Development 2 3Design Investigations 3

Term 33rd Term Review 0Materials & Methods 3A 3Materials & Methods 3B 3System Design Research 3M3 Studio 33D Development 3 3Visual Form 3 3Visualization 3 3

Term 4Special Projects Studio OR electives 3Entrepreneur Methodology 3M4 Studio (Sponsored Project) 3Visualization 4 3

Term 55th Term Progress Review 0 Entrepreneur Studio 3Workshop 5 3M5 Studio 3Electives 3

Term 6Workshop 6 3M6 Studio 3Electives 6Total required units 99

Industrial Design

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DE LIU CO-FOUNDED ONE OF CHINA’S BIGGEST ELECTRONICS COMPANIES, XIAOMI, AND LED A TEAM OF DESIGNERS TO CREATE

THE TOP-SELLING MI SMARTPHONE SYSTEM AND LIFESTYLE BRAND.

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Alumnus De Liu is a co-founder and vice president of Xiaomi, one of China’s leading technology firms whose smartphone sales rival that of Apple’s iPhone in that country’s market. Liu’s path to tech ascendency in the world’s second largest economy began with an Art Center project that, surprisingly, revolved around plush toys. As a Grad ID student, Liu returned to his native China to conduct demographic research and made special note of the widespread popularity of custom-created plush toys in the youth market. For his thesis project Liu devised and delivered a system in which kids could draw their own creation and, within a week, receive a plush toy that matched their specifi-cations. The concept, and its execution, proved wildly successful. Today, you can see a direct link between the thinking behind Liu’s thesis project and some of Xiaomi’s most innovative business practices. Not only does the company have its finger on the pulse of the Chinese youth market (it even sells plush toys of its mascot), but one of its strongest differentiators is how it facilitates and incorporates feedback from its fans. “Was the design of Xiaomi based on the methodology I learned in Grad ID?” says Liu. “Absolutely.”

xiaomi.com

THE MEDIA DESIGN PRACTICES (MDP) CURRICULUM WAS HONORED WITH A CORE77 DESIGN AWARD IN 2014. JI WON JUN’S DATA VAPORIZER, CREATED IN A LAB

PROJECT RUN IN PARTNERSHIP WITH INTEL.

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Full-time facultyElizabeth ChinSean DonahueTim DurfeeBen HookerPhil van Allen Adjunct facultyChristina AgapakisBenjamin BrattonJessica CharlesworthMary ChristianakisElise CoChristopher FabianShannon HerbertGarnet Hertz Norman M. KleinAlan KochDavid LeonardAnna MayerJane McFaddenMike MilleyThea PetchlerJennifer RiderTim SchwartzArden SternYuri SuzukiWendy WaltersRosten WooJemima WymanRichard WheelerChris Woebken Mimi Zeiger Visiting criticsMaria AvilaJulian BleeckerBridgette BrownKenneth CameronRene DaalderAndrea DietzPaul DourishKen EhrlichAndrew FriendPedro GadanhoCurt GambettaIlona GaynorJonathan HarrisJulia KaganskiyGrant KesterPardis MahdaviSitraka RakotoniainaSteve RowellPaul SoulelisNoam ToranGeorge Villanueva

How do designers operate in a world of perpetual change? What is the relationship between future spec-ulation and today’s very real, very immediate challen- ges? And how might such conditions generate new practices in design? These are the issues students raise and tackle head-on in Media Design Practices (MDP). Our interdisciplinary MFA is grounded in media— graphic, visual, interactive, spatial, experiential—and technology. We explore the role of design in the world through two different but related contexts, reflected in the names of our tracks: Lab and Field. Lab track students use design to explore the impli-cations of emerging ideas from science, culture and technology. Students design potential futures to grapple with issues such as digital privacy or connected bodies. Projects and partners change every year, and may include NASA scientists, offbeat Los Angeles cultural institutions or Silicon Valley engineers.

Field track students study local practices and global systems in diverse international contexts, from refugee camps to corporate boardrooms to urban slums. Using a mix of ethnography, prototyping and speculation, students design in the context of urgent social issues, working abroad for up to three months. The Field track partners with Designmatters, Art Center’s social impact program.

When these two tracks come together—in the studio, classes and reviews—a vibrant dialogue emerges. What results is an array of student perspectives that recast the role of technology in society in surprising new ways. Upon graduation, students are ready to launch a design practice that is uniquely suited to the challenges of our time.

Media Design Practices

Anne Burdick

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LAB THESIS HELL0 PROMPTERS

With HELL0 PR0MPTERS, MDP/Lab student Jeremy Eichenbaum (MFA 13) developed a system of interac-tions for everyday social engagements based on the ambiguities of interpretation and the relationships among subject, audience and author.

For the installation, Eichenbaum created teleprompter- like devices outfitted with video cameras and featuring specific scripts for five to six individuals to follow while talking with one another. The controlled sessions create a disjointed physical experience that explores how language and symbols are interpreted through screen-based text and how user engagement changes within a mediated space. PR0MPTERS also raises questions about individuality in a surveillance culture and the vagaries of communicating via social media.

Jeremy Eichenbaum (below) went on to work at 72andSunny, an advertising agency whose clients include Activision, Anheuser-Busch, ESPN, Google, Sonos and Target.

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Elizabeth Gin

FIELD THESIS BUGOLOBI MARKET MAILING LIST

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Throughout Africa, open-air markets foster power and autonomy for women by creating opportunities to own a business, spend time away from their husbands, and develop social and economic support for one another. With BBML, the women can send/receive messages in their local language; message the entire mailing list for the price of one text; and create mailing lists to commu-nicate with networks beyond the market’s main gate.

Elizabeth Gin was selected as a Fulbright scholar and went on do field research for LinkedIn.

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LAB THESIS PERTURBED (UPPER LEFT AND BELOW RIGHT)

CIRCULATION (LOWER LEFT)

Fascinated by the manner in which the developed world takes the complex act of water consumption for grant-ed, MDP/Lab student Andrew Nagata (MFA 13) created a series of interactive systems making that massive process tangible.

Using physical computing, sensor-driven interactions and haptic feedback, Nagata’s Circulation and Per-turbed deliver a playful and, at times, mildly disturbing metaphor for the system of water delivery. Baffling interactions—a string demands yet resists being pulled, a water-filled latex balloon pulsates, a nozzle spits and spills water haphazardly—allow the user to viscerally experience the challenges inherent in exerting control over a force of nature.

After graduation, Andrew Nagata went to work for the Los Angeles-based BCG Digital Ventures, Boston Consulting Group’s new digital innova-tion, product development and commercialization firm.

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Jeffrey Hall

FIELD THESIS LIMINAL POWER_SWITCH

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Through a series of animations controlled by 70 every- day light switches, MDP/Field student Jeffrey Hall’s Liminal Power_switch illustrates how electricity—illegally tapped off the grid—can bring a community to life both economically and socially. He conducted research in a Ugandan village with no electricity that sits literally beneath power lines. Without electricity, businesses suffer, food spoils and children can’t study at night. To solve this dilemma, local electricians pay off electric company officials and then place themselves at great bodily risk to route electricity to the village. Hall devised a new approach in which communities rather than corporations provide the crucial “last mile” for services.

Hall was hired to open and lead the new Innovation Lab for UNICEF in Indonesia.

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LAB THESIS PRAIRIE HUM

Prairie Hum, MDP/Lab student Sarah Needham’s (MFA 13) speculative thesis project, explores how the culture of farming could change to incorporate the participation of hives of microrobotic bees.

Needham’s research into how farms could be recon-figured with computation, robotics and finely tuned agricultural machinery reveals how it might one day be possible to create micro-ecosystems that mimic the best that nature has to offer. Her project included designing a microrobotic hive, a farming guidebook titled The Machine Observatory: A Field Guide to Micro- robotics, and a microrobotic terraforming map. By imagining a landscape in which robots are as fasci-nating and pesty as insects, Needham has created an eerie, if plentiful, future.

After graduation, Sarah Needham went on to work as a UX designer at Microsoft.

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Betsy Kalven

FIELD THESIS STREET ECOLOGY

The origins of MDP/Field student Betsy Kalven’s (MFA 13) thesis project began in Uganda, where she formed a critique of the “supplemental nutrition bar” approach to addressing malnutrition.

Kalven took the research methodologies she applied in Uganda and brought them to her hometown of Chicago with Street Ecology, a project that challenges the defi- nition of so-called “food deserts.” Kalven set up a week- long workshop in the neighborhood of Englewood and asked community members to share their thoughts on what they would like in their neighborhood in terms of food options and public spaces. Her findings point to a correlation between the circumstances in which people eat and their choices of what to eat.

Betsy Kalven became a design strategist at design consul-tancy firm Continuum.

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Program of Study

Lab trackTerm 1 — FallLab Core A 2Lab Core B 2Lab Core C 2Lab Projects 1 6Critical Frameworks 1 (Lab) 3Colloquium 1

Term 2 — SpringLab Projects 2 12Critical Frameworks 2 (Lab) 3Colloquium 1

Term 3 — SummerSummer X-Term 3

Term 4 — FallLab Thesis 1 12Critical Practices 1 (Lab) 3Colloquium 1

Term 5 — SpringLab Thesis 2 12Critical Practices 2 (Lab) 3Total required units 66

Field trackTerm 1 — FallField Core A 2Field Core B 2Field Core C 2Field Projects 1 6Critical Frameworks 1 (Field) 3Colloquium 1

Term 2 — SpringField Projects 2 12Critical Frameworks 2 (Field) 3Colloquium 1

Term 3 — SummerSummer X-Term 3

Term 4 — FallField Thesis 1 12Critical Practices 1 (Field) 3Colloquium 1

Term 5 — SpringField Thesis 2 12Critical Practices 2 (Field) 3Total required units 66

Development yearTerm 1 — FallMedia Design 1 1Creative Technology 4Dev Projects 1 6Critical Histories 1 3Colloquium 1

Term 2 — SpringMedia Design 2 1Creative Technology 4Dev Projects 2 6Critical Histories 2 3Colloquium 1Total required units 30

Media Design Practices

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Matthew Manos MFA 2012

How do you measure success? For Matthew Manos, the founder of New York- and Los Angeles-based design studio verynice, success means the ability to donate 50 percent of his company’s services pro bono—more than a million dollars’ worth and growing—to some 250 nonprofit organizations, while serving such major-league paying clients as MTV, Facebook and Walt Disney Imagineering. Manos launched his “global design, business, and innovation consultancy specializing in solutions for social and cultural impact” in 2008, as a 19-year-old undergrad at UCLA. To further his vision, Manos decided to pursue an MFA in Media Design Practices at Art Center, attracted by the program’s description. “They were saying that they wanted to prepare designers for jobs that don’t exist yet,” Manos recalls, “and that was something that really excited me.” Art Center taught him that “it’s very much the invisible things as much as the visible things that are being designed,” he said. “So you can really have an impact on experiences, or emotions, or feelings, or systems and ideas. That was a major revelation for me.”

verynice.co

FUTURE MOBILITY SYSTEMS ARE ONE FOCUS FOR TRANSPORTATION SYSTEMS AND DESIGN STUDENTS.

SKETCHES BY DAVID DAY LEE (MS 14).

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FacultyCandice-Leigh BaumgardnerKatherine BennettPamela Blackwell Parker Fredlund Maggie HendrieTim HuntzingerLucian RoscaMark Shumate Pascual Wawoe

Our Transportation Systems and Design students are developing compelling, sustainable and viable trans- portation and mobility solutions for an inspired future. For people passionate about the automotive industry and the expansive field of transportation and personal mobility, our Master of Science program encourages creativity and strategic thinking beyond the sketchpad to impact the vehicle manufacturing industry, and to create better, compelling transportation solutions at a systems level, rather than a product level. Because design brings value well beyond the areas of product and service development, our curriculum encompasses a combination of design methodology, strategic innovation, systems thinking, customer- driven research, political insight plus entrepreneurial and communication skills. The program’s community of students—with prior degrees in subjects such as design, architecture, urban planning, business, engi-neering, anthropology and economics—brings diverse perspectives and stimulates the transdisciplinary cul-ture that is essential to advance transportation design throughout the coming decades. Degree candidates participate in international conferences and conduct rigorous research; in collaborative teams they explore how to create the ideal user journey while preserving precious environmental resources. The College’s strong ties to government and industry provide direct access to organizations pushing the emerging fields of new mobility and alternative energies. This course of study encourages graduates to become agents of change prepared to reinvigorate industry across a broad landscape, from design studios and manufacturers to organizations responsible for trans-portation systems solutions at the national, state and local levels.

Executive Director

Transportation Systems and Design

Geoff Wardle

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David Day Lee

THESIS PROJECT CUVE MOBILITY PLATFORM

David Day Lee (MS 14), Transportation Systems and Design’s first alumnus, believes the designer’s expertise lies in the creation of meaningful experiences. This belief is on abundant display in his master’s thesis project, CUVE, a mobility platform that discards preconceived notions of public transportation and offers a solution based on individual aspirations.

Inspired by Art Center’s recent expansion of its South Campus in Pasadena’s “Innovation Corridor,” five miles south of Hillside Campus, Lee and his fellow students were tasked with a challenge: design a better system of transporting students between the two campuses.

Lee’s research pointed to several insights that informed his solution: compelling and desirable experiences result from people exploring their identity, finding satisfying relationships and asserting their influences in a social context. How can a transportation system fulfill those very human needs and desires that transcend getting from point A to point B?

His solution? A crowd-branded transit experience that links individuals, communities and spaces. His CUVE system of autonomous eight-passenger vehicles com-bines the predictability of buses with the flexibility of taxis to accommodate the organic spontaneity of people’s lives.

With smart “flex routes” that span multiple blocks, passengers can hail, board or disembark a vehicle at any point along the route. Further, CUVE would not only encompass a virtual and real space social network, but would act as a platform itself, allowing students to create a unique onboard social experience that would strengthen the community and, if expanded into the commercial realm, potentially result in revenue generation.

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Garrett DeBry

THESIS PROJECT PERSONAL TRANSPORTATION

VEHICLE PROTOTYPE

Though Garrett DeBry came to Transportation Systems and Design with a background in business, his love of design and making stretches back to his childhood days spent building houses with his father.

At Art Center, his class was challenged to design a transportation system to help students travel between Art Center’s Hillside Campus and South Campus. Whereas his classmate David Day Lee tackled the proj-ect with autonomous vehicles (see pages 68 – 69), DeBry designed and built an eco-friendly recumbent personal transportation vehicle.

DeBry credits the methodologies taught in his Customer Centered Research course as being particularly influen-tial in helping inform his vehicle’s design. By conducting in-the-field research, he learned many students felt uncomfortable relying on others for transportation. Others described wanting to ditch their car for envi-ronmental and financial reasons, but felt bicycling four miles uphill was a non-starter.

Taking full advantage of Art Center’s Technical Skill Center, DeBry built several full-scale prototypes of his vehicle and found that each iteration provided fresh in-sights. He learned how much storage space was needed to fit an average student’s personal belongings, deter-mined which form factors were associated with serious transportation versus recreational usage, and devised a folding mechanism that allowed for simple storage of the vehicle at work or home.

Another benefit of the iterative process? DeBry now has a series of physical models that show a progression and his thought process, factors he knows will set him apart professionally—which will come in handy when he takes his vehicle concept to market, a goal he’s determined to achieve.

To build his full-scale pro-totype, Garrett DeBry worked with the master craftspeople of Art Center’s Technical Skill Center, just one of the many cutting-edge facil-ities available to all the College’s students. Facilities also include 3D prototyping machines, fabrication shops and the Color, Materials and Trends Exploration Lab (CMTEL).

BELOW: DeBry discusses his work with Pamela Blackwell, an instructor who keeps the big picture in mind with her course Transportation Histories and Futures.

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Di Bao

M2M SMARTPHONE APP

Born in Beijing, Di Bao came to Transportation Systems and Design with a degree in industrial design from National Taipei University of Technology in Taipei, Taiwan. It was there that she took a transportation design course that covered everything from sketching and tape draw- ing to making clay models and shaping fiberglass shells. After that course she knew she wanted to pursue transportation design as a career, and set her sights on Art Center.

When Bao first heard that the graduate program placed a heavy emphasis on “transportation systems,” she thought that referred to the interplay between vehicles, roads, buildings and cities. Now she believes those systems encompass a wide variety of human experiences related to the transportation industry, some directly and others indirectly.

Bao’s understanding of transportation itself has expanded since studying at Art Center and she points to particularly eye-opening courses like Transportation Histories and Futures, which examines how past societies have envi-sioned the future of transportation, and Future Scenarios Development, which uses technological forecasts to extrapolate changes in store for transportation.

In User Interface Design Studio, Bao took on public transportation’s infamous “first- and last-mile problem” by conceiving of a smartphone app that would take an individual’s exercise workout needs—be it walking,

Being in proximity to an array of fields and disci- plines offers students distinct advantages. For example, Di Bao developed her M2M concept in a course taught by Maggie Hendrie, faculty member of the graduate Transportation Systems and Design Depart- ment and also chair of the College’s Interaction Design Department.

FACING PAGE: Bao (second from left) and the gradu-ate department’s executive director Geoff Wardle (first from right, standing) watch a demonstration of how virtual reality may alter vehicle design.

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running or bicycling—and combine it with a bus or rail route to effectively kill two time-consuming birds with one stone. Bao’s app would also streamline the payment process for public transportation as well as provide context-sensitive information, such as safety tips for neighborhoods after hours.

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Program of Study

Term 1Vehicle & Transportation Product Development 1Introduction to Interaction Design 1Vehicle & Transportation Systems Architecture 1Customer Centered Research 2Transportation Histories & Futures Part 1 1Visual Communications— Advanced OR Visual Communications— Fundamentals 3Concept & Systems Design Studio 3Digital Skills 3

Term 2Interaction Design Studio Part 1 3Future Scenarios Development 1Professional Development & Strategic Presentation 2Transportation Histories & Futures Part 2 2Product Development & Manufacturing Technology 1Visual Communications & Digital Skills—Advanced OR Visual Communications & Digital Skills—Fundamentals 3Advanced Concept & Systems Design Studio 3

Transportation Systems and Design

Term 3Interaction Design Studio Part 2 3Design Strategy Studio 3Professional Presentation 3Strategic Prototype & Systems Design Studio Part 1 3Business & Politics of the Transportation Industry 1Transportation electives 3

Term 4Thesis Project Presentation 6Strategic Prototype & Systems Design Studio Part 2 3Transportation electives 3

Term 5Thesis Development Studio 6Transportation electives 6

Term 6Business & Product Develop- ment Studio 3Thesis Development Studio 6Transportation electives 3Total required units 82

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David Day Lee MS 2014

Five semesters into undergraduate Transportation Design, and after an internship at one of the major automotive design studios in Los Angeles, experience designer David Day Lee realized that a career as a studio designer wasn’t his calling. “I wanted to impact the automotive industry at a deeper and wider level,” he says. Lee talked to Art Center’s instructors who are professionals in the field about his interest in trans-portation mobility systems, integrated connectivity technology and cross-disciplinary strategic design solutions, and was invited to become the first student in Art Center’s vanguard Transportation Systems and Design graduate program. The program allowed Lee to “imagine vehicle design in the context of an ecosystem,” he says, “and to find my identity as a creative person, knowing where I could belong and what I could do in this world.” His advice to students: “Regard Art Center as a playground where you get to play with all of the resources that are given to you.”

daviddaylee.com

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Graduateadmissions

Graduate Admissions

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programs are submitted to the Admissions Office. The faculty, chair of the specific graduate program and admissions staff compose the admissions committee that makes the evaluation and final admissions decision regarding each candidate. Graduate programs vary from four to seven semesters depending on the program and the option into which you are accepted. The acceptance process is inde-pendent of your request for financial aid.

Programs of StudyMaster of Fine Arts (MFA)

Art Film

Media Design Practices

Master of Science (MS) Environmental Design

Industrial Design Transportation Systems and Design

Dual Degree (MS/MBA) Innovation Systems Design

Non-Degree ProgramsArt Center accepts a limited number of non-degree students who have significant educational and work experience within one of our majors. These programs are usually two to three semesters in length and offer an in-depth experience for students in a limited time frame. All application procedures and require-ments, as well as tuition, are as outlined for the degree programs. Financial aid is not available.

Counseling and VisitingGraduate students should call Admissions at 626 396-2373 to arrange an appointment or, as possible, a visit directly with the department to which you are applying. The Art and Media Design Practices programs are housed at South Campus.

Application and Portfolio Requirements

The following materials constitute a complete ap-plication. No application will receive a final decision until all of these materials have been received by the Admissions Office: Art Center College of Design, 1700 Lida Street, Pasadena, CA 91103.

General Admissions Requirements for All Master’s Degree Programs:

1 A completed admission application. Download or complete online at applyweb.com/apply/accd.

2 A nonrefundable application fee. The fee is $50 for U.S. citizens and permanent aliens or $70 for students requiring an F-1 Visa.

3 Official transcripts from all colleges attended. A completed undergraduate degree must be verified prior to enrollment.

4 A TOEFL score of 100 or higher or IELTS score of 7.0 for international students. Graduate applicants whose bachelor’s degree was achieved in a language other than English must score at least 100 on the Internet-based TOEFL (iBT) or 7.0 on the IELTS to be considered for admission. We are not registered for electronic download of IELTS scores. We do not accept insti-tutional versions of either test. Visit toefl.org or ielts.org for registration and testing information.

5 Program-specific requirements. Please refer to each academic department’s text below for additional requirements by program.

6 Review the section “Submitting your Portfolio” on p. 82, along with each depart-ment’s guidelines,for methods of submission. Note: If work in the portfolio represents a collaboration,then it must be stated what role the applicant played.

ArtGraduate Art applicants can apply for the Fall or Spring terms with priority dates of February 1 or October 1, respectively. Applications will continue to be reviewed if space is available.

1 Complete all General Admissions Requirements as listed above.

2 Submit your portfolio. (See p. 82.) The MFA program in Art is open to candidates working in any medium. Candidates working with film, video, performance or sound should provide completed examples of each piece. This can be done via Vimeo; send a link to your work on Vimeo to admissions@artcenter.edu.

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3 A letter of intent. A letter of 1,000 words or less that includes discussion of your work and goals. There should be references to works of art and ideas about art that you have found especially useful, in addition to any other relevant thoughts or information.

4 Your resume.

5 Optional: Letters of recommendation. These are encouraged, but not required.

Environmental DesignApplications for Environmental Design are accepted for the Fall term only. Applications are due February 1 for priority consideration, including potential schol-arship awards. Admissions decisions are typically made in the month of March. If space is available, reviews will continue and applications will be ac-cepted beyond that time. Check with the Admissions Office for availability. There are two distinct programs of study within the Environmental Design Department: Spatial Experience Design and Furniture and Fixtures Design. In addition, there is a two-year and a three-year program option.

Spatial Experience DesignThis track addresses the relationships among the individual, materials, space and emotion. The program focus takes us beyond style to consider the links between the psychological, physical, emotional and sensorial effects of spatial design. Students will approach the design experience from the first moment of encounter to the last moment of interac-tion. In a sense, students will see themselves as the “conductor” of the experience. This approach will involve a transdisciplinary interaction with students from other creative disciplines, but in most cases the Environmental Design student generates the creative guidelines by which the total experience is explored. This program is for students who are interested in creating and elevating multi-scale spatial designs with an industry focus and application. Students will often have a prior degree in environmental design, architecture or interior architecture.

Furniture and Fixtures DesignThis track investigates the relationships among space, place, function and application of furniture and fixtures design. The program is focused on in-novation, industry standards and an understanding of the manufacturing process for mass production

furniture, case goods and fixture design. Furniture and fixtures are viewed as an integrated component of the spatial experience. The psychological, physical and emotional roles of furniture in our living and working environments are explored. The design focus goes well beyond style to consider the links among the user, brand, function and the industry. This is a program for students who want to elevate their understanding of production furniture and its relationship to manufacturing, materials and market. Students will often have a prior degree in environmental, product or furniture design or a major with strong 3D making and conceptual skill sets.

1 Complete all General Graduate Admissions Requirements. (See p. 77.)

2 Submit your portfolio. (See p. 82.) Submit a portfolio of work demonstrating your

design abilities as described below. Spatial Experience track applicants: Students

should have a rich background in spatial inves-tigation and be experienced in the exploration of spatial projects in both hand and digital skill sets. Prospective students need to submit at least three completed spatial projects. These projects should be fully documented with indication of goals, research, hand sketch development, digital and hand model making. The conceptual design process should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background.

Furniture and Fixtures track applicants: Students should have a background in furniture and fixture investigation and be experienced in the fabrication process in both hand and digital skill sets. Submit at least three completed full-size prototype furniture or fixture projects, including sketching, model making and documentation of the complete design development process. The latter should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background.

3 A written essay. Provide a written statement that delineates your

motivation for pursuing a graduate program and your reasons for the choice of track. This should include topics and areas of interest as well as specific goals to be undertaken in the program. You should also describe specific skills and competencies you want to achieve. The statement should also include your goals beyond

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a design education will relate to your career objectives.

4 Your resume.

FilmFilm applicants can apply for the Fall term only and are usually reviewed within one month after submission or no later than March. The priority date for receipt of the application is February 1, including scholarship consideration, but applications will continue to be reviewed if space is available.

1 Complete all General Graduate Admissions Requirements. (See p. 77.)

2 Submit your portfolio. Submit at least two completed film or video

projects that demonstrate your visual narrative storytelling abilities as a filmmaker. The total running time of the work you submit should be at least five minutes but should not exceed 20 minutes.

Submitted work can include short films of any genre, documentaries, or multiple commercials or music videos, but all work must demonstrate your narrative storytelling abilities. Your work should also demonstrate a high level of proficien-cy in cinematography, lighting, staging, editing, and sound. At least one of your projects should employ sync sound.

Submit only projects on which you played a key creative role as director, cinematographer, or editor—this includes applicants interested in the Producing concentration; be sure to clearly indicate the role you played on each project.

In the written statement accompanying your application, keep in mind that we are particularly interested in learning what inspires you to make films, what sorts of films you want to make, and a brief description of your favorite filmmakers. We are also interested in hearing about any professional experience that you have accrued in the film industry.

Portfolio work is only accepted via link to Vimeo by indicating your link along with your application. Applicants can provide links to their work via email to filmportfolio@artcenter.edu. You must include your full name and address.

For those who do not have access to these services, we will accept a DVD formatted in the NTSC video standard. All other formats, includ-ing data discs, will not be accepted.

3 A graduate proposal. Submit a graduate proposal that defines a

filmmaking project that will engage you during your course of study. While the proposal may be preliminary, it must nevertheless be specific and take the form of a one-page story treatment for a potential film project.

4 Your resume.

Industrial Design and Innovation Systems Design

The Industrial Design program is looking for bright, articulate, literate and social individuals. Our student body typically includes professionally oriented individuals with a wide variety of under-graduate degrees and experiences. Professional experience resulting in market-tested designs is preferred. Diversity and breadth of background play an important role in defining the transdisciplinary culture of the program. Applications for Industrial Design are accepted for the Fall term only. Applications are due February 1 for priority consideration, including potential scholarship awards. Decisions are typically made in the month of March. If space is available, an additional review of applications will take place; check with Admissions.

1 Complete all General Graduate Admissions Requirements. (See p. 77.)

2 Submit your portfolio. (See p. 82.) Submit work that demonstrates your design abilities. Include examples of projects that show your process and how you develop ideas into the projects’ results. Sketchbooks are welcome additions to finished portfolios. The following are especially important:

– Demonstration of ability to make appropriate and human-centered designs and take a systems approach to design solutions that address con-text, business, technological and human-related aspects. Also ability to: write and communicate effectively; display an understanding of and expe-rience with 3D form and design; draw effectively and other visualization abilities.

– Demonstration of ability to comprehend and execute fundamental aesthetic design principles via style, proportion, shape, material, color, etc.; the ability to select important projects and iden-tify real needs; the ability to research, investigate and analyze design topics and to experiment, think laterally and engage in creative idea generation activities.

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– The ability to provide solutions for real needs and problems and create value for the human condition; to satisfy an aesthetic appetite for the creation of new market-driven style and prod-ucts such as chairs, desk sets, communication systems, cars and housewares.

3 Two written essays, as follows: a) A letter of intent of not more than 1,000 words

focused on your motivation for pursuing graduate study in Industrial Design at Art Center, your personal goals after completion of the program, and your views regarding any specific areas of interest within the field.

b) A brief summary for a project proposal: $10 million and two years. Description of a program of activity that you would (hypo-thetically) propose to work on if given an open budget of $10 million and two years to work on a project of your choice.

4 Your resume.

5 Letters of recommendation. Provide one to three letters of recommendation

from academic and professional references.

6 Applicants to the dual degree MS/MBA program with Drucker School of Management are required to submit GRE or GMAT scores. GRE scores can be sent directly to Art Center using school code 0595 or GMAT scores can be sent using Drucker’s school code DZK-QS-08.

Media Design PracticesMedia Design Practices / Lab + Field (MDP) brings in-terdisciplinary design practices to a world of cultural and technological change. MDP seeks individuals who want to use design to understand and change the world. We are looking for risk-takers with varied interests who pursue design and critical inquiry with depth, intelligence, empathy and passion. Applicants must have earned, or be in the process of completing, a bachelor’s degree. Media Design Practices offers two tracks: Lab and Field. For either track, students can apply for either a two-year or three-year course of study. In the Lab track, students work with emerging ideas from technology, science and culture using de-sign as a mode of critical inquiry in a studio context. External partners—from Caltech scientists to Silicon Valley engineers—bring expertise, resources and the latest advances into the studio. In the Field track, students work in a real-world context where social issues, media infrastructure and

communication technology intersect. A collabora-tion with Designmatters, Art Center’s social impact department, the curriculum includes firsthand experience in the field—for 2014-15, students will work out of UNICEF’s Tech4Dev Innovation Lab in Kampala, Uganda. For the two-year applicants, we look for design-ers with exceptional training and experience in the visual, spatial, interactive and graphic design fields who can realize high-level concepts with skill in visual communication and interactive design. For the three-year applicants, we accept both accomplished and burgeoning designers from a broad range of backgrounds who bring valuable per-spectives to the practice of design. The Development Year provides a design curriculum that prepares the applicant to integrate their past experience into a design approach that is fully realized in their concept year and thesis work. Students enter in the Fall semester only. Appli-cations for both Lab track and Field track are due on February 1 for priority consideration, including potential scholarship awards. Applications received after the deadline will be considered based on avail-able space. Decisions and notifications are made by the end of March. Applications cannot be deferred.

1 Complete all General Graduate Admissions Requirements. (See p. 77.)

2 Submit your portfolio. (See p. 82.) The design portfolio is the cornerstone of the application. The portfolio should be a curated body of work that demonstrates the applicant’s expertise in the conception and creation of sophisticated design and other relevant works (e.g., creative or critical writing, business plans, software, curriculum, research, grants, etc.).

The portfolio must demonstrate versatility, criticality, rigor, point of view, willingness to discover, and accomplishment working with graphic, visual, interactive, spatial or experiential media. Projects can be professional, self-initi-ated and/or class assignments. Applicants are encouraged to include work that demonstrates process, research, experimentation and a spirit of inquiry. We encourage applicants from other fields but projects from outside of media design must demonstrate the applicant’s ability to cross boundaries and think about issues in the realm of communication and media.

The portfolio should be edited to highlight the applicant’s best and most relevant work. Brief written descriptions of the projects should accompany each piece. Collaborative

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applicant’s contribution or role. All projects in the portfolio should be present-

ed through Slideroom. No physical portfolios will be accepted. Media Design Practices prefers all portfolios in the form of either a PDF or a website. The PDF or website should include stills, screen shots or photo documentation for all projects including print, interactive, motion or video. Where possible, dynamic media projects should be accompanied by links to working examples to ensure the full depth of the project is experi-enced. This content can be on a personal website or third-party service such as Vimeo or YouTube.

Upload a PDF or document containing your URL to Slideroom at artcenter.slideroom.com. A nominal fee will be charged by Slideroom for this service. Full instructions are listed on their site.

3 Statement of intent. Applications must include a personal statement

of intent. The essay should outline the applicant’s motivation for pursuing graduate study in Media Design Practices at Art Center and discuss personal goals for the future, along with areas of interest and relevant experience. Applicants also need to answer the writing assignment listed below for their chosen track only. The statement of intent should be clear and concise, between 500-1,500 words in length.

Applicants to the Lab track should address the following:

Choose two inquiry-led design projects (projects designed to pose questions) and discuss each project in terms of its questions, process, rigor, creative iterations, success and/or inter-esting failures. Which aspects would you take forward and which would you leave behind as you pursue new critical questions of your own? What would those questions be? We encourage you to include one of your own projects, especially if you have a self-initiated project in which you determined the process and critical direction.

Applicants to the Field track should address the following:

Choose two socially engaged design projects and discuss each project in terms of its process, engagement, orientation, scalability, sustain-ability, ethics and politics. Which aspects would you take forward and which would you leave behind as you pursue new critical questions of your own? What would those questions be? We encourage you to include one of your own

projects, especially if you have a self-initiated project in which you determined the process and critical direction.

4 Your resume. A CV summarizing the applicant’s educational

and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.

5 Letters of recommendation (one to three) from academic and professional references are strongly encouraged.

References should be from people who are familiar with the applicant’s work and experience, and should speak to an ability to conceptualize, execute and communicate design.

6 Visit our site Visit the MDP website for additional information:

mediadesignpractices.net

Transportation Systems and DesignThe Transportation Systems and Design program seeks gifted, articulate, thoughtful individuals who are self-motivated and who would like to help transportation industries and agencies change the way they think. Diversity and breadth of background plays an important role in defining the transdisci-plinary culture of the program. Applications are accepted for the Fall term only. Applications are due on February 1 for priority con-sideration, including potential scholarship awards. Decisions are typically made in the month of March. If space is available, reviews will continue and ap-plications will be accepted beyond that time. Check with the Admissions Office for availability. Although there is considerable overlap in class-work, students may focus on systems design or vehicle design. The first area is for students who want to focus on using design and systems thinking to create smart and innovative transportation solutions rather than design vehicles per se. Students will have a desire to create change by engaging across disciplines and into areas such as policy-making, business strategy and urban planning as related to transportation systems. A vehicle design focus is appropriate for students wishing to enter or re-enter the vehicle/automotive industry. Their goal may be to fast-track their careers with an orientation toward business or design strategy, or even beyond the bounds of traditional automotive studio positions.

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1 Complete all General Graduate Admissions Requirements. (See p. 77.)

2 Submit your portfolio. (See below.) You may include vehicular projects that dem-onstrate high levels of transportation design competency. These should demonstrate creativity, critical thinking, problem solving, originality of solutions, excellent visualization/drawing skills, 3D exploration, good organizational ability, the ability to research, and a sense of curiosity and inquiry. Evidence of previous study of transporta-tion design and competency will be expected.

If your primary interest is in systems, you can incorporate a variety of projects, but should include some samples of transportation system concepts. Demonstration of critical thinking, problem solving, originality and organizational ability are important. Concepts should be demon-strated through drawing.

3 A written essay. Provide a written statement that delineates your

motivation for pursuing a graduate program. This should include topics and areas of interest to be undertaken in the program as well as personal goals. Also describe specific skills and competen-cies you want to achieve. The statement should also articulate goals beyond completion of the program and describe how a design education will relate to career objectives.

You may also indicate your particular interest in the future of transportation. This should make reference to the types of transportation systems that are of special interest and an explanation of their potential social impact.

Submitting Your PortfolioFollowing are the methods for submitting your work. Look for exceptions under each department’s guidelines.

1 Slideroom (Web-based). Our preferred method for submission is through Slideroom. Upload your portfolio images at artcenter.slideroom.com. Slideroom will charge a nominal fee for this service. Full instructions are listed on the site. For general artwork, we recommend scanned images rather than photos for best resolution.

2 Non-returnable printed portfolio. Size limit is 11˝ x 17˝ maximum, including the envelope or covering. This can include a presentation format or simply individual samples of the work. This for-mat works well for the design disciplines in which

presentation or project formats are appropriate. Copies of sketchbook work can be included in this format along with the portfolio. Work will not be returned. Mail to: Admissions Office, Art Center College of Design, 1700 Lida St., Pasadena, CA 91103.

Notifications, Tuition Deposit and Deferrals

Application NotificationsApplicants will be notified of the Admissions Committee’s decision in writing on a rolling basis for Art and Film, and in March for Environmental Design, Industrial Design, Innovation Systems Design, Media Design Practices and Transportation Systems and Design. Art Center reserves the right to rescind an offer of admission at its discretion, such as if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.

Tuition DepositSpaces in the graduate programs are limited. Spaces are reserved based on receipt of a $400 non- refundable tuition deposit and are accepted on a first- come, first-served basis. Applicants should be aware that the status of openings can change very quickly, spaces are not guaranteed, and they can consider their space reserved only after receiving a written confirmation from the Admissions Office.

DeferralsDeferrals of admission are not available, with the exception of the Art program based on special permission.

Tuition and Fees for Graduate Students

Visit artcenter.edu or call the Admissions Office for the most current tuition rate. The tuition for Fall 2014 and for Spring and Summer 2015 is $19,726 per term.

Financial Aid and Scholarships

Art Center encourages all students in need of financial aid to apply for funding. Graduate students are eligible for several federal loan programs, Federal Work Study, and can apply for Art Center scholar-ships, which are generally need- and merit-based. Request the Financial Aid brochure at 626 396-2373 or visit artcenter.edu for more detailed information.

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U.S. citizens and permanent alien residents must complete both the admissions requirements and the FAFSA (Free Application for Student Aid) to be considered for scholarships and financial aid. International students need only submit application materials. All applicants should meet the priority scholar-ship application date for the term for which they are applying. Depending on availability, it may still be possible to receive aid if those dates are not met.

Priority Scholarship Dates

Fall term: February 1 Spring term: October 1

Notification of Scholarship AwardsAccepted applicants who meet the priority dates will be notified in writing by:

Fall term: April 1 Spring term: November 15

For assistance in applying for financial aid, contact the Financial Aid Office at 626 396-2215.

New Student Orientation and Class Scheduling

Graduate students will attend an Orientation pro-gram the week prior to the start of classes, and will have access to their schedule of classes at that time.

Arrival and HousingPlease call on the Center for the Student Experience staff to help with questions or needs related to your arrival. While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options on a housing website at offcampushousing.artcenter.edu.

Academic Calendar 2014

Fall Term September 2–5: OrientationSeptember 6: Classes begin

November 11: Veterans Day holidayNovember 27–30: Thanksgiving holiday

December 13: Classes end

2015Spring Term

January 6–9: OrientationJanuary 10: Classes begin

January 19: Martin Luther King, Jr. holidayApril 18: Classes end

Summer TermMay 5–8: OrientationMay 9: Classes begin

May 25: Memorial Day holidayJuly 3: Independence Day holiday (observed)

August 15: Classes end

Fall Term September 1–4: OrientationSeptember 5: Classes begin

November 11: Veterans Day holidayNovember 26–29: Thanksgiving holiday

December 12: Classes end

2016Spring Term

January 12–15: OrientationJanuary 16: Classes begin

January 18: Martin Luther King, Jr. holidayApril 23: Classes end

Summer TermMay 10–13: Orientation May 14: Classes begin

May 30: Memorial Day holidayJuly 4: Independence Day holiday

August 20: Classes end

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At a GlanceYear founded

1930

AffiliationPrivate, nonprofit institution

Graduate enrollment218

(56% men, 44% women)

Graduate enrollment by program

Art: 29Environmental Design: 23

Film: 62Industrial Design: 42

Media Design Practices: 46Transportation Systems and Design: 15

Average age of graduate students28.6

International graduate students31.7%

Figures above reflect Fall 2013 data.

Art Center College of Design™ is accredited by the WASC Senior College and University Commission (WSCUC), and by the National Association of Schools of Art and Design (NASAD).

Access to Art Center’s accreditation report is available through the College’s Center for Educational Effectiveness.

WSCUC 985 Atlantic Avenue, Suite 100, Alameda, CA 94501 510 748-9001

NASAD 11250 Roger Bacon Drive, Suite 21, Reston, VA 20190 703 437-0700 40

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Colophon

Published by the Department of Marketing and Communications

Chairman of the Board of Trustees: Robert C. Davidson, Jr.President: Lorne M. BuchmanSenior Vice President, Admissions and Enrollment Management: Kit BaronProvost: Fred FehlauVice President, Marketing and Communications: Jered Gold

Design team

Creative Director: Scott TaylorArt Director: Winnie Li (BFA 92)Designers: Eliana Dominguez (BFA 06), Winnie LiDirector of Production: Ellie EisnerProduction Designer: Audrey Krauss

Editorial team

Editorial Director: Sylvia SukopSenior Writer: Mike WinderContributing writer: Lynne HeffleyCopyeditor: Kathy BarretoEditorial assistance: Teri Bond, Aamina Ganser, Anna Macaulay, Kat Salerno, Christine Spines

Photography

Photographer: Stella Kalinina (BFA 13)Additional photography: Alex Aristei, Four Eyes Photography, Dice

YamaguchiPhoto credit/copyright: Page 10: © Steven A. Heller/Art Center Col-

lege of Design

Fonts: Brown (Lineto), Atlas Typewriter (Commercial)Paper: Domtar Cougar Cover and Text, FSC and Rainforest Alliance Certi-

fied, 10% post-consumer, Process Chlorine Free fiber; Endurance Gloss Book, FSC Certified; Neenah Paper Astrobrights Text, FSC Certified Mixed Sources

Printer: Clear Image Printing Co.

Art Center College of Design does not endorse any of the products, brands or companies that may appear as part of any student work.

In most cases, alumni artwork was provided directly by individual alumni. We thank them for their ongoing support and contributions to this Viewbook.

Art Center faculty respond quickly to changes in technology and in-novations within specific design disciplines; please consult our website for updated information regarding Programs of Study.

© 2014 Art Center College of Design All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.

Art Center College of Design1700 Lida Street, Pasadena, CA 91103 626 396-2200 artcenter.edu

Index

Academic programs, graduate Art 16–25 Environmental Design 26–35 Film 36–45 Industrial Design 46–55 Media Design Practices 56–65 Transportation Systems and Design 66–75Admissions 76–84Application notifications 82Application requirements 77–82 Art 77 Environmental Design 78 Film 79 Industrial Design 79 Media Design Practices 80 Transportation Systems and Design 81Art 16–25 Program of Study 24Art Center at a Glance 84Calendar, academic 83Deadlines, application 77–83Deferrals 82Degrees offered, graduate 77Drucker School of Management 47, 54Environmental Design 26–35 Program of Study 34Film 36–45 Program of Study 44Financial aid 82–83 Deadlines 83Graduate leaders 3–13Graduate studies 15–75 Grants 82–83Housing 83Industrial Design 46–55 Program of Study 54Innovation Systems Design 47, 54Loans 82–83Media Design Practices 56–65 Program of Study 64Non-degree programs 77Orientation 83Portfolio submission 82Scholarships 82–83Transportation Systems and Design 66–75 Program of Study 74Tuition 82 Deposit 82Undergraduate studies artcenter.edu/undergradVisits, campus 77Work study 82

For more information about Art Center’s undergraduate and graduate programs, policies and procedures, along with an overview of the student experience, career and professional development, and art and design for social impact, see our comprehensive Viewbook online. artcenter.edu/viewbook