Innovation Winter 2015: 50/35/50

QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA

50/35/50 50 NOTABLE MEMBERS 35 YEARS OF DESIGN EXCELLENCE 50 MEMORABLE MOMENTS

WINTER 2015

QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA

WINTER 2015 速

Publisher IDSA 555 Grove St., Suite 200 Herndon, VA 20170 P: 703.707.6000 F: 703.787.8501 www.innovationjournal.org www.idsa.org

Executive Editor Mark Dziersk, FIDSA Managing Director LUNAR | Chicago mark@lunar.com

Sr. Creative Director Karen Berube IDSA 703.707.6000 x102 karenb@idsa.org

Advertising Katrina Kona IDSA 703.707.6000 x100 katrinak@idsa.org

Advisory Council Gregg Davis, IDSA Alistair Hamilton, IDSA

Contributing Editor Jennifer Evans Yankopolus

Subscriptions/Copies IDSA 703.707.6000 idsa@idsa.org

jennifer@wordcollaborative.com

678.612.7463 速

The quarterly publication of the Industrial Designers Society of America (IDSA), INNOVATION provides in-depth coverage of design issues and long-term trends while communicating the value of design to business and society at large.

Annual Subscriptions Within the US $85 Canada & Mexico $100 International $150 Single Copies Fall/Yearbook All others

$50+ S&H $25+ S&H

50/35/50 14 In Memory Carroll Gantz, FIDSA

By Bret Smith, IDSA, and

IN EVERY ISSUE

IDSA AMBASSADORS

4 From the Editor

3M, St. Paul, MN

By Mark Dziersk, FIDSA

Banner & Witcoff, Chicago; Washington, DC;

15 What a Difference 50 Years Makes!

6 Design Defined

By Byron Bloch, IDSA

Cesaroni Design Associates Inc., Glenview, IL;

By Carroll Gantz, FIDSA

16 50 Notable IDSA Members

8 Beautility

Vicki Matranga, H/IDSA

29 Not to Be Forgotten 29 Longest Living IDSA Members

56 50 Memorable Moments in IDSA History 57

57 57 58

Presidents/Chairs of the IDSA Board of Directors IDSA Staff Leadership National HQ Office Moves 50 Years of National and International Conferences

60 Crossword Redux

62 Further Reading

QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA INNOVATION 50/35/50

50/35/50

WINTER 2015

50 NOTABLE MEMBERS 35 YEARS OF DESIGN EXCELLENCE 50 MEMORABLE MOMENTS

WINTER 2015

Santa Barbara, CA

By Tucker Viemeister, FIDSA

Crown Equipment, New Bremen, OH

11 A Look Back

Dell, Round Rock, TX

By Carroll Gantz, FIDSA

Eastman Chemical Co., Kingsport, TN

63 Showcase

IDEO, Palo Alto, CA; Shanghai; Cambridge, MA;

30 35 Years of IDEA Winners 34 A Commentary on Industrial Design Excellence5

By Ralph Caplan, H/IDSA 42 Most Winning Companies from 1995–2015

Boston; Portland, OR

Statement of Ownership Publication: Innovation Publication Number: Vol. 34, No. 4 Filing Date: 11/2/15 Issue Frequency: Quarterly No. of Issues Published Annually: 4 Annual Subscription Rate: $70 Domestically, $125 Internationally Mailing Address: 555 Grove Street, Suite 200 Herndon, VA 20170 Mailing Address for Headquarters: Same as above Owner & Publisher: Industrial Designers Society of America, 555 Grove Street, Suite 200, Herndon, VA 20170 Managing Editor: Karen Berube Issue Date for Circulation Data: Summer 2015

Ave. Year Single Total Number of Copies: 3,488 3,150 Paid/Requested outside county: 2,631 2,350 Paid in county: 0 0 Sales through dealers/carriers: 157 69 Other classes mailed through USPS: 256 237 Total paid: 3,044 2,656 Free distribution mailed through USPS: 0 0 Total nonrequested distribution distribution: 0 0 Total distribution: 3,044 2,656 Copies not distributed: 444 494 Total: 3,488 3,150

London; San Francisco; Munich; Chicago; New York City Jerome Caruso Design Inc., Lake Forest, IL LUNAR, San Francisco, Chicago, Munich, Hong Kong Metaphase Design Group Inc., St. Louis, MO Newell Rubbermaid, Atlanta, GA Smart Design, New York City; San Francisco; Barcelona, Spain solidThinking, Troy, MI TEAGUE, Seattle, WA; Munich, Germany Thrive, Atlanta, GA Tupperware, Orlando, FL Charter supporters indicated by color.

For more information about becoming an Ambassador, please contact Katrina Kona at 703.707.6000 x100.

Cover: For IDSA and the Ford Mustang, turning 50 is only the beginning.

Advertisers’ Index

INNOVATION is the quarterly journal of the Industrial Designers Society of America (IDSA), the professional organization serving the needs of US industrial designers. Reproduction in whole or in part—in any form—without the written permission of the publisher is prohibited. The opinions expressed in the bylined articles are those of the writers and not necessarily those of IDSA. IDSA reserves the right to decline any advertisement that is contrary to the mission, goals and guiding principles of the Society. The appearance of an ad does not constitute an endorsement by IDSA. All design and photo credits are listed as provided by the submitter. INNOVATION is printed on recycled paper with soy-based inks. The use of IDSA and FIDSA after a name is a registered collective membership mark. INNOVATION (ISSN No. 0731-2334 and USPS No. 0016-067) is published quarterly by the Industrial Designers Society of America (IDSA)/INNOVATION, 555 Grove St., Suite 200, Herndon, VA 20170.

Periodical postage at Sterling, VA 20164 and at additional mailing offices. POSTMASTER: Send address changes to IDSA/INNOVATION, 555 Grove St., Suite 200, Herndon, VA 20170, USA. ©2015 Industrial Designers Society of America. Vol. 34, No. 4, 2015; Library of Congress Catalog No. 82-640971; ISSN No. 0731-2334; USPS 0016-067.

10 2016 IDSA District Design Conferences 5 2016 IDSA International Conference 35 Art Center College of Design 61 Crown Equipment 54 International Design Excellence Awards c4 LUNAR 62 SONOS c2 Pip Tompkin 5 SPI 61 Product Builders 35 Umbach 1 Mixer Group 61 Woodring c3 PTI Design

F RO M T HE E DI TOR

NURTURING OUR LIQUID NETWORK

Craig Blankenhorn/AMC

S

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ometime back in 1965—post the fictional but accurate Don Draper Mad Men emergence of advertising as a medium—a group of moderately seasoned industrial designer-types got together and decided that what they were doing mattered a lot. Maybe even more than Draper’s mission of convincing people to buy things.

The group recognized that they had a power to actually make the things people buy better and more meaningful, and that was important. This being a new kind of “super” power, it required oversight. The new profession of industrial design had been making a huge impact on the post-World War II manufactured world and needed to come together and be led by a community of leaders. A milestone moment was upon industrial design and action was needed. And so an organization was formed to disseminate information and establish rules of engagement: IDSA. The right organization for a time when a nascent profession needed to traffic the intersection of art and legitimacy.

Fast forward 50 years and we designers find ourselves at another crossroads. A now mature profession of industrial design is being co-opted and integrated and merged and acquired and bent hard in the service of business and society. Design’s power to affect change has been permanently ratified and like a rare perfume is being requested at a volume that simply cannot be accommodated. The profession finds itself struggling to keep up with the demand for leadership and at the same time shake off old mores.

Depending on a person’s perspective, a designer will either embrace or fend off the dilution of product design by service and experience design and user interaction and design thinking. It’s either the best thing or the worst thing ever. These struggles are pervasive in every aspect of engagement from the boardroom to the factory floor. The massive demand for industrial design’s problem-solving prowess comes at the same time that information spillover is abundant and redundant, ironically diluting the traditional need for an organization like IDSA and introducing new memes and cadences of behavior. To say that information is consumed differently today than it was 50 years ago is an understatement of epic proportions.

Facing these shifting ground plates has been a challenge for IDSA. It has struggled in recent years to maintain membership while events and participation in services have grown. Said another way, most of the revenue that used to come from membership now comes from the purchase of

services. As IDSA shifts from a tightly knit, exclusive society to a network, it is being altered. It has been slow acknowledging the new territory it must fight for. Change is hard.

A network acts differently from a society. As the author Steven Johnson profiles in Where Good Ideas Come From, a network (like what IDSA has grown into), or more specifically a liquid network, acts much like a barrier reef where all things are interconnected and dependent upon one another.

According to Johnson, liquid networks create platforms from which opportunity is created, but they are hard to quantify and understand and even harder to control. I think that’s exactly right. A community of designers is a very special kind of liquid network, and we have very specific needs indeed. INNOVATION was created as one way to address these needs.

In this issue of our journal we look back at 50 years of IDSA, which has been making connections and changing its format and adjusting as best it can to the brave new world it finds itself in. It always pays to look back at where we have been in order to move forward in the right way, as Steve Jobs reminds us in a quote that appeared in the Summer issue that bears repeating: “You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future.”

This issue has been carefully crafted to remind us of where we have been and to launch us on our way forward.

In this spirit, I would like to suggest three strong emerging themes for IDSA and for the profession as a whole: n Mastering the ability to disseminate quality curated information and messages in a 140-character, digitally enabled world in which the news is redundant and people are bombarded with information. n Maintaining the enormous value of face-to-face encounters and group meetings with colleagues in which nuance is shared and communicated, where relationships that can last for decades are formed, and through which the profession and the businesses and the constituents it serves are serviced. n Adding new tools to the discourse of design and the organization to address design’s increased impact and the recognition of its value in the boardroom and at scale and within new communities, such as venture funds, management consultants and leadership councils.

IDSA is a liquid network with every part of it dependent upon the other to succeed. A community of designers is a very special thing indeed. In this issue we look back at 50 years of our community, IDSA—an organization that has been making connections and changing the lives and futures of people in the service of making this planet we live on a little bit better one product or service at a time.

Here’s looking forward to the next 50 years and what the future may bring.

April 25-27, 2016 | Orlando, Florida It’s time to Re|focus on Plastics Recycling

P RO D

UCED BY SPI

And collaborate on designing for recycling and other product sustainability and manufacturing solutions

refocussummit.org

Detroit: the epicenter for making everything and anything: music, food, automobiles, furniture, arts, crafts... The people are passionate, full of pride and above all, have an ambition to make things happen.

Mark your calendar and experience the journey now on @IDSA #IDSADetroit16 #IDSAIDEA on Twitter.

Visit IDSA.org/Detroit for more information!

—Mark Dziersk, FIDSA, INNOVATION Executive Editor mark@lunar.com

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D E S I G N DE F I NE D

IT’S TIME FOR INDUSTRIAL DESIGN TO INNOVATE ITSELF!

G

o into any bookstore, college campus, high school or government agency and ask anyone if they know what industrial design is. The response is too often a blank stare, possibly followed by an assumption that you mean industrial engineering. Since my days in the industrial design program at UCLA in the late 1950s, that vagueness has persisted. While the roots of industrial design go back to the Industrial Revolution, beginning in the 1760s when mechanized factories mass produced goods that were formerly handcrafted, the 21st century has seen an exploding shift into today’s and tomorrow’s incredibly vast range of products and systems that need to be designed.

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We are no longer following the traditional role of industrial designers. Yes, pioneering industrial designers like Henry Dreyfuss, FIDSA, Raymond Loewy, FIDSA and Walter Dorwin Teague, FIDSA brought better functionality and aesthetics to products that were manufactured in basic industries. Today, high school students can conceive of a better product idea, then use a CAD program on their Mac to show how their product might work, then make a prototype on a 3D printer in class or at home, then test market their product with fellow students, and then become entrepreneurs to start a business with seed money from Kickstarter. All of that in maybe a week or so. And all without ever going to college to study industrial design, nor ever having heard that such a profession exists.

I’m arguing that industrial design needs to conceive of a new design for itself. In coming of age in this new century, we need to become innovation designers to continually innovate new and better products and systems that will make our world safer, healthier, more efficient, more sustainable and more affordable for all. Just a short 30 years ago we were emerging into the world of personal computers, the Internet, cellphones, 3D animation, electronification of our cars, synthetic body organs, automation of factories and much more.

Now more corporations are recognizing the critical need for design innovation, such as affirmed by industrial designer Jony Ive becoming the chief design officer at Apple.

What about the college-level training of innovation designers? As I see it from my perspective of more than 50 years in the battlefields of industrial design as applied to aerospace and military weapons, heart surgery facilities, early personal computers, and auto safety and crashworthiness, I’m proposing what an idealized innovation design program would include. With a multidisciplinary approach, many of the courses could be coordinated within a university’s existing schools of engineering, business, art, media, law and more. But it would not be tacked on to the art or architecture schools. The program and degree would proudly have its own identity as innovation design. Here’s a basic outline:

History of industrial design. . . . . . . . . . . . .

Principles of basic design. . . . . . . . . . . . . .

Express your ideas visually. . . . . . . . . . . . .

Express your ideas verbally. . . . . . . . . . . . .

Science and engineering. . . . . . . . . . . . . . .

Materials and processes. . . . . . . . . . . . . . .

Development, testing, manufacturing. . . . .

Human factors engineering. . . . . . . . . . . . .

Designing for sustainability. . . . . . . . . . . . .

3D modeling. . . . . . . . . . . . . . . . . . . . . . . . .

Computer-aided design. . . . . . . . . . . . . . . .

3D printing . . . . . . . . . . . . . . . . . . . . . . . . . .

Science fiction . . . . . . . . . . . . . . . . . . . . . . .

Entrepreneurship . . . . . . . . . . . . . . . . . . . . .

Usability feedback. . . . . . . . . . . . . . . . . . . .

Economic factors. . . . . . . . . . . . . . . . . . . . .

Legal concerns. . . . . . . . . . . . . . . . . . . . . . .

Case studies. . . . . . . . . . . . . . . . . . . . . . . . .

The Industrial Revolution, who’s who, philosophy Let’s also improve the Shape, functionality, utility, efficiency, performance STEM program in education by expanding it Drawings, photos, videos, exemplars, cutaways with art, entrepreneurWriting, speaking, giving presentations, PowerPoint ship and design. Get STEAMED up!

Forces, energy, mechanics, electricity, chemistry Metals, plastics, woods, glass, fibers, synthetics S Science T Technology From concept to testing to mass production E Engineering Designing for human beings, usability, safety A Art Efficiency, maintainability, recyclability, regulations M Math E Entrepreneurship Making models and working prototypes by hand D Design CAD, SolidWorks, CATIA, OnShape, optimization Creating functional prototypes from CAD to 3D reality Resources for inspiration, future society needs, brainstorming Starting an enterprise, consulting, corporate staff, fundraising Learn from real-world usage to make improvements Cost to make, sell, use and maintain the product Patents, warranties, regulations, service, safety, liability Apple, Toyota, Rubbermaid, UnderArmour and many more

Similar courses, seminars or full programs should also be taught in community colleges and high schools and even earlier. Encourage K–12 schools to establish innovation design clubs where students can learn about and brainstorm creative ways to research, analyze and design safer, better, more efficient solutions to the problems and needs they perceive. When I volunteer-directed the science expo at a local elementary school, it was inspiring to see how the young students were so creative and skillful. Imagine if they could enthusiastically say they want to study innovation design in college and then help change the world.

So let’s bring our own profession into the world of the future that we are all rushing into. We must become the innovation designers who will help to innovate the incredible spectrum of better products and yet-to-be-invented products that will make our world a safer, healthier, more efficient, more sustainable, more affordable place for us all to live. The acronym IDSA would still be the same, and our magazine is already aptly named INNOVATION. Someday our nation may even elect a notable innovation designer as our next president, having proven they are indeed a compassionate, creative leader who can help make our nation and world so much better for us all.

—Byron Bloch, IDSA, Institute for Car Crash Justice byron@autosafetyexpert.com

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BEAUTIFUL MIDCENTURY!

I

t’s an honor to be counted as one of IDSA’s 50 most notable members. This issue of INNOVATION celebrates the history of IDSA, although our industrial profession began to flourish back in the ’30s when designers were translating new industrial technology like telephones, cars and trains, housewares and corporate strategy into things we could use—and we’re doing that now! The last time that design peaked is now called midcentury modern. Today we may be post-industrial, but it feels like the ’50s when design was king.

Sadly, it wasn’t always like this. For most of my career, no one knew what I did. But now it seems like everyone loves design. Not only does the general public seem to like design—they even know what an industrial designer is! Not only that, they are envious of our jobs. We’re even fueling industry in LA, according to a headline about the Core77 Conference held there this November: “Industrial Design Is Leading the Future of Los Angeles.”

There are three high points of industrial design history: the very beginning, the middle and now—and each of these eras has produced a lot of cool products. By “the beginning” I’m not referring to when modernity of thought changed the Dark Ages into the Renaissance (although maybe that’s an interesting perspective) or the beginning of the Industrial Revolution in the 18th century. By the beginning I mean our kind of industrial design when there seemed like so much opportunity for those early industrial designers like Norman Bel Geddes, FIDSA, Walter Dorwin Teague, FIDSA and Raymond Loewy, FIDSA, who came to the field from backgrounds in fashion and theater design. They had the skill to turn ordinary things into beautiful things, like Loewy’s famous housing for the Gestetner duplicating machine.

Designers brought style to old machines making them more attractive and probably easier to use and produce.

Turbocharged by World War II, the explosion of new materials (like Plexiglas) and new technology (like the TV) needed to be transformed into things people could use and want to use, i.e., good design.

Those early designers thought design made progress and that made good business. They not only created desirable things, they used them to entice people to embrace the idea of progress because good design means a good life and,

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of course, everyone deserves a better life. Loewy declared: “There is a frantic race to merchandise tinsel and trash under the guise of ‘modernism.’ I can claim to have made the daily life of the 20th Century more beautiful.” That made him a hero, and he was put on the cover of Time magazine. Those early designers built the platform so the midcentury designers could build all those cool elementary schools that looked a lot like the Barcelona Pavilion and chock them full of Eames furniture, and decorate dentist offices with Joseph Albers’ color theory prints and George Nelson, FIDSA couches.

Good design was making progress everywhere—until the ’60s when the hippies began turning on, tuning in and dropping out and the celebrity/founding father designers began retiring. The magic fizzled out of the design profession just as they started using Magic Markers. Hippies living on multiple “reality planes” were experimenting with all kinds of other things from organic food to inflatable homes and painting their vehicles in multiple colors to tinkering with cool new video and computer technology. Designers like my Dad were not into the counterculture’s psychedelic decoration or their far out ideas, so they took the profession the other way, away from the sensual and emotional. They tipped toward the side of the accountants and engineers with their own design sciences that pleased the marketers and appraisers. They relied on human factors instead of grounding their work with their core competency: form giving. Beauty became the ugly duckling of human virtues. Designers even seemed apologetic about their talent. Design schools moved away from the art school. Dieter Rams ranked aesthetics third in his 10 Design Commandments. In the public’s rush for progress, efficiency, comfort and entertainment, people lost sight of beauty’s value to our lives, and the ’80s designers didn’t seem to care.

The midcentury designers cared a lot. That kind of commitment was evident in the beautiful physical objects designed by Ray and Charles Eames, Eero Saarinen, Harry Bertoia, Eliot Noyes, FIDSA and Nelson. Why was midcentury modern design so beautiful? They were on a quest.

Design was new to the public, and luckily they were eager to try it out. Designers showed why good design was good for everyone. Bertoia said: “The urge for good design is the same as the urge to go on living.” Designers were applying the modernist philosophy that became the modernist style.

Along with a team from Lippincott, Read Viemeister, FIDSA (on the left) helped design the Tucker car (middle) and named his son, Tucker Viemeister, FIDSA (right) after it. This photo taken during a visit to a car museum during the 1991 IDSA conference in Boston.

Modernism, like the countercultural hippies, felt traditional forms of art, architecture, literature, religion, philosophy, society fashion—none of it—fit their emerging world.

The epitome of modern design is the beautiful smooth white wall, like a James Turrell “skyspace” piece: plain and bold, subtle shadows and color shifts. Competitions measured how well the entries expressed the goals of modernism.

Architect Philip Johnson misrepresented the social ideals of European modernism when he brought it back to America and called it the International Style—and helped make it the servant of corporate America. That was OK because industrial designers knew that business was an effective distribution system for better products. And is still a shrewd business course according to Jonathan Ive: “Apple’s goal isn’t to make money. Our goal is to design and develop and bring to market good products.”

Like Eames and Noyes, most midcentury designers had vision, imagination and talent. Nelson exclaimed, “The simple joy of taking an idea into one’s own hands and giving it proper form, that’s exciting.” They took a natural transdisciplinary approach, creating products where the strategy was baked-in, the service design came with it, the user experience was instinctive and of course the user was in the middle of a beautiful experience. Like Pratt’s industrial design pedagogy built by Donald Dohner and Alexander and Rowena Reed Kostellow, FIDSA (and now being enhanced by the new chair, Constantin Boym) that teaches how to create forms as touchstones for social rituals and reflect manufacturing and functional requirements. Design thinking is inclusive. Eliel Saarinen said, “Always design a thing by considering it in its next larger context—a chair in a room, a room in a house, a house in an environment, an environment in a city plan.”

Now design thinking on the cover of the Harvard Business Review is championed by business as a process that leads to success. IDEO’s Tim Brown said: “Empathy is at the heart of design. Without the understanding of what others see, feel, and experience, design is a pointless task.” But just thinking and feeling empathy don’t necessarily lead to making beautiful things. Designers’ open-ended framework (like biology’s evolution strategy) can be applied to everything—but problem-solving functional issues is not enough. In order to make those smart ideas actually look beautiful, we need to apply our aesthetic talents, too.

Innovation often goes wrong (“fail fast, fail often”), and many times the unintended consequences are not good—but the quest for beauty is never bad or a waste of effort. We have an important job to do.

We need to talk about how we design and why design is good for people. I just got back from Rio for the book launch for the Portuguese translation of Elements of Design: Rowena Reed Kostellow and the Structure of Visual Relationships by Gail Greet Hannah (now available in six languages). Claudio Freitas de Magalhães, a professor at the Pontifical Catholic University of Rio de Janeiro, wrote in his introduction: “For any discussion, the acquisition of vocabulary is key. To see, it is also necessary to describe, talk about what you see. Some design elements can be explicit—points, lines, planes, space, color, value, texture— but many others are hidden. And this book is about how to perceive, identify and articulate the visual language through the clash with the form.” Designer Elaine Ramos’ idea of shrinking the book down and printing it only in black and white did not excite me, but I was wrong. It gives a fresh view of the lexicon for understanding and creating beautiful forms. The book itself became a beautiful object.

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Of course, beauty is in the eye of the beholder—some people like noise, and ugly is even harder to put your finger on. Scholars have been trying to define beauty forever—not because they were confused, just the opposite—it’s a very interesting subject. All that wrangling implies beauty’s importance. However deep it goes, beauty is a force. (The fact that aspects of beauty are subjective is only another reason for user-centered design.) “Beauty is the harmony of function and form,” according to Alvar Aalto. Since America is so practical and economically oriented, I figure that if I could give beauty a new name that illustrates its utility more beauty would be produced. Beautility frames beauty as something that serves a function. A great example is the beauty Aalto created in his Paimio Sanatorium that helps heal patients. It doesn’t just look good—it feels good.

Charles Eames asked, “Who ever said that pleasure wasn’t functional?” Well, pleasure isn’t such a noble goal either. According to Maslow’s A Theory of Human Motivation, the hierarchy of human needs ranges from basic animal survival to higher aspirations to a place where humans appreciate and create beauty. Compared to survival, beauty may not be a necessity, but it is certainly not

a luxury either. Beauty is the pinnacle of Maslow’s pyramid.

Rowena Reed Kostellow put it another way: “Pure unadulterated beauty should be the goal of civilization.”

Civilization is the conglomeration of socio-politico-economic characteristics that a group of people use so they can work their way up Maslow’s hierarchy of human needs. Those midcentury designers were on a mission to bring good design to the public. To change culture they organized design schools and research projects, put on competitions, created media outlets and global expos, and converted businesspeople and politicians to the cause of good design. Shouldn’t we be producing even better design now? Is good design good enough for us? Who wants a B when we are doing A+ work? Race car driver Mario Andretti said, “If everything seems under control, you’re not driving fast enough!”

The next midcentury is less than 35 years from now! We are forefathers of that 2050! If today we can make anything we want—cars that drive themselves, phones that answer our questions and skateboards that hover—it’s time to make them especially beautiful, and to remind everyone that beauty is the highest aspiration of designers and regular people!

—Tucker Viemeister, FIDSA www.tuckerviemeister.com

CENTRAL DISTRICT April 1–2, Carnegie Museum of Art, Pittsburgh WEST DISTRICT April 1–2, Metropolitan State University of Denver SOUTH DISTRICT April 15–16, Auburn University

MIDWEST

WEST

CENTRAL

6

MIDWEST DISTRICT April 22–23, University of Illinois at Urbana-Champaign

Art,

Pittsburg

of Denver

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NORTHEAST DISTRICT April 29–30, High School of Art & Design, New York City Visit www.idsa.org/DDC for more information!

W W W. I D S A . O R G

NORTHEAST

SOUTH

A L O O K BACK

I GO LOGO

O

ver the 50 years of IDSA’s existence, and before that the more than 27 years of its distinguished predecessors’, professional members have probably designed thousands of logotypes for corporate clients. These include a series of organizational logos for IDSA and its ancestors starting in 1938 with the American Designers’ Institute in Chicago, founded by furniture designers, including RCA television and radio designer John Vassos, FIDSA. The organization’s original name was the Designers’ Institute of the American Furniture Mart (DIAFM), founded in 1936 exclusively for furniture designers by Lawrence H. Whiting, the Mart’s director.

As far as is known, it had no logotype. At the group’s first meeting two years later, in July 1938, Vassos urged its members to divorce the organization from the patronage and support of the Furniture Mart because it restricted member work to furniture design, excluding the many other burgeoning consumer product fields, such as transportation, appliances, housewares and communications equipment.

The 45 members of the group agreed with Vassos and promptly renamed the organization and elected Vassos president. Vassos himself designed the logo for the American Designers’ Institute (ADI) featuring a designer’s hand holding a stylus. The addition of the word “American” made the organization a national group, rather than strictly Chicago-based. In 1943, the Illinois Secretary of State dissolved the organization because it had failed to provide an annual report. In May 13, 1944, ADI relocated its national office from Chicago to New York.

In New York the industrial design field was dominated by leading first-generation New York industrial designers: Walter Dorwin Teague, FIDSA, Raymond Loewy, FIDSA, Henry Dreyfuss, FIDSA, Norman Bel Geddes, FIDSA, Donald Deskey, FIDSA, Egmont Arens, FIDSA and Russel Wright, FIDSA. During the war, these designers had met to discuss how the profession could better influence the post-war business world and establish professional standards of practice. They were members of the New York chapter of ADI, but they had serious concerns about the organization. First, it did not have the term “industrial design” in its title, just the general term “designers.” That meant that any type of designer could join ADI. The New York designers felt that a national organization should be exclusive to industrial designers and should have higher standards for membership, particularly to demonstrate proficiency in multiple product fields, rather than in just furniture and home furnishings, as was the case with many members of ADI. So on February 7, 1944, three months before the ADI was granted a new charter in New York by the state of Delaware, the New York group, comprised of 15 prominent industrial designers, decided to establish a new national organization called the Society of Industrial Designers (SID) in New York. The first annual meeting was held on August 20, 1944, where Teague was elected president; Dreyfuss, vice president; and Loewy, chairman of the executive committee. Membership

Top: 1938 American Designers’ Institute logo Below: 1946 Society of Industrial Designers logo

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A L O O K B ACK

1955 American Society of Industrial Designers logo

rules were made stricter, and by 1946, a new logotype, which clearly included the initials for the words “industrial design” in the title, was adopted by the board. Now there were two competitive industrial design organizations.

ADI, now under competitive pressure from SID and chastened by criticism that its title did not include the specific term “industrial design,” decided in 1949 that it needed to make that change. In 1951 an amendment to change the name to the Industrial Designers Institute (IDI) was approved

by Delaware’s secretary of state (the apostrophe was also dropped from “designers”). Vassos’s 1938 hand-with-stylus was preserved within the “D” of the logotype.

Already there were those in both IDI and ASID who felt that three American design organizations were two too many. They worked together for nearly a decade to develop a merger, and in the fall of 1964 they demonstrated their common purpose by conducting a joint annual meeting in Philadelphia. This was followed in March 1965 by a formal merger between ASID (about 200 members), IDI (about 400 members) and IDEA (about 50 members), forming a single voice of industrial design in America.

It was called the Industrial Designers Society of America (IDSA). Its headquarters remained in New York. Dreyfuss became president, and Vassos chairman of the Board. There were about 650 members.

1951 Industrial Designers Institute logo

1965 IDSA logo

The post-war industrial recovery in Europe and Asia took about 10 years, during which time the US had a monopoly on industrial production and design. By 1955 Loewy had established offices abroad, and other designers had formed alliances with foreign designers as foreign imports were arriving in the US. International design was becoming a common occurrence. In order to emphasize the national affiliation of its members, the Society of Industrial Designers decided to add the term “American” to its name. Thus it became the American Society of Industrial Designers (ASID), requiring a new logo; however, it kept its headquarters in New York. Just a few years later, in 1957, the International Council of Societies of Industrial Designers (Icsid) was formed in Paris and elected American Peter Müller-Munk, FIDSA as its president. That same year design educators, who were not eligible for membership in IDI or ASID, formed the Industrial Design Education Association (IDEA). As far as is known, no logotype existed for this organization.

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IDSA’s new logotype borrowed a similar square arrangement of letters that was previously used in the ASID logo. This was somewhat appropriate since the new organization adopted many of ASID’s more stringent membership requirements, more expensive dues and unique “American” identity.

Until the early 1970s, all these previous design associations were mom-and-pop organizations staffed entirely by member volunteers, except for a paid secretary, to maintain a national office. But in 1973 IDSA relocated its national office from New York to the Washington, DC, area and engaged the services of a professional management group that provided an executive director, although member volunteers still did much of the work. These changes enlarged the scope and purpose of IDSA, and the Board (with Gene Tepper as a member) requested the creation of a new IDSA logotype from the San Francisco design firm of Tepper & Steinhilber to reflect the changes.

Left: 1973 IDSA logo Below: Logo revisions, circa 1976–1977

Budd Steinhilber, FIDSA, recalls that Barry Deutsch, Tepper & Steinhilber’s graphic design director, designed the bold and distinctive logotype. Note that the left stroke of the “A” was dominant.

The design was adopted and appeared on all literature and applications. Budd also recalls that three or four years later when Read Viemeister, FIDSA, his former partner, was on IDSA’s board, several other directors felt that the right stroke of the “A,” not the left, should be dominant.

While Read disagreed, he was enlisted to call Budd and ask if he could persuade Barry to change the logo. Budd did, and Barry made the change.

This design survived for nearly 20 years, until 1992, when the Internet was established and IDSA decided it needed a new logotype. Paula Scher, then and now with Pentagram, says she designed it with the Bodoni typeface “because it wouldn’t go out of style too quickly.” After 23 years, the logo is still going strong.

And currently, in 2015, IDSA modified its logo in celebration of its 50th anniversary. By highlighting the celebratory 50, IDSA’s “S” and “A” disappear completely, and the now upside-down “V” got a half-sized zero hung on it, more or less bastardizing the logo.

Hopefully this is a temporary deviation and in 2016 IDSA’s logo will return to its familiar 23-year-old version. Although it may be a good time to consider a new logo to mark our 50-year milestone. As a starter, Budd suggests a logo that is three-dimensional in character, and submits an example of a blue 3D logotype designed in 1982 by Barry Deutsch for the Electronic Arts company.

Left: IDSA’s 2015 anniversary logo Below: Barry Deutsch’s 1982 logo for the Electronic Arts company.

Above: 1992 IDSA logo Left: The 1998 logo for the Infectious Disease Society of America, which heavily borrowed from IDSA’s logo

However, in 1998 the Infectious Disease Society of America was attracted to IDSA’s logotype and boldly stole it, reducing its exclusivity. Apparently it was impossible for IDSA to copyright the Bodoni typeface. It spread like an infectious disease!

Maybe IDSA should just ask Barry to design a new logo for IDSA! On the other hand, IMHO, I think his original 1973 logo was as good as we will ever get. It is so rich in character, so unique and so copyrightable! Why not recycle it? Nevertheless, IDSA may want to consider a competition among members to develop a new 21st-century logo for the next 50 years. Just a wild thought.

—Carroll Gantz, FIDSA

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Carroll Gantz, FIDSA

©Bill Redic

IN MEMORY “Within my lifetime, the profession of industrial design in America was initiated.

I was fortunate to be a part of this profession during my entire education and career.

In a literal sense, industrial design has been my life.”

—Carroll Gantz, FIDSA

O

ur friend and mentor Carroll Gantz, FIDSA, lived a design life—from his early interest in transportation (at age 4) to his meticulous student projects, in his service to his country in Korea, in his wide-ranging career as a designer, manager and educator, and in his contributions to our professional society. His impact on the world of design through products and prodigious historical research are unique. In his retirement, he wrote five books on design history (in addition to writings on other topics) and had just completed the 387-page story of a friend’s family history. He introduced the general public and young designers to the rich, vibrant history of design and engaged all of us to become better professionals through his writings, his work and his presence.

Words cannot express our gratitude and admiration. It is fitting that Carroll’s final gift to IDSA was his contribution to this anniversary issue.

He dedicated his 2011 book The Industrialization of Design: A History from the Steam Age to Today to “the Industrial Designers Society of America, its predecessor organizations, and its leaders: The ‘little engine that could,’ and did, establish, organize, define, transform and sustain the profession of industrial design.”

Read the book to better understand this issue of INNOVATION and the 50 years of IDSA. —Guest Editors: Bret H. Smith, IDSA, professor of industrial design and interim associate dean for academic affairs, Auburn University, and co-chair of the Design History Section and Vicki Matranga, H/IDSA, design programs coordinator, International Housewares Association, and co-chair of the Design History Section

Share your memories of Carroll Gantz at http://www.idsa.org/news/remembergantz.

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WHAT A DIFFERENCE 50 YEARS MAKES!

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hat was it like to become a designer in 1955? As one of the dwindling survivors, I’ve been asked to reveal the truth about those remote and primi-

tive years!

Inspired to enter the field by IDSA Fellow Raymond Loewy’s 1951 book Never Leave Well Enough Alone, which glamorized the profession far beyond reality, I had graduated from the only degree-granting program in industrial design at that time, Carnegie Tech (now Carnegie Mellon University).

The few other programs were less than four years and/or offered a certificate rather than a bachelor’s of arts or fine arts.

Accreditation for design programs did not exist. My first two years of foundation courses included painting, figure drawing, color, anatomy and art history but little about industrial design.

The second two years were better, except for the glaring omission of rendering techniques required by major design employers. There were no national student competitions, no student chapters and few lectures, exhibits or articles about design. I was in a graduation class of seven, all males.

There were no campus corporate interviews for designers, but Uncle Sam was waiting for us; the military draft was still in effect after the Korean War. It was tough to get any job because employers anticipated that young men would be drafted within weeks of graduation from college. After months of unsuccessful interviews as I waited to be drafted, I decided to get it over with and enlisted in the military.

When I got out of the military in 1955, the prospects for industrial designers weren’t much better than when I’d tried to find a job three years earlier. Industrial Design magazine had just begun publication, but it had few classifieds.

There was only one national design headhunter (Theodore S. Jones in Boston), and almost all the design jobs were in a handful of major cities. Still, somehow I learned of a job opening at the family-owned Hoover Company in rural Ohio.

When I was offered the job at the mind-boggling salary of $450 per month, I jumped at the opportunity.

The only other designer at Hoover was my boss, Russ Swann, who had no formal design training. We worked in an open bull pen at huge 4’ x 6’ drafting tables with dozens of engineers and draftsmen. There was no privacy or secrecy in what we were designing. Engineers peered curiously over my shoulder as I worked on clay models (the non-drying greenish-gray stuff). I was supposed to make their designs “prettier,” but they fought any significant change I suggested. I had to learn rendering techniques on the job by imitating examples in ID magazine. I lofted complex surfaces by sawing plaster models into half inch slices and traced the sectioned templates directly onto tooling drawings.

Contact with design peers was virtually nonexistent, but there were several national design organizations. The American Society of Industrial Designers (IDSA’s predecessor) had fewer than 100 members. Admission to this professional organization required evidence of product designs actually in production in three different product categories—which took me over seven years to achieve since product lead times were about four years—plus three letters of recommendation from current members. Chapter meetings were 150 miles away. The Industrial Designer’s Institute, another IDSA predecessor, presented annual national design awards, but I only learned of these years later when I unintentionally won one of them.

Well-designed US household products were hard to find in the 1950s. The aggressive five-year Good Design program by the Museum of Modern Art had already been discontinued. In Germany, the New Bauhaus school had just opened in Ulm, and Braun AG was reorganized to initiate what would become the most influential corporate design program over the next generation. IBM computers existed, but they cost millions, filled a large room, had 8,000 vacuum tubes and a memory of only 5,000 words.

Blissfully, I didn’t know much about any of this or what was going on in the design profession until I had worked for five years or so.

Naturally, I used the typical 1955 tools of the trade, and I still save most of them in the event of global electronic failure. The tedious manual labor of exaggerated renderings and lovingly sanded models provided me with enormous tactile and artistic satisfaction, but today’s tools provide designers the capability to create designs unimaginable then—and at 10 times the speed.

And there are so many more designers taking advantage of these new tools. Today, there are 53 design education programs in industrial design, 35 of which are accredited. There are dozens of competitions and awards for students and professionals alike. Annual design awards get national press and full credits to designers. IDSA’s latest Design Perspectives lists 34 open industrial design positions. May the good old days rest in peace!

—Carroll M. Gantz, FIDSA Reprinted from the Spring 2005 INNOVATION

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50 NOTABLE IDSA MEMBERS

C

urrent members of the Industrial Designers Society of America were given the opportunity to vote on the most notable members of the Society from the past 50 years. No small task. As Cooper Woodring, FIDSA, so aptly quoted Winston Churchill, “Never have so many, owed so

much to so few.” We encourage the readers to explore the choices made and offer their own.

“There is an appetite in the world for change and as designers we are credible to lead that change. We are understood as builders of business and industry, and we have Steve Jobs to thank for that. Not since Teague and Loewy has this been the case.”

—Yves Béhar, IDSA

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Charles Austen Angell, FIDSA

Betty Baugh, FIDSA

Charles Angell earned a BA in industrial design from Purdue University. After graduation, Austen worked as a designer for Hari and Associates, a concept development manager for Placon Corporation, the chief design officer for Logic Products, and the director of design research and innovation for Intel before founding Modern Edge, Inc., a strategic industrial design firm based in Portland, OR. His independent design experience spans projects in Europe, the Americas, Southeast Asia, Africa and Australia. Prior projects include work with John Deere, Harley Davidson, SC Johnson, Medtronic, BMW, Gillette, General Motors, Ford, St. Jude Medical, Sunbeam and others. Austen is a past chair of IDSA.

Betty Baugh attended Stephens College in Columbia, MO, receiving an AA degree in liberal arts.

She later transferred to the New York State School of Industrial Ceramic Design at Alfred University in New York, where she received her BFA cum laude in 1953.

Baugh has created numerous designs for glassware and production equipment for West Virginia and Ohio glass companies as well as manufacturers throughout Asia. A past president and chair of the IDSA Board, she has maintained an active consultancy, designing products for Libbey Glass, L.E. Smith Glass and Grainware and tabletop designs for Villeroy & Boch, Wilton Armetale, USG and others.

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Yves Béhar, IDSA

Robert Blaich, FIDSA

Born in Switzerland, Yves Béhar graduated from the Art Center College of Design. He worked for frogdesign and Lunar Design in Silicon Valley before founding fuseproject in 1999, with offices in San Francisco and New York. The firm has won more than 50 IDEA awards. Since 2005, he has chaired the Industrial Design Department at the California College of Arts. He is the chief designer of One Laptop per Child’s XO laptop and other models, more than one million of which have been purchased by developing countries. He is also chief creative officer of Jawbone, a wearable technology company.

Robert Blaich attended Syracuse University where he graduated with a BFA in industrial design. He joined the Herman Miller Furniture Company in 1953, serving as the company’s vice president of corporate design and communications from 1968 to 1979.

In 1980 he became head of design at Royal Philips Electronics in the Netherlands where he integrated engineering, marketing and design. He was president of the International Council of Societies of Industrial Design from 1985 to 1987. In 1991, Blaich was knighted by Queen Beatrix of the Netherlands. He remained at Philips until 1992 and subsequently founded Blaich Associates. In 1999, he became chairman of the board for TEAGUE.

Michelle Berryman, FIDSA

Peter Bressler, FIDSA

Michelle Berryman is a graduate of the Georgia Institute of Technology holding a BS in industrial design and an MS focused on interaction design. Her award-winning design portfolio includes exhibits, events, interiors and consumer products as well as user interfaces for consumer, medical and industrial products. She is a founding principal of Echo Visualization (EchoViz) in Atlanta. In 2007 she became the third woman to serve as president of IDSA. She has served as a visiting professor at Jiangnan University in Wuxi, China, and an adjunct professor at Georgia Tech. In 2012, EchoViz was acquired by THINK, where Berryman is now director of experience design services.

Peter Bressler graduated from the Rhode Island School of Design in 1968, and during graduate work there he designed the Standup Wheelchair, which garnered an IDSA Student Merit Award. In 1970 he formed Designs for Medicine in Philadelphia, PA, later renaming the firm Bresslergroup. His firm has won more than 80 international design awards and authored more than 150 patents. He is an adjunct professor at the University of Pennsylvania and has taught design courses at Lehigh University, the University of the Arts and Rhode Island School of Design. He co-founded the IDSA Philadelphia Chapter and is a past president of IDSA.

*An asterisk has been used to indicate a member as deceased.

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William Bullock, FIDSA

Niels Diffrient, FIDSA

William Bullock graduated from Auburn University with a bachelor’s in industrial design in 1965 and accepted an associate engineer position with Boeing. In 1973 he earned his master’s degree from the University of Kansas, where he began his more than 30-year career as a design educator. He has served as the department head of industrial design at Auburn University (1977–1988); director of industrial design at the Georgia Institute of Technology (1988–1998); and chair of industrial design at the University of Illinois (2004– 2009). He currently is a professor of industrial design and director of the Product Interaction Research Laboratory at the University of Illinois, Urbana–Champaign.

After studying at Wayne State University, Niels Diffrient* worked in Eero Saarinen’s office in 1949– 1952, assisting in the design of Knoll chairs. He graduated from Cranbrook Academy of Art in 1954 and that same year was awarded a Fulbright scholarship to Italy, where he worked with Marco Zanuso. While at Henry Dreyfuss Associates from 1955 to j19 1980 he co-authored the Humanscale series of human factors tools for designers. In 1981, he established his own office in Ridgefield, CT, specializing in furniture design, including the Freedom Chair for Humanscale.

Bruce Claxton, FIDSA

Jay Doblin, FIDSA

Bruce Claxton holds a BFA in industrial design from the Cleveland Institute of Art, and an MID from the Georgia Institute of Technology. He began his design career with Smith Corona Marchant in 1971.

In 1979 he joined Motorola Solutions where he rose to the position of senior director of innovation design in the Global Radio Products division. He holds more than 50 patents and is a past president of IDSA as well as a past board member of ICSID. His body of design work includes consumer products, heavy equipment, personal care, business equipment, and wireless communications and computing products. Under his leadership, Motorola produced a number of award-winning products, including the Talkabout and the APX 7000, both of which were IDEA Gold winners.

Jay Doblin* graduated from the Pratt Institute in 1942 and began his career with Raymond Loewy, FIDSA, designing for Frigidaire and Coca-Cola while simultaneously directing the night school at Pratt. In 1955 he became director of the Institute of Design at IIT in Chicago and in 1957 established the school’s first industrial design graduate program. He served as president of the American Society of Industrial Designers in 1956–1957 and in 1962 became president of the Industrial Design Educators Association. In 1969 he joined Unimark International as senior vice president, leaving in 1972 to form Jay Doblin and Associates, which became the Doblin Group in 1994.

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“Why would you design something if it didn’t improve the human condition?”

—Niels Diffrient, IDSA

Henry Dreyfuss, FIDSA

James Fulton, FIDSA

Henry Dreyfuss* apprenticed under Norman Bel Geddes and by 1928 had produced 250 stage sets.

In 1929 he opened his own office in New York for stage and industrial design. That same year he won a phone of the future competition

by Bell Labs that eventually led to the development of the 300 tabletop telephone, produced between 1937 and 1950. In 1960 he published Measure of Man, an ergonomic data guide. Henry Dreyfuss Associates’ major clients included Bell Labs, the Hoover Company, the New York Central Railroad, John Deere and Polaroid. In 1944, he and 14 others founded the Society of Industrial Designers, and in 1965 he served as the first president of IDSA.

Jim Fulton* graduated with a degree in industrial design from the Pratt Institute in 1951. He worked for the Towle Silver Company and then Owens-Corning Fiberglass, where he was the first staff designer. In 1953–1958 he worked for Harley Earl, Inc. as a senior designer. In 1958 he was appointed design director in Raymond Loewy’s Paris office and in 1960 became director of product design and transportation with Loewy/Snaith Inc. in New York, becoming senior vice president in 1964. He established his own office, Fulton + Partners, Inc., in 1966 and added a Paris affiliate, Endt + Fulton, in 1975. Among his clients were Hess Oil and Owens-Corning Fiberglass. As president of IDSA in 1975–1976, he spearheaded the move from part-time staff to two full-time employees.

Mark Dziersk, FIDSA

Carroll Gantz, FIDSA

Mark Dziersk graduated from the University of Michigan in 1981 with a degree in industrial design. He started his design career at the GenRad Corporation in Massachusetts and was a director of design at Group Four from 1989 to 1994.

Dziersk joined Herbst Lazar Bell in Chicago in 1994, where he was executive vice president of design until 2007. He served as IDSA president in 1999–2000 and has served as executive editor of INNOVATION for more than 10 years. He has been an adjunct professor for the Master of Product Development Program at Northwestern University since 2001 and an expert blogger for Fast Company since 2004. In 2011, Dziersk founded LUNAR’s office in Chicago.

He has received numerous design awards, holds 80 more than patents and lectures extensively around the world.

Graduating from what is now Carnegie Mellon University in Pittsburgh in 1953, and after serving in the military, Carroll Gantz* joined the Hoover Company in 1956. In 1972 he joined Black & Decker, designing the original, iconic Dustbuster in 1979.

An IDSA member for more than 50 years, he became president of IDSA in 1979, transforming it into a democratic grassroots organization. Gantz became director of design at B&D when the company acquired GE’s Small Appliance Division in 1984. In 1987, he became professor and head of his alma mater’s design department and founded Carroll Gantz Design. He authored numerous articles and books on industrial design history, including a regular column in INNOVATION called “A Look Back.”

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William Goldsmith, FIDSA

Rowena Reed Kostellow, FIDSA

William Goldsmith* graduated from the Carnegie Institute of Technology in 1939 with a BFA in industrial design. He served in the US Army during WWII from 1942 to 1946. After the war, he joined the Chicago firm of Dave Chapman, Inc., becoming a partner in 1951. He served as executive vice president of the reorganized Dave Chapman, Goldsmith & Yamasaki Inc. and then president in 1966. In 1970 he joined Kim Yamasaki and Paul Specht to found Goldsmith Yamasaki Specht, Inc. Goldsmith was an early member of the Society of Industrial Designers and later of the American Society of Industrial Designers, for which he served as president in 1957. He went on to serve as IDSA president in 1971–1972.

After receiving a journalism degree from the University of Missouri, Rowena Reed Kostellow* studied sculpture at the Kansas City Art Institute and painting at the Art Students League of New York. In the late 1920s she taught at the Carnegie Institute of Technology. In 1938 she joined the faculty at Pratt Institute where she taught industrial design and in 1962–1966 served as chair of the Design Department. After stepping down as chair, she continued teaching until 1987. Her methodology for teaching what she called the “structure of visual relationships” is documented in Gail Greet Hannah’s Elements of Design published by Princeton Architectural Press in 2002.

Lorraine Justice, FIDSA

Lou Lenzi, FIDSA

Lorraine Justice earned a BFA in painting from Edinboro University of Pennsylvania in 1977, a master’s degree in industrial design in 1989 and a PhD in communication in 1999 from The Ohio State University. She worked as a computer graphic artist for Metatec in 1986–1988 before joining the faculty of The Ohio State University in 1988. In 1999 she became the director of the Industrial Design Program at the Georgia Institute of Technology and in 2004 the dean of the School of Design at Hong Kong Polytechnic University. Currently she is the dean of the College of Imaging Arts and Sciences at the Rochester Institute of Technology. She served as president of the Design Foundation in 2013–2015.

Lou Lenzi graduated from the University of Cincinnati in 1980. After working for IBM for several years, he joined Thomson Consumer Electronics.

He held numerous positions during his 18 years with the company, including vice president of product management and engineering, vice president of advanced product development, head of new media products and services, and vice president of design. He joined GE Healthcare in 2006 as general manager for global design. He is currently design director for GE Appliances, where he is responsible for all industrial design and user-interface design activities for the GE, Profile, Cafe, Monogram, Artistry and Hotpoint lines of major appliances.

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“Between two products equal in price, function and quality, the better looking will outsell the other.”

—Raymond Loewy, FIDSA

Raymond Loewy, FIDSA

George McCain, FIDSA

Born in Paris, Raymond Loewy* arrived in the US in 1919 and worked in New York as a costume designer and fashion illustrator. He opened his own office in New York in 1929; his first design was for a British mimeograph machine, Gestetner.

Major clients in the 1930s included the Hupmobile, the Pennsylvania Railroad, Sears and Roebuck, Greyhound and Studebaker. Over the years, he established additional offices in England, South Bend, IN, Chicago, Paris and Sweden. In 1944, he and 14 others founded the Society of Industrial Designers, and in 1949 he was on the cover of Time magazine. By 1960, Raymond Loewy Associates had a staff of 180.

George McCain earned a BA in industrial design from the University of Washington. He began working for Fluke Corp. in 1969 and became industrial design manager in 1993. After 38 years with Fluke, he retired in 2007 after serving as corporate design manager responsible for industrial design, user interaction design, graphics design, model shop and tooling shop. He established his own firm, McCainDesign, in 2007. He is a past chair of the Board of Directors of IDSA and a past president of the Design Foundation. From 2002 to 2012 he was an affiliate associate professor in the industrial design program at the University of Washington in Seattle.

Victoria Matranga, H/IDSA

Katherine J. McCoy, FIDSA

A Chicago native, Vicki Matranga has a bachelor’s in the history of architecture and art from the University of Illinois, Chicago and an MBA in marketing from Northwestern University.

She promotes design for the International Housewares Association and created its student design competition, now in its 23rd year. She also has been an exhibition curator and writer for the Art Institute of Chicago, Toledo Museum of Art, Museum of Science and Industry, and Kendall College.

She wrote America at Home: A Celebration of TwentiethCentury Housewares. Since 1990 she has researched Chicago’s design history, amassing an archive of products, publications, designers’ papers and visual materials, and oral histories.

With a degree in industrial design from Michigan State University, Katherine McCoy joined Unimark International in 1967. She worked sequentially at Chrysler, Omnigraphics, and Designers & Partners before founding McCoy & McCoy with her husband, Michael, in 1971.

That same year they also became co-chairs of Cranbrook’s Department of Design, roles they held until their retirement in 1995. In 1983–1984, she became the first female president of IDSA. She also served as president of the American Center for Design and vice president of the American Institute of Graphic Arts. She was awarded the Chrysler Award for Innovation in Design in 1994 and the IDSA Education Award in 2000.

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Bill Moggridge, FIDSA

Victor Papanek, IDSA

British-born Bill Moggridge* graduated from the Central School of Design in London and in 1969 established his own firm in London. He arrived to the US in 1979 and formed ID Two in Palo Alto, CA, with Mike Nuttal, and a year later designed the GRiD Compass, the first laptop computer. In 1990 he cofounded IDEO, which by 1993 had become the largest and most successful US design office. Moggridge chaired the joint IDSAICSID conference Connecting’07. He received a National Design Award for Lifetime Achievement in 2009. In 2010, Moggridge became the director of the Cooper Hewitt, Smithsonian Design Museum in New York where he worked to promote the value of design in everyday life.

Born in Vienna, Austria, Victor Papanek* arrived in the US in 1932. He worked under Frank Lloyd Wright in 1949, studied architecture and industrial design at the Cooper Union, and did graduate studies in design at MIT. He opened his own office in 1953. In the early 1970s he became chairman of design at the Kansas City (MO) Art Institute and wrote a number of books, including Design for the Real World, which criticized the design profession for unnecessary or obsolete products and promoted his students’ designs as simple devices for the developing world. Young designers were inspired by his emphasis on socially and ecologically responsible design.

Patricia A. Moore, FIDSA

Charles Pelly, FIDSA

Patricia Moore received a BFA in industrial and communication design from the Rochester Institute of Technology, did advanced studies in biomechanics at the New York University School of Medicine and received a master’s in gerontology from Columbia.

In 1979–1982, she traveled to 100 cities in the US and Canada disguised as a woman in her 80s to learn about the challenges faced by older people. She received prominent exposure in the press and raised awareness of universal design among the design community. She also coauthored a book about the project, Disguised: A True Story.

ID magazine named her one of the world’s 40 most socially conscious designers. As head of MooreDesign Associates, which she founded in 1982, she lectures at universities and conducts workshops internationally.

Chuck Pelly graduated from Art Center in 1960.

He worked for McFarland, Lathem Tyler and Jensen before joining Henry Dreyfuss Associates in 1961. While at Dreyfuss, he worked on projects for Polaroid, including the Polaroid100, and John Deere, including the 4020 tractor. In 1972 Pelly left Dreyfuss to found Designworks. In 1991 BMW purchased a 50 percent interest in the firm, purchasing the remaining interest in 1995 and naming Chuck Pelly chairman and CEO of DesignworksUSA. In 1998 Designworks was voted one of the top 10 best design offices in the world. Pelly left Designworks to found intersection Inc. with his partner, Joan Gregor. He served as president of IDSA in 1991–1992.

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“Few people think about it or are aware of it. But there is nothing made by human beings that does not involve a design decision somewhere.”

—Bill Moggridge, FIDSA

Nancy J. Perkins, FIDSA

Deane Richardson, FIDSA

Nancy Perkins graduated with a BFA in ID from the University of Illinois at Urbana–Champaign. She’s designed successful products in such diverse categories as industrial equipment, mass transit and marine products, major and small appliances, and cellular communications.

Her corporate experience includes Sears, Jarden Consumer Solutions and CEO of a manufacturing company. She is principal of Perkins Design Ltd., an industrial design consultancy. In 1992, she and Sharyn Thompson, FIDSA, co-founded IDSA’s first special interest section, the Women’s Section. She also organized IDSA’s Student Mentor Program and served as the president of the Design Foundation. She holds 22 patents and recently became a patent litigation expert witness.

Deane Richardson graduated from the Pratt Institute in 1956 and in 1960 with David Smith formed RichardsonSmith in Columbus, OH. It grew into a worldwide firm with offices in Asia, Europe and the US. The firm pioneered design that includes a wide range of disciplines, including psychology. In 1985 Richardson chaired the ICSID conference Worldesign’85 in Washington, DC. He also served ICSID as a board member and president over a period of eight years. In 1990 RichardsonSmith merged with Fitch, a London design firm, becoming Fitch RichardsonSmith. Major clients included LG (Goldstar) in Korea, Mitsubishi and Nissan.

Arthur J. Pulos, FIDSA

Brian Roderman, FIDSA

Arthur Pulos* graduated from Carnegie Tech in 1939 and in 1946 became associate professor of design at the University of Illinois, Urbana-Champaign.

In 1955 he joined Syracuse University, becoming chairman of the design department, and in 1958 he founded Arthur Pulos Design. A founding member of the Industrial Design Education Association in 1957, he served as its last president in 1964 before it became part of IDSA. He was president of IDSA in 1973–1974, presiding over its relocation from New York to Washington, DC. In 1979–1981, he served as president of ICSID. In the 1980s he published a classic two-volume history of industrial design: American Design Ethic and American Design Adventure.

After graduating with a BFA in industrial design from the University of Kansas, Brian Roderman established a career in the design consultancy business. After working as a computer graphics consultant for Design Lab, he became an industrial designer for Douglas Laube Industrial Design/IGNITION Product Development, where he was promoted to project manager and then a business development director. In 2004 he became vice president of design for PDS Product Development/Point Innovation. In 2006 he co-founded In2 Innovation where he is the president and chief innovation officer. He has extensive design experience in the consumer electronics, consumer products, housewares, transportation, telecommunications and business-to-business industries. He is a past district vice president and member of the IDSA Board of Directors.

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Bryce G. Rutter, IDSA

Budd Steinhilber, FIDSA

Bryce Rutter received a BA in industrial design from Carleton University in 1979. He also holds an MFA in industrial design and a PhD in kinesiology from the University of Illinois at Urbana– Champaign. In 1991 he founded the Metaphase Design Group, Inc., where he serves as CEO. He is the leading expert in the research and design of handheld products. Rutter’s work ranges from surgical instruments and systems to mobile devices and wearables to personal care products and packaging. He has been covered by the Wall Street Journal, CNN, CTV, Chicago Tribune and Toronto Globe & Mail; has received more than 75 international design excellence awards; and has been awarded more than 100 patents.

While a student at Pratt, Budd Steinhilber apprenticed at the Loewy office in New York. After graduating in 1943, he started work at Dohner & Lippincott and became part of the Lippincott and Margolis team that worked on the Tucker car. In 1949 he joined Read Viemeister, FIDSA, in Yellow Springs OH, as a partner in Vie Design Studios until 1964 when he founded Tepper & Steinhilber with Gene Tepper in San Francisco. In 1975 he formed a partnership with Barry Deutsch. He served as a treasurer of IDSA and founded the IDSA Environmental Responsibility Section. In 1987, Steinhilber relocated to Kailua-Kona, HI, and since 1989 has served as a design advisor to the Konawaena High School Solar Car Team.

Robert Schwartz, FIDSA

Brooks Stevens, FIDSA

Bob Schwartz has a BFA in industrial and graphic design from the Kansas City Art Institute and School of Design and a master’s in industrial design from the Rhode Island School of Design. He began his career as head of corporate industrial design and architecture for the American Red Cross and then the director of science and technology programs for AdvaMed. In 1990 he became IDSA’s executive director. Under his leadership he forged a relationship with BusinessWeek to annually publish the results of the IDEA competition, expanded the staff and aligned the management with best practices for similar non-profits. When he left IDSA in 1999 he held design leadership positions at Motorola, Levolor Kirsch/Newell Rubbermaid and Procter & Gamble. Since 2007 he has been the general manager of global design and user experience for GE Healthcare.

After studying architecture at Cornell University, Brooks Stevens* opened his own design firm in 1934. From his office in Milwaukee, Stevens designed everything from cookware, lawnmowers and company logos to the Oscar Mayer Wienermobile, leaving an indelible mark on the everyday gadgetry of American life. Stevens was a frequent speaker on the value of design to industry. He ignited a firestorm in the design community in 1954 when he declared that “planned obsolescence”—a phrase he coined—was the mission of industrial design. It continues to be a contentious aspect of industrial design. Stevens was one of the 10 charter Fellows of the Industrial Designers Society of America.

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“I work best when I’m pushed to the edge. When I’m at the point where my pride is subdued, where I’m innocent again.”

—William Stumpf, FIDSA

William Stumpf, IDSA

Sharyn A. Thompson, FIDSA

Bill Stumpf* graduated with a degree in industrial design from the University of Illinois, Urbana–Champaign in 1959 and a master’s in environmentalism from the University of Wisconsin in 1968. He joined Herman Miller in 1970 and in 1973 established a studio in Stockholm, WI, and a consulting practice, Stumpf, Weber & Associates, in Winona, WI. He designed Herman Miller’s first ergonomic chair, the Ergon chair, in 1976. In 1977, he formed Chadwick Stumpf and Associates with Don Chadwick to design the 1984 Equa chair and the 1994 Aeron chair. In 2006, he posthumously received the National Design Award for Product Design.

Graduating with a BS in industrial design from the University of Bridgeport, Sharyn Thompson* began her career as a staff designer with EDL, a division of McGraw- Hill. She then joined the Van Dyke Corp., designing products for such companies as Homelite, Buxton and Clairol. Then at Bevilacqua, McCroskery and Associates she worked on projects for Otis Elevator, Perkin-Elmer and Hess Oil. When a teaching position opened at the University of Bridgeport, she accepted, believing that her most important role was that of a teacher.

Thompson held a special interest in developing a learning environment that would encourage women to become designers. To that end, she and Nancy Perkins, FIDSA, created the Women’s Section (now Women in Design).

Walter Dorwin Teague, FIDSA

Dave Tompkins, FIDSA

Walter Dorwin Teague* studied at the Art Students League of New York and established his own typographic studio in 1911. He left advertising in 1926 to open an industrial design firm. The ongoing partnerships he developed with such corporations as Ford, Texaco, Kodak, Polaroid and Boeing set the standard for designer/client relationships. Teague and his team of 185 designers created some of the most innovative and memorable products of the 20th century, including the Polaroid Model 95, Kodak Baby Brownie, Boeing Stratocruiser, Maxwell House Automatic Coffee Making Machine, UPS delivery trucks and Steinway pianos. In 1944, he helped create the Society of Industrial Designers, serving as its first president; in 1965 the organization evolved into IDSA.

After graduating from the Pratt Institute, Dave Tompkins began work in the consumer packaging department of Walter Dorwin Teague Associates. In 1963, he joined RichardsonSmith.

During his 14 years with the firm he worked on a wide range of products for consumer, industrial and medical markets and taught at The Ohio State University.

He joined RCA Consumer Electronics in 1981 as vice president of design. In 1987, Montell Polyolefins, a joint venture of Royal Dutch Shell and Montedison, hired Tompkins to establish an industrial design resource at the company’s North American headquarters. In 1993–1994, he served as president of IDSA.

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Read Viemeister, FIDSA

Massimo Vignelli, IDSA

Read Viemeister* graduated from the Pratt Institute in 1943 and joined Dohner & Lippincott in New York, becoming its director of design. One of his first projects was the creation of the original ID magazine concept, which was then an insert in Interiors magazine. In 1946, he founded Vie Design Studios in Yellow Springs, OH. Budd Steinhilber, FIDSA, became his partner in 1949. They were on the Lippincott and Margolis team that designed the ill-fated Tucker automobile, and they also established the Department of Industrial Design at the Dayton Art Institute, with Viemeister as the department head. He was a founding member of IDSA in 1965 and served for many years as a national officer of IDSA.

Massimo Vignelli* studied at the Politecnico di Milano and at the Universitá di Architettura in Venice. In 1957–1960 he visited the US on a fellowship and in 1965 returned to New York to start Unimark International, which became one of the largest design firms in the world, designing corporate identities, including the New York Subway’s signage and map. In 1971 he along with his wife, Lella, resigned from Unimark and founded Vignelli Associates. In 1977 he worked with the National Park Service to create the Unigrid System. In 2007 he published Vignelli: From A to Z. Among many accolades, he is the recipient of the National Design Award for Lifetime Achievement.

Tucker Viemeister, FIDSA

Brian Vogel, FIDSA

After graduating from the Pratt Institute with a degree in industrial design in 1974, Tucker Viemeister began working with Davin Stowell in 1979. Six years later they formed Smart Design in New York and designed the Good Grips line of universal kitchen tools. In 1997, Hartmut Esslinger asked him to open a frogdesign studio in New York. In 1999, he joined Razorfish as executive vice president, and in 2001 he became president of Springtime-USA. That same year, Viemeister founded Studio Red with architect David Rockwell. In 2012 he joined Ralph Appelbaum Associates to design exhibits. Currently, he is president of Viemeister Industries.

After serving as an officer in the US Navy, Brian Vogel began his career at GE as mechanical engineer. He subsequently held senior leadership positions at numerous product design firms, including Product Genesis, Altitude and Scientific Generics.

Currently he is president of Brian Vogel Consulting, providing business coaching to the principals of design and engineering firms and heads of corporate design and product development groups. He has held a number of leadership roles within IDSA. Vogel was the first to hold the office of vice president of the professional interest sections.

In 2009, he served as interim executive director of IDSA and led the search for a permanent executive director.

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“The companies that get innovation right, again and again, are the ones that feel what their customers feel. That is true user-centered innovation.”

—Sohrab Vossoughi, IDSA

Craig Vogel, FIDSA

Gaylon White, H/IDSA

In 1980 Craig Vogel received a master’s degree in industrial design from Pratt. Since then he has held positions at the School of the Art Institute of Chicago; the Institute of Design at IIT; the School of Architecture, Victoria University in New Zealand; and Carnegie Mellon University, where he was the director of graduate studies. Vogel has lectured extensively on design history and design theory and is the recipient of the IDSA Education Award. He served as president of IDSA in 1997–1998. In 2012 he co-authored the book Creating Breakthrough Products. Currently Vogel is associate dean of research and graduate studies at the College of Design, Architecture, Art, and Planning at the University of Cincinnati.

Gaylon White graduated from the University of Oklahoma in 1967 with a bachelor’s degree in journalism-broadcasting. He became a sportswriter for the Denver Post, Arizona Republic and Oklahoma Journal and then a speechwriter for corporate executives at Goodyear, Control Data Corporation and the Eastman Chemical Company. While at Eastman, White was an influential supporter of industrial design education. In 2003 he became Eastman’s director of design programs, and under his leadership, Eastman launched the awardwinning Eastman Innovation Lab website, which connects materials suppliers and designers. In addition, White led Eastman in support of a number of IDSA initiatives, including the Okala Guide.

Sohrab Vossoughi, IDSA

Stephen B. Wilcox, FIDSA

Born in Tehran, Iran, Sohrab Vossoughi moved to the US in 1971. After studying mechanical engineering for three years, he graduated from San Jose State University’s Department of Industrial Design in 1979. He joined Hewlett-Packard and in 1982 began independent consulting for startup companies in Portland, OR. In 1984 he founded ZIBA Design. In 1992 BusinessWeek named him Entrepreneur of the Year, and in 1994 International Design magazine elected him one of the 40 most influential designers in the US. Over the years, ZIBA has received more awards per employee than any other design firm in the world.

Stephen Wilcox holds a bachelor’s in psychology and anthropology from Tulane, a PhD in experimental psychology from Penn State and a certificate in business administration from the Wharton School.

In 1991 he founded Design Science in Philadelphia specializing in consulting services that optimize the human interface of products. Much of the firm’s work helps to make products fit a more inclusive range of users. Notable clients include Baxter, J&J, Bayer, Symbol Technologies, Kohler and Maytag. Wilcox is a former IDSA vice president and chair of the Human Factors special interest section. His book, with Michael Wiklund, Designing Usability into Medical Products, was published in 2005.

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Peter Wooding, FIDSA

Gianfranco Zaccai, FIDSA

A graduate of the University of Michigan, Peter Wooding began his career at Herman Miller Research under Robert Propst. He then spent eight years at the General Electric Applied Research Division. In 1978 he founded Peter Wooding Design Associates, a practice with a creative range spanning total facilities development to tabletop products. He served as president of IDSA in 1987–1988, and he participated in the negotiations that resulted in BusinessWeek’s sponsorship of the IDEA program. He testified before Congress on behalf of the Design Arts Program for the National Endowment for the Arts and served on the NEA Design Arts Panel.

After receiving a bachelor’s in industrial design from Syracuse University in 1970, Gianfranco Zaccai began his career as director of design for Instrumentation Laboratory, Inc., a medical devices firm. Concurrently he studied architecture at the Boston Architectural Center and graduated in 1978. In 1983 he cofounded Continuum in Boston, where he is currently president and chief design officer. His firm developed the $100 laptop for MIT’s Media Lab. Continuum has received much global recognition, including a Presidential Design Award, the Compasso D’Oro, the Red Dot Award, iF Award, and numerous awards from IDSA and BusinessWeek. Zaccai served as chair of the board of directors of the Design Management Institute.

Cooper Woodring, FIDSA

Edward Zagorski, FIDSA

Armed with degrees from the University of Kansas and the Cranbrook Academy of Art, Cooper Woodring joined F. Eugene Smith’s firm in Akron, OH, for two years before spending four years with the B.F. Goodrich Company in New York. In 1969 he joined the J.C. Penney Company as head of product design.

He was elected president of IDSA in 1985–86 and was president during IDSA’s first ICSID conference, Worldesign’85, in Washington, DC. In 1986, he began a new career as an expert witness in design litigation. In 2007, he served as interim executive director of IDSA. He is the recipient of more than 30 design and utility patents as well as IDSA’s Personal Recognition Award.

Edward Zagorski graduated from the University of Illinois, Urbana–Champaign with a degree in industrial design in 1949 and received a master of science degree from the University of Wisconsin.

Basic design education and creativity have been Zagorski’s passion.

Teaching at the University of Wisconsin in 1952, he had his students design box kites, a project which has become a common design exercise in schools across the nation. He headed the industrial design program at the University of Illinois in 1956–88. In 1963 he devised the “egg-drop” problem. Life magazine published the exercise, which is still conducted in schools today. Students had to design a capsule to protect an egg as it is catapulted into a pool to model the splash down an astronaut experiences. In 1989, Zagorski received the IDSA Education Award.

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Not to Be Forgotten

T

he IDSA historians who guest edited this issue (Carroll Gantz, FIDSA, Bret Smith, IDSA and Vicki Matranga, H/IDSA) have identified 21 notable designers who were listed in our survey of members but who failed to make the top 50, primarily because they were deceased, forgotten or unknown to the many younger designers who voted.

We mention them here as a reminder that popularity is limited to recent memory. It is said that for most people history begins at about their 5th birthday. So if you were born at the time of IDSA’s founding in 1965, at least two-dozen founding industrial designers had already completed a career of more than 35 years. Although of a previous generation, they too deserve our respect and admiration. All are fellows of IDSA, their peers having recognized their contributions to the profession, and they were all outstanding designers and educators.

Tucker Madawick, FIDSA, Donald Dailey, FIDSA, Robert Hose, FIDSA, Joseph Parriot, FIDSA, James Alexander, FIDSA and Jon W. Hauser, FIDSA worked for many years to conceive, promote and initiate the merger to create IDSA in 1965, and all served as president of IDSA or one of its predecessor organizations during the indicated period.

Egmont Arens, FIDSA (the 1949 president of SID), Donald Deskey, FIDSA, Lurelle Guild, FIDSA and Jo Sinel were among the 15 co-founders of the Society of Industrial Designers (SID), one of IDSA’s predecessor organization, which was formed in 1944 and at the time of the merger was known as the American Society of Industrial Designers (ASID).

Peter Müller-Munk, FIDSA, a pioneering designer of the 1930s, was not only president of ASID in 1954 but also the first president of the International Council of Societies of Industrial Design (Icsid) upon John Vassos, FIDSA’s first Chair of the Board of Directors its founding in 1957.

Arthur BecVar, FIDSA (the 1955 president of ASID) started his career in 1935 and by 1950 was manager of industrial design for major appliances for GE, which dominated the industry until 1984. In 1934 Montgomery Ferar and Carl Sundberg founded their pioneering Detroit industrial design firm Sundberg Ferar, which is one of the oldest consulting firms still operating today.

John Vassos, FIDSA was IDSA’s first Board chairman in 1965, an honor in recognition of his founding and presidency of the American Designers Institute (ADI), another IDSA predecessor, which was founded in 1938 and was known as the Industrial Designers Institute (IDI) at the time of the merger. Belle Kogan, FIDSA, the first female member and a pioneer of that organization, was its secretary-treasurer in 1940 and its president in 1944.

Also in 1938, Dave Chapman, FIDSA and Jean Reinecke, FIDSA (the 1950 and 1952 presidents of SID) founded, along with others, the Chicago Society of Industrial Designers. Later Chicagoans, Richard Latham (the 1959 president of ASID), C. Stowe Myers, FIDSA and Henry Glass, FIDSA, led the Second City in industrial design.

For more design history describing early designers, refer to the Academy of Fellows on the IDSA website at www. idsa.org/academy-fellows; Auburn University’s Industrial Design History by Bret Smith, IDSA at www.industrialdesignhistory.com; Founders of American Industrial Design by Carroll Gantz, published in 2014 by McFarland; and The Industrialization of Design, also by Gantz, published in 2011 by McFarland. n —By Bret Smith, IDSA and Carroll Gantz, FIDSA

Longest Living Members of IDSA Joined 1945 1952 1953 1956

1958

1959

Samuel Leotta, L/IDSA Budd Steinhilber, FIDSA Olle Haggstrom, L/IDSA Neville Lewis, L/IDSA Paul Specht, FIDSA Richard Hollerith, FIDSA Arnold Wasserman, IDSA John Christian, L/IDSA

1960

1961 1962 1964

Indle King, L/IDSA Deane Richardson, FIDSA Clair Samhammer, FIDSA Walter Herbst, IDSA Charles Wallschlaeger, L/IDSA John Adams, L/IDSA Thomas Ryan, L/IDSA Robert Smith, FIDSA Edmund Weaver, L/IDSA

1965

Gilbert Born, L/IDSA Del Coates, L/IDSA Roger Funk, FIDSA Donald Genaro, FIDSA William Hannon, L/IDSA Charles Huck, IDSA Douglas Kelley, L/IDSA Rudolph Krolopp, FIDSA Ralph LaZar, L/IDSA Edward Zagorski, FIDSA I N N O V AT I O N W I N T E R 2 0 1 5

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35 YEARS OF IDEA WINNERS T he International Design Excellence Awards (originally the Industrial Design Excellence

Awards) celebrated 35 years of rewarding design excellence in 2015. Here are just a few of the many Gold IDEAs awarded from 1980–2015.

1980 The Management Chair

Designed by Niels Diffrient, FIDSA, with Diffrient Product Design of Ridgefield, CT, and Jeffrey Osborne, Tom Latone and Hy Zelkowitz of Knoll International for Knoll International, Inc.

Note: All credits are presented as historically accurate.

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Knoll Inc.

This chair employs advanced body-support principles to accommodate a wide range of user sizes without requiring excessive adjustments. The cushion contouring allows a slumped position as well as an upright working posture.

A single knob located below the arm rest controls the seat height and recline adjustment. The manufacturing process uses advanced technologies to produce a full-feature product at a competitive cost. Moreover, special stretch fabrics were developed that can be upholstered without sewing.

The Ribbon Rack’s unusually attractive appearance, combined with its superior functionality, earned the jury’s praise. There is an elegant rhythm to the rack, providing a simple continuity form that is all the more laudable for having been achieved at no expense to security and safety.

1981 The Burdick Group Office System The Burdick Group Office System approaches the office furnishing problem from the task standpoint, allocating office work spaces for specific functions rather than providing one multipurpose surface, as a desk does. A polished aluminum beam or configuration of beams with a variety of cantilevered surfaces enables users to make a dramatic visual statement while the system as a whole supports the individual’s working habits and processes. A channel in the bottom of the beam hides the cords for telephones and computers that drape many desks.

Designed by Bruce Burdick, IDSA, of the Burdick Group, Inc., San Francisco, CA

1980 Ribbon® Rack The Ribbon Rack provides secure bicycle and moped parking. It allows the frames and wheels of bikes and mopeds to be secured by passing them through the rack in an alternating pattern. Using 50 percent less area than conventional racks, this system lacks sharp edges and corners that might cause damage and is more attractive as well as more functional than the competition. It accepts all locks, including high-security horseshoe-shaped locks, which conventional racks are unable to accommodate.

Designed by Steven K Levine, IDSA, of Brandir Enterprises, Inc., New York, NY, for Brandir Enterprises, Inc.

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1982 Compass Computer The Compass is the first powerful stand-alone computer that can be carried in a standard attachĂŠ case. The Compass has only 8 percent the volume of its equivalent IBM. Weighing 9.5 pounds, the computer is extraordinarily rugged. It features an innovative hinge ear that protects power and data lines while it allows the display to pivot. It also incorporates materials innovation in its use of magnesium for the case.

Designed by I.D. Two of Palo Alto, CA: Bill Moggridge, IDSA and Steve Hobson; for Grid Systems Corp.

1983 Chevrolet Corvette (1984) With a form and package that expresses its sporty purpose and the sheer joy of motoring, the 1984 Corvette incorporates innovative concepts while maintaining a clear family resemblance to its predecessors. The car is lighter than its predecessors yet provides more comfort and adjustability.

Wind tunnel research resulted in excellent airflow over the outside as well as through the engine and passenger compartment, with air admitted through the front end rather than the traditional grille.

Designed by General Motors Design Staff for Chevrolet Motor Division, General Motors

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The jury praised the Corvette’s clean expanses of surface, gentle transitions and flush components as a more eloquent expression of the Corvette idea than previously achieved. It also commended its balance between orderliness and aggressive movement.

1984 Signa™ Magnetic Resonance System This type of imaging system uses a superconducting magnet to acquire a three-dimensional image volume, which can be viewed at the two-person console. The system’s design solves three major problems: It reduces the patient’s fear of lying inside a 5-ton magnet in a tunnel only 21 inches in diameter; it simplifies operation for a friendly user/computer relationship; and it allows the prompt removal of the patient in emergencies.

Designed by G.E. Medical Systems Industrial Design/Human Factors Department, Waukesha, WI: Herb Velazquez, IDSA; Christine Fletcher; Seth Banks, IDSA; Hal Halvorson Jr.; and Edward Stevens, IDSA, now teaching at the University of Wisconsin–Stout. For G.E. Medical Systems Group

1985 Visulite™ and Visulex™ Directories and Polysign Fiberglass™ Visualite is an illuminated directory with a selection of four shapes and a multitude of finishes that eliminates the common problem of light leaks. Visualex™ is a non-illuminated directory that is flexible in color, shape, trim and size yet is constructed from standard components, making it reasonably priced. Polysign™ non-illuminated fiberglass is a durable exterior sign product with considerable flexibility in shape, size, color and graphics.

Designed by APCO Graphics, Inc. of Atlanta, GA: Roland W. Cobb, Charles A. Lollis and Elyse B. Reeves; for APCO Graphics

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A Commentary on Industrial Design Excellence

A

ccording to folk wisdom, the way to find a good dentist is to ask your dentist who his dentist is. By the same token, the way to identify good design is to find out what designers think other designers have done well.

This book presents six years’ worth of jury-determined excellence in industrial design. The operative word here is excellence. Indeed, it seems to be the operative word everywhere these days. When, in 1961, John Gardner published a small book called Excellence, it was well received, but the title did not at that time pass into culture as a buzz word. In 1982, however, In Search of Excellence became a bestseller, followed by a series of audio cassettes of the book’s lessons and a public television program based on it.

Gardner, as I recall, was concerned with the excellent individual and the excellent society. The excellence buffs of the eighties are concerned with management and therefore inevitably with products.

Designers are necessarily concerned with all of those, but they do not by themselves achieve, create or even search for product excellence. Design in our time is largely collaborative. Our world and even our products are too complex for it to be otherwise. The credits in this volume reflect that fact.

There are some caveats that need to be entered here.

This is a nonjournalistic review. That is, the book is not a compilation of the best American design that has been found. Rather it is a selection of the best that has been submitted to the competition conducted by the Industrial Designers Society of America. In an ideal world, the two would be pretty much the same.

Several years ago, a French journalist put a question to Charles Eames: “What are the boundaries of design?”

Eames responded rhetorically: “What are the boundaries of problems?”

Industrial designers like to speak of solving problems.

To the extent that this characterization of their work is valid, it is instructive to look through this book at the kinds of problems that are solved. They divide themselves fairly easily into three types. There are old problems that have never before been adequately solved. There are old problems that circumstances have turned into new problems. And there are problems that no designer ever had to deal with before.

In 1980, for example, the Knoll Diffrient chair was given an award for “outstanding comfort and aesthetics.” There is nothing new about the desirability of comfort and beauty and a chair but considering the number of them designed, it is astonishing how few meet either criterion. It’s an old problem, and this chair solves that better than lots of other chairs do.

Finding your way around has always been a problem, but the institutionalization of life and work has turned it

into a special kind of problem. As long as there have been bikes, we have needed places to put them. But urbanization increased the usefulness of the bicycle at precisely the time it minimized the chance of your finding your bike still in front of a building when you come out. That, and the popularity of bikes that cost as much as small cars, creates the situation calling for the Ribbon Rack bicycle holder.

Problems are as good a way as any of going through this book. In 1981 the winners included the Burdick Office System, which is a new old problem. In 1982 only one entry was found deserving of an Excellence Award. This was the Compass, a portable executive computer. Five years earlier there was no portable computer. Ten years earlier there were no executive computers. Thirty years earlier there were no computers in offices.

To review these products is both instructive and fun.

But this volume ought to amount to more than just a collection of designs. If there’s anything designers have been lacking, it is professional self-criticism. By criticism I don’t mean finding fault, although obviously responsible criticism includes that possibility. What I mean is talking about design as if it matters. However unevenly, the Industrial Design Excellence Awards program does that. I believe that is its major contribution to the profession.

A particularly useful feature of this volume is the inclusion of the juror’s comments. To a great extent they illuminate the judgment process by showing what the judges looked for and what they think they found. To any designer this offers the chance to jury the jurors. To anyone else it provides an insight into the criteria designers use for measuring excellence.

Designers of course are never just designers. They are also consumers. And, to a great extent, the criteria are those of any sensitive and discriminating purchaser. But there is a difference. Since designers are, to some extent, consumer advocates, they share an interest in how well things work.

But they do not necessarily share the consumer’s intensity of interest in each product. More importantly, they often do not share the consumer’s knowledge. It takes time and use and comparisons to find out how well, or how badly, something works. Jurors for design competitions, are in this respect, like jurors for murder trials: they do not have to live with the consequences of their decision; they are not likely even to know them. Neither are they likely to know enough to judge with the consummate fairness they would like to bring to the process. This is no one’s fault.

One of the happiest features of this collection is its perspective. No one says these are great products, although some of them may one day come to be acknowledged as such. What they are is excellent products. And for our purposes, excellence is enough. n —Ralph Caplan, H/IDSA

Editor’s note: Adapted from Industrial Design Excellence USA, published by the Design Foundation in 1985, a compilation of the first six years of the IDEA program, then called the Industrial Design Excellence Awards.

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35 Years of Innovative & Strategic Design Solutions Synanthic Rumen Injector System IDEA 1983 & Best Designs of the Decade 1990 “A total industrial design project from beginning to end, the jury remarked on the system’s innovative yet appropriate and complete solution.”

–IDSA Jury

Bissell Plus Upright Vacuum System Published in New + Notable Product Design II, 1995 “This product represents an innovative leap…”

–R. Blaich

Compaq Home Internet Appliance IDEA Silver 2000 “It’s the best Internet appliance I’ve seen. …I can recommend the appliance to anyone who’d like to get online but doesn’t want or need a PC.” –W. Mossberg, WSJ

ReGeneration: International Green Computing Technology Design Competition / Dell Inc. Global Design Award Competition Development 2008 “From the beginning it was clear that Mr. Umbach quickly understood how we align our ID strategy to Dell’s business model.

He has been very effective in helping us further extend our industrial design strategy at the corporate and department levels.”

–Director of Design, Dell Inc.

Socrates Health Solutions Wearable Blood Glucose Sensor Development 2014 “…the professionalism of your work is investor grade and will be used in investment discussions” –VP Product Development, Socrates Health Solutions

IDSA International Conference Chair The Exchange / Austin / 2014 “This is rock solid, you are a gem of a disciplined designer, so many thoughts and insights” –IDSA BOD

2.0 inch http://www.idsa.org/members/steven-r-umbach

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1986 Dansk Kettle The design of the Dansk Kettle questions common assumptions about kettles. The eyelid opening eliminates the need for a spout and yet provides dripless pouring. The knob was eliminated as well in favor of a lid that automatically opens when the water from the faucet hits it. A swelling on the underside of the black phenolic handle indicates where to place the hand and as the swelling diminishes gives a tactile warning that the hot metal surface is approaching.

Philippe-Louis Howze

Designed by Porcelli Associates for Dansk International Designs, Ltd.

1987 7575 Manipulator The 7575 Manipulator has no operator contact except during installation and servicing. Consequently, the design had to take into account fewer direct physical interface and ergonomic factors, freeing up the scope of possibilities and allowing the robot to be treated sculpturally. The customer’s perception of its aesthetics became the overriding criteria.

Therefore, the Manipulator was designed to be perceived as a functional, unintimidating piece of precision equipment. The design also addressed cable management and component access and used materials suitable for harsh environments.

Designed by Randall W. Martin, IDSA, for IBM at Boca Raton, FL

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1988 Spacemaker Plus™ The Spacemaker concept emerged from the need for space-saving kitchen products that free counter space. This system of small appliances, such as a carafe coffeemaker, knife sharpener and can opener, that mounts under the cabinet does just that. Visual integration of the units was accomplished through the use of a continuous horizontal contrasting band. The control panel is integrated into a receding facade that reduces the perception of height and disguises the true mass of the larger products.

Designed by Don McClosky, IDSA, Sally Hattle, IDSA, and Gary Van Deursen, IDSA, of Black & Decker US Household Group; Group Four Design; and John Howard Industrial Design; for Black & Decker

1989 Cleret™ It’s not easy to keep glass clean, particularly in the bathroom. And the best time to clean shower doors and tiles is right after bathing—when no one is in the mood for cleaning.

Cleret reimagines what a squeegee can be. It provides two blades for more effective results. Test users preferred the cylindrical body, a shape that offers advantages for manufacturing—it is easily extruded—as well as packing, shipping and storing.

Designed by Sohrab Vossoughi, IDSA, Christopher Alviar and Paul Ferner of Ziba Design in Beaverton, OR, for Hanco

“It’s a lyrical interpretation that shows design’s ability to bring a joyous vision to unexpected places!”

—IDEA 1989 Juror Lorenzo Porcelli, IDSA

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1990 AVC ADVANTAGE™ Electronic Voting Machine The AVC ADVANTAGE was conceived as a low-cost self-contained transportable electronic voting machine that would meet multiple government election laws while exceeding the quality of competing products. Each step of the set up was designed for the least trained operator to easily complete, and designing to meet the needs of the wheelchair population resulted in a product that is more comfortable for all users to operate. It also was designed, tooled and brought into production in only 12 months.

Designed by James H. Bleck, IDSA, Scott Wakefield and John Thrailkill of Bleck Design Group in Chelmsford, MA. Manufactured

by Sequoia Pacific Systems Corp. of Jamestown, NY

1990 Bag Hog The Bag Hog is a simple solution to a dirty problem. It is a garbage container that you form yourself. Just roll it into shape, snap it into place and drop in the bag. It has no bottom except for whatever surface it sits on. A pair of teardrop-shaped holes on the sides keep the bag from slipping. The die-cut polyethylene is flexible enough to be rolled into a cylinder but rigid enough to hold its shape.

Designed by John Lonczak, IDSA, Tony Baxter and Simon Yan of John Lonczak Design in New York City. Manufactured by Form Farm, Inc., New York City

“The Bag Hog is well-designed. It’s not styled; it just looks like you want it to—simple, clean, clever, practical—and it works!”

—IDEA 1990 Juror Sandor Weisz, FIDSA

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1991 The ANIMAL In order for a wetsuit to maintain body heat, the neoprene needs to be as thick as possible. In order to allow flexible movement, the suit needs to be highly elastic, which dictates that the neoprene be as thin as possible. This basic paradox of wetsuits remained unsolved until the ANIMAL. It uses molded grooves, orienting them anatomically, to provide selectively enhanced elasticity in the direction of maximum body movement.

Designed by Bradford Bissell, IDSA, and Stephen Peart, IDSA, of Vent Design; and Pat O’Neill of O’Neill Inc. for O’Neill

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1992 Good Grips

“The Good Grips product line is a brilliant

example of universal design—it satisfies the needs of people with reduced grip strength while appealing just as strongly to other consumers. The design’s visual and tactile beauty brings pleasure to mundane tasks!

”

—IDEA 1992 Juror Liz Powell, IDSA

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The Good Grips line of kitchen tools demonstrates that designing for the elderly is an opportunity to make things better for everybody. From peelers and whisks to pizza wheels and strainers, the Good Grips lines pushes the boundaries that divide the abled from the disabled so more people can join the ranks of the “normal user.” The transgenerational design of Good Grips accomodates the reduction of physical strength and dexterity as people age, anticipating the whole life of the user.

Designed by Davin Stowell, IDSA, Dan Formosa, IDSA, Tucker Viemeister, IDSA, Michael Callahan, Steve Russak, IDSA, and Stephen Allendorf of Smart Design Inc.; and Sam Farber, Betsy Farber and John Farber of Oxo International for Oxo

1993 Softouch Scissors The Softouch Scissors were inspired by one woman’s request for a pair of scissors that she could use with arthritic hands and ended with a design that is also easier for the general public to use. Before producing any sketches or models, the design team conducted extensive research on arthritis and other disabilities, the aging process and devices for the handicapped. Of its many well-considered features, the handles are spring loaded, so after pressing down to cut, an effort that is reduced by half, the scissors open by themselves.

Designed by Doug Birkholz, IDSA, Craig Melter, Steve Ruelle and Paul Hendon of Fiskars Inc.

1993 Sensor For Women Over the years technical advances in women’s razors have constituted little more than cosmetic adaptations of men’s products. The Sensor For Women breaks that tradition. It is based on careful study of how women really shave: less frequently and more seasonally than men. Incorporating spring-mounted blade technology, it features an ergonomically designed handle that provides better feedback, control and maneuverability. This breakthrough in women’s shaving enabled Gillette to target an untapped growth source—the 77 million women who wet shave.

Designed by Jill Shurtleff, IDSA, of The Gillette Co.

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Most Winning Companies from 1995–2005

IDEO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Samsung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 ZIBA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 fuseproject. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Continuum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Apple. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Smart Design LUNAR Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 frog design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Hewlett Packard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Microsoft Corp.

Nike, Inc. Pentagram Philips Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 NewDealDesign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Motorola. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 TEAGUE Altitude. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Fitch IBM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Black & Decker (DeWalt Industrial Tool Co.). . . . . . . . 24 Whipsaw Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Belkin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Herbst LaZar Bell (HLB) One & Co. RKS Design Inc. GE Healthcare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 LG Electronic Crown Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . 20 OXO International Steelcase (Metro, Brayton, AI, Details, Vecta) Ammunition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Ralph Appelbaum Associates Dell Computer Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Herman Miller Astro Studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Compaq/Digital DaimlerChrysler Corp.

BMW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Hauser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

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The US Holocaust Memorial Museum

# of Firm IDEAs

1994 The US Holocaust Memorial Museum The purpose of the Holocaust Museum is to bear witness that a crime against humanity has been committed, to give testimony about the nature of the crime and how it was perpetrated, and to present the evidence in the case. The installation was conceived as a controlled emotional experience that required the integration of many highly charged agendas and close cooperation with the architect to achieve a seamless interaction of architecture and exhibits.

Designed by Ralph Appelbaum and RAA staff Christopher Miceli, James Cathcart, Victor Colom, Robert Homack and Shari Berman in collaboration with English filmmaker Martin Smith and Museum Director Jeshajahu Weinberg. The exhibition script was written by David Luebke and Michael Berenbaum of the museum and edited

by Sylvia Juran of Ralph Appelbaum and Associates (RAA). The project was coordinated by Rae Farr and Ann Farrington at the museum and by Cindy Miller and Vicci Ward at RAA.

1995 DeWalt Cordless Pistol Grip Drill The DeWalt Cordless Pistol Grip Drill is the result of DeWalt’s objective to design a new generation of professional cordless drills that are significantly smaller, more powerful, more comfortable and more feature-laden than any others. The drill’s many innovative ergonomic features reduce fatigue and stress injuries. It is also powered by a newly designed motor that is more powerful than the off-the-shelf motor design used by all other cordless drills on the market.

Designed by Robert Somers, IDSA, and Donald Zurwelle, IDSA, of Black & Decker.

Client: Black & Decker Corp.

1996 Hush Puppies Kids Packaging The entire Hush Puppies brand was updated to reflect a more fashion-conscious offer, though the famous basset hound identity remained because of its appeal and equity.

The children’s division focused on extending, yet simplifying the Hush Puppies message to appeal to both parents and children. A comprehensive merchandising communications system, including shoe boxes, hangtags and fixture signage, tells the new brand story with an updated tagline—The Most Comfortable Stuff In The Whole Wide World.

Designed by Jaimie Alexander and Paul Westrick of Fitch Inc., Worthington, OH. Client: Jeff Lewis, Director of Marketing, Hush Puppies Company, Rockford, MI

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1998 The New Beetle In order to bring to life the same positive feelings people had toward the old Beetle, designers knew that a new car would have to remain emotionally true to the original concept. Yet it was clear that a retro design was not what the market or Volkswagen had in mind. Although the New Beetle retains the classic silhouette, it makes a futuristic statement, simplifying the forms to the basic geometry of the circle and sphere. The car’s interior design incorporates highly modern elements with the underlying principle of making driving easier by reducing the instrumentation to essential functions.

Designed by Design Center California of Volkswagen of America, Simi Valley, CA; and Volkswagen Design Center of Volkswagen, Wolfsburg, Germany. Client: Volkswagen of America

1997 Kodak Funsaver Sport Seeking a new focus for the one-time-use camera, Kodak designers and engineers set their sights on the sports enthusiast and designed a rugged sports camera that allows people to take pictures in situations where they don’t want to take their good camera. With its rubberized body, waterproofing, bright colors, hand grips, strap, controls large enough to operate with gloved hands and a large viewfinder, the Funsaver Sport is ideal for any outdoor activity.

“Kodak targeted a specific application and

focuses all of the design elements—including creating the little camera’s visual ‘attitude’— toward that end.... This is a textbook example of how to successfully extend a product line.

”

—IDEA 1997 Juror Lou Lenzi, IDSA Designed by Eastman Kodak Design & Engineering Staff, Rochester, NY. Client: Eastman Kodak Co., Rochester, NY

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1999 Apple iMac A primary objective for the design of the iMac was to create a more accessible, more democratic product that combines the familiar with the new with something from tomorrow.

The iMac required a fundamentally new approach to design, manufacturing and distribution. Among the many challenges was using translucent materials, which required new ways of molding individual parts and defined new methods of assembly—and required care given to the aesthetics of internal components that previously had little impact on the product’s appearance.

“Apple has done again what defined it in the

beginning: thinking out of the physical and metaphorical ‘box.’ They do something that is very difficult in the computer industry: stepping over the edge, and commanding consumers to ‘think different.’

”

—IDEA 1999 Juror Mitzi Vernon, IDSA

Designed by Bart Andre, Danny Coster, Daniele De Luliis, Richard Howarth, Jonathan Ive, IDSA, Steve Jobs, Doug Satzger, Cal Seid and Christopher Stringer of Apple Computer, Inc., Cupertino, CA

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2000 SC4000 Series Sit-Down Counterbalanced Electric Lift Truck and WP 2000 Walk-Along Pallet Truck With the SC4000 and WP 2000, Crown has achieved a deft marriage of form, beauty, functionality and smarts.

The SC4000 lift truck combines an innovative appearance, refined ergonomics and total maneuverability, establishing new paradigms in appearance while maintaining its identity as a Crown product. The WP 2000 pallet truck was designed to be maneuverable yet stable, robust yet agile, durable yet sleek—with a clean appearance that allows it to be used on the retail floor as well as in distribution centers and loading docks.

SC4000 (bottom) designed by Baron Brandt, IDSA, Doug Goodner, IDSA, Mike Hemry, Jeffrey R. Burger, IDSA, James V. Kraimer, IDSA, and Donald A. Brown of Crown Equipment Corp.; Rainer B. Teufel, IDSA, of Design Central; and Steven M. Casey, IDSA, of Ergonomic Systems Design, Inc., for Crown Equipment Corp.

WP 2000 (top) designed by Steven R. Pulskamp, IDSA, William Davis, IDSA, and Michael P. Gallagher, IDSA, of Crown Equipment Corp.; and Rainer B. Teufel, IDSA, and Jeff T. DeBord of Design Central for Crown Equipment Corp.

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2001 Motorola NFL Headset Generation II When Motorola became an official sponsor of the NFL, it wanted to leverage its capabilities as a major manufacturer and create an entirely new product. Designed with NFL coaches in mind, each of the features on the headset ties directly back to coaches’ preferences or to the reality of the game situation. The colors of the headset—black and light metallic—tie directly into Motorola’s consumer product lines and provide the bold graphic contrast necessary to effectively show up on TV. Designed by John David Hartman, IDSA, Steve Remy, Elliott Hsu, IDSA, Jason Billing and Don Wolf of Herbst LaZar Bell Inc.; and Terry Taylor, Daniel Williams, IDSA, Luigi Flori, Connie Kus, David Weisz and Geoff Frost of Motorola Inc. for Motorola

“It is a rare moment when a design team

realizes that it has been given the green light to create an icon—one that will be seen by millions around the world. The Motorola NFL Headset represents the marriage of sophisticated communications technology and great design with the blood, sweat and tears on the field of play.

”

—IDEA 2001 Juror Martin Gierke, IDSA

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“The Duet System is an excellent example of design at its very best.”

—IDEA 2003 Juror Brian Matt, IDSA

2002 Segway™ Human Transporter The Segway empowers people to go farther and faster than they ever could on foot. But rather than isolating users from pedestrians like a car does, the Segway enhances personal mobility by allowing users to travel in sync with those around them. The simplicity of operating the Segway belies the complex technology inside. Subtle shifts of the user’s body move them forward and backward, and an expressional faces serves as the user interface, providing all the information need to operate the Segway.

Designed by Dean Kamen, J. Douglas Field, Scott Waters, IDSA, Shih-Tao Chang, IDSA, and Ray Walker of Segway LLC

2003 Duet Fabric Care System and Dreamspace® When consumers asked for an ergonomically designed front-loading washing machine, Whirlpool assembled a global cross-functional team to design a product that would appeal to both the American and European markets.

Extensive consumer research led to a washer and dryer system that can be stacked, has a high capacity with a smaller footprint and uses 67 percent less water than conventional washing machines. It’s been so successful that twice Whirlpool has had to invest in additional production capacity.

Designed by the Global Consumer Design staff of Whirlpool Corp., US and Italy

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2004 iPod mini At only 3.6 ounces and the footprint of a business card, the iPod mini is more portable than ever. It is half the weight of the original yet is just as powerful. Like the original, the mini can hold 1,000 songs and has an 8-hour battery life.

The new Click Wheel makes the mini easy to use and saves space since the buttons are integrated into the wheel. Its five color choices—silver, gold, green, pink and blue— enable consumers to choose the iPod that suits them best.

Designed by Bart Andre, Danny Coster, Daniele De Luliis, Richard Howarth, Jonathan Ive, Duncan Kerr, Shin Nishibori, Matt Rohrbach, Doug Satzger, Cal Seid, IDSA, Christopher Stringer and Eugene Whang of Apple Computer, Inc.; and Irene ChanJones, Christopher Hood, Carter Multz, Ken Provost, Carlos Ragudo, Fred Simon and Mas Watanabe of the Apple Computer, Inc. CAD Team.

“Like a modern touchstone, the iPod mini is

a product that people will love to hold. The designers skillfully integrated the satin aluminum case with flush controls and a simple touchpad interface to create a jewellike piece of technology.

”

—IDEA 2004 Juror Monty Montague, IDSA

2004 Toyota Prius 2004 Mission: SPACE The Mission: SPACE attraction at Epcot at Walt Disney World in Florida takes guests on an adventure to Mars.

Research was conducted to understand the culture of astronaut training and gather hard data on spaceflight in order to educate and entertain in equal measure. The resulting story led to the scenario of a flight training simulation on an experimental rocket, the X2, set on the International Space Training Center 35 years in the future. As part of the experience it employs cutting-edge technology to realistically simulate lift-off and spaceflight.

This second-generation Prius demonstrates that environmentally friendly automobiles need not be boring. While its hybrid technology makes it a responsible choice, its car-of-the-future styling makes it fun. Its aerodynamic form improves utility and fuel economy with a style that appeals to the senses. The interior was completely reevaluated, resulting in a layout that clusters the important operational controls within easy reach of the driver and locates the displayrelated items at a distance to make them easier to read.

Designed by Hiroshi Okamoto of Techno Art Research Co., Ltd., Japan; and Katsuhiko Inatomi, Norio Ozeki and Tomio Yamazaki of Toyota Motor Corp., Japan

Designed by Luc Mayrand, Lou Gagnon, Don Roberts and Owen Yoshino of Walt Disney Imagineering I N N O V AT I O N W I N T E R 2 0 1 5

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2005 The Motorola RAZR Today’s consumers look at their mobile phones as both a communications device and an accessory—a projection of their personality and image. As demand increases for mobiles that deliver functionality along with head-turning style, Motorola designed the RAZR to deliver the ultimate balance of desire and reason. The RAZR’s ultra-thin clamshell design required many technical breakthroughs and along the way set new standards for mobile phones of the future.

Designed by Consumer Experience Design Team and Mobile Devices Engineering of Motorola

2005 byo lunchbag The byo lunchbag has two separate inside pockets for transporting food and a beverage. The bonded nylon/neoprene provides thermal insulation as well as shock absorption, nearly unlimited color choice and a unique bouncy feel. The stretchy material also allows the bag to expand in order to fit a variety of differently sized and shaped food and beverage containers. When completely opened, the byo lunchbag doubles as a placemat.

Designed by Aaron Lown, IDSA, and John Roscoe Swartz, IDSA, of Built NY Inc.

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2006 DXL Protective Helmet The DXL Protective Helmet was designed for the average skier and snowboarder, not the fanatic. It offers users infinite adjustability in three dimensions with four interconnected plates that can be loosened and tightened with a cable fastening system. The fabric-covered sides project a warm, organic, human feel that entices users, encouraging them to wear the helmet because they want to, not because they have to.

Designed by Yves Béhar, IDSA, Bryan Calo and Martin Schnitzer of fuseproject; and Pascal Jouberd des Ouches of Pulsium Engineering, France, for Pryde Group, Hong Kong

2007 The Access The Access is an exercise machine that accommodates users with or without disabilities. It is capable of giving a full-body workout by combining the features of multiple machines into one unit. Simplified minimal controls enable people with limited dexterity to use the Access with ease, and adjustable grip attachments can customize the machine to different body types. In a market where whites, grays and blacks dominate, it also introduces color with green accents that represent bright, vibrant energy.

Designed by J. Ryan Eder, IDSA, of University of Cincinnati

“Exemplifies the high quality of student work

seen in this year’s entries. The designer embraced ideas of inclusion and universality, based his work on thorough research, and produced a beautiful, carefully detailed, remarkable solution to a very real problem.

”

—IDEA 2007 Juror Prasad Boradkar, IDSA

Note: As of 2007, IDEA began offering Best in Show awards. The winners presented here, from 2007–2015, are all Best in Show winners.

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2008 iPhone The iPhone combines three products: a mobile phone, a widescreen iPod and the Internet. It also introduces an entirely new user interface based on a 3.5-inch multitouch display that allows users to control it with just a tap, flick or pinch of their fingers. The display is made of optical-quality glass for superior scratch resistance and clarity. Changes to the volume, muting the ringer and putting an incoming call through to voicemail can be done using discreet buttons on the top and side.

Designed by Apple, Inc.

2009 Nike Trash Talk This performance basketball shoe is made from manufacturing waste. It uses materials that are leftover from the footwear manufacturing process—leather and synthetic leather in the upper portion of the shoe, foam in the mid-sole for cushion and a rubber out-sole for durability and traction.

The Nike Trash Talk addresses the waste problem by incorporating as many of these leftover materials as possible back into new shoes without sacrificing any of the performance that comes with shoes made from virgin materials.

Designed by Kasey Jarvis, Andreas Harlow, Fred Dojan and Dan Johnson of Nike Inc.

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“The Trash Talk shoe is the hero of Nike’s

hyper-progressive and innovative sustainability program. High concept, aesthetics and performance—in combination with a smart and comprehensive eco-manufacturing methodology—make this shoe the holy grail of conscious consumption.

”

—IDEA 2009 Juror Valerie Casey, IDSA

2011 Bespoke Fairing The Bespoke Fairing is a mass customized set of parts that restores symmetry and natural contours to an amputee’s body. The process starts with a 3D scan of the surviving leg. With input from the amputee, the parts are customized with various color, material and finish options. Once applied to an existing prosthetic limb, the Bespoke Fairing communicates the user’s sense of style and taste, allowing them to connect with the artificial limb in a personal and emotional way.

Designed by Scott Summit and Chris Campbell of Bespoke Innovations

2010 Method Laundry Detergent with Smartclean Technology Method Laundry Detergent offers outstanding cleaning power with a patented super-concentrated plant-based biodegradable formula delivered in a pump bottle. The bottle can be used with just one hand and was designed for controlled, accurate, no-mess dispensing—so you only use what you need.

Designed by Joshua Handy and Sally Clarke of Method Products

“Stunningly beautiful! This is pure fashion that

goes well beyond vanity to be the noblest self expression for the amputee, evoking only admiration—no pity.

”

—IDEA 2010 Juror Chair Davin Stowell, IDSA

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2012 Nike+ FuelBand The Nike+ FuelBand merges the digital and physical worlds to motivate and inspire athletes to make every day count.

It tracks activity as NikeFuel, a universal metric based on oxygen kinetics mapped to activities and associated movements. The FuelBand also tracks calorie and step count— and is a watch. All of the data captured by the device syncs to a mobile or Web-based experience where athletes can compare, compete and collaborate across activities.

Designed by Nike Digital Sport and partners

2013 Tesla Model S The Tesla Model S is a premium sedan built from the ground up as an electric vehicle. At the heart of the Model S is the Tesla powertrain, delivering both an unprecedented range of up to 265 miles and a thrilling drive experience. With a rigid body structure, nearly 50/50 weight distribution and a low center of gravity, the Model S offers the responsiveness and agility expected from the world’s best sports cars while providing the ride quality of a luxury performance sedan.

Designed by Franz von Holzhausen of Tesla Motors

2016 INTERNATIONAL DESIGN EXCELLENCE AWARDS

W W W. I D S A . O R G

The 2016 International Design Excellence Awards Acknowledging and illuminating excellence across a wide array of industries and disciplines, IDEA winners represent the highest level of design innovation and will be celebrated at the conclusion of the 2016 IDSA International Conference—August 17-20 in Detroit.

Do you have an extraordinary design to enter?

Submit your design to a jury of renowned experts led by Cameron Campbell, IDSA, and receive the worldwide exposure you deserve.

ENTRIES ACCEPTED

The 2016 IDEA competition opens for entry January 4–April 1, 2016.

1.4.16 – 4.1.16

Visit IDSA.org/IDEA to learn more—and begin gathering your IDEAs.

www.idsa.org/idea

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Welcome to the world’s most prestigious design competition—

2014 Square Stand The Square Stand transforms an iPad into a point-of-sale device. It accepts all major credit cards and provides the tools businesses need to run daily operations. The software is free to download and simple to customize. Hardware such as receipt printers, cash drawers and barcode scanners plug into the Square Stand using the included USB accessory hub.

Designed by Troy Edwards, IDSA, Robert Brunner, IDSA, Timothy Tan, Jonas Lagerstedt and Howard Nuk of Square and Ammunition

2015 Coloplast Design DNA The purpose of the Design DNA was to unify Coloplast’s diverse portfolio of brands, which consists of a range of products that serve very singular functions designed to cater to specific user needs. The Design DNA outlines a unified design approach to create products with a clear Coloplast identity that deliver reliable and consistent user experiences. As opposed to a step-by-step manual, the value in the Design DNA is a common foundation that enables everyone in the development process to think and design in the Coloplast way.

Designed by Coloplast and Native

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50 Memorable Moments in IDSA History

1996 IDEA opens entry to international designers

RitaSue Siegel

Education Association, merge on March 5 to form IDSA

Volume I, Number 1 of the Design Notes newsletter is

1995

published

1968 Minimum requirements are set for IDSA-recognized schools 1969 The first issue of the quarterly Design Journal is published 1978 The requirement to submit a portfolio is removed from the membership application

Membership increases by 30% and the number of chapters

The first Industrial Design Excellence Awards (IDEA) are

US Design Council

1993 The Patrons program launches and includes Crown Equipment, IDEO and Teague

A long-range plan is formulated to help designers connect

1991 Tom Brokaw interviews Budd Steinhilber for a story about planned obsolescence

Katherine McCoy becomes the first woman, as well as the youngest, president of IDSA

1984

The IDSA board approves its first $1 million budget

1990

BusinessWeek magazine publishes an article featuring IDSA’s 1990 IDEA winners and begins sponsorship of the program for the next 19 years

1988

IDSA president Peter Wooding and Yuri Soloviev, president of the Society of Soviet Designers, sign a goodwill Accord of Mutual Cooperation and Exchange

NASAD* and IDSA introduce new comprehensive standards for the accreditation of all BA programs in industrial design

The Gianninoto Scholarship is created

German professor BK Wiese, AGI designs a trophy for IDEA

1987

made from Formica

1986 The IDSA/Gallup Business Management Study is conducted The IDSA/NASAD Liaison Committee is formed

IDSA board chair Cooper Woodring testifies to the Senate Subcommittee on Patents, Copyrights and Trademarks in support of S791, the Technology Act of 1987

1985 The Design Protection Act passes in the House

Special Professional Interest Sections are created with furniture and female designers established first

with business

1983

Regis & Kathie Lee interview Bruce Nussbaum of BusinessWeek about IDEA

granted

1982 The first issue of INNOVATION is published

Fitch redesigns INNOVATION with a hole drilled through

1994 IDSA testifies before Congress in support of forming a

doubles to 24

IDSA endows the Undergraduate Scholarship with $25,000

the top left corner

1979 The Design Foundation is formed 1980

IDSA launches its first website, designed and hosted by MAYA Design in Pittsburgh

1965 The American Society of Industrial Designers and the Industrial Designers Institute, and later the Industrial Design

IDSA publishes the first “Getting an ID Job” article by

The Corporate Design Group Study shows that the average corporate ID budget is just under $1 million

Membership breaks 2,000, doubling the number of members in 1978

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Presidents/Chairs of the Board of Directors of IDSA

1998 Chapter and Section leadership dialogue at the new officer orientation

The UN sponsors an IDSA delegation to China to share the value of ID with the Chinese government

The Saidman Design Law Group helps IDSA secure registration marks for IDSA, FIDSA and INNOVATION

1999 High Ground seminars launch at the studio of Katherine and Michael McCoy

The IDSA DesignAbout series launches at the Microsoft Conference Center

2000

INNOVATION is redesigned and its signature hole is retained

2001 An individual student membership category is created

IDSA launches Corporate Design Consortium Pods 2002

The Design and Business Catalyst Awards debut to

Henry Dreyfuss, FIDSA, President John Vassos, IDSA, Chair Joseph Marshall Parriott, FIDSA Robert H. Hose, FIDSA Tucker Madawick, FIDSA William Goldsmith, FIDSA Arthur Jon Pulos, FIDSA James F. Fulton, FIDSA Richard Hollerith Jr., FIDSA Carroll Gantz, FIDSA Robert G. Smith, FIDSA Katherine J. McCoy, FIDSA Cooper C. Woodring, FIDSA Peter H. Wooding, FIDSA Peter W. Bressler, FIDSA Charles W. Pelly, FIDSA David Tompkins, FIDSA James (Jim) Ryan, FIDSA Craig M. Vogel, FIDSA Mark Dziersk, FIDSA Betty Baugh, FIDSA Bruce Claxton, FIDSA Ron Kemnitzer, FIDSA Michelle Berryman, FIDSA Eric Anderson, FIDSA George McCain, FIDSA Charles Austen Angell, FIDSA John Barratt, IDSA

1965 1965 1966 1967 1969 1971 1973 1975 1977 1979 1981 1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015

promote business success stories

2003

An East Coast power outage disrupts the IDSA national conference in NYC

2007 The Industrial Design Excellence Awards are renamed the International Design Excellence Awards

2008

Cooper Woodring and Perry Saidman conduct the first Expert Witness seminar

IDEA jurors evaluate actual products and IDSA launches the IDEA/Brasil program in Brazil

2009

The print version of the Design Perspectives newsletter

IDSA Staff Leadership 1965 1973 1978 1989 1990 1999 2007 2009 2013

Ramah Larisch, Executive Secretary Tom Stewart, Executive Director Brian Wynne, Executive Director Roberta Faul-Zeitler, Executive Director Robert Schwartz, Executive Director & COO Kristina Goodrich, Executive Director & COO Frank Tyneski, Executive Director Clive Roux, CEO Daniel Martinage, CAE, Executive Director

ceases publication

2014

IDSA launches a redesigned IDSA.org

National HQ Office Moves

The first IDSA Medical Design Conference is held

2015 The US House of Representatives declares March 5 National Industrial Design Day

*National Association of Schools of Art and Design

1965 1973 1978

1981 1986 2001 2012

IDSA opens its first office in NYC Moves to McLean, VA IDSA establishes a new independent national office in Washington, DC Back to McLean, VA Moves to Great Falls, VA Moves to Dulles, VA Moves to Herndon, VA

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84 15

5 0 / 3 5 / 50 10

50 Years of National and

D

International IDSA Conferences

78 87 02 90

Year Location

Theme

1965 Drake Oakbrook Hotel, Oakbrook, IL Design For Industry 1966 Jack Tar Hotel, San Francisco The Thinking Season 1967 Montreal, Quebec in conjunction with Expo 67 1968 Playboy Club, Lake Geneva, WI Contradictions 1969 Shoreham Hotel, Washington, DC 1970 Pocono Manor Hotel, Pocono, PA 1971 Kentucky Dam Village, KY Kentucky Dam Village and You 1972 Mexico City Design in Americas 1973 San Diego Hilton, San Diego, CA Interface73 1974 Copley Plaza Hotel, Boston 1975 Aspen, CO joint with Aspen Design Conference 1976 Philadelphia, PA Evolution/Revolution 1977 Lake Barkley State Resort Park, KY Patterns: The Sense of Design 1978 Asimilar, CA Thrival: Beyond Survival 1979 Hyatt Regency Hotel, Washington, DC Gross National Product 1980 San Antonio Marriott, San Antonio, TX Missions 1981 Century Plaza Hotel, Los Angeles, CA 1982 Hyatt Hotel, Orlando, FL Infotainment 1983 Hyatt Regency Hotel, Chicago Chicago83 1984 University of Washington, Seattle, WA Seattle84 1985 Washington, DC Worldesign85 1986 Northwestern University, Evanston, IL Forms of Design 1987 Doubletree Inn, Monterey, CA Influences of Design 1988 Marriot Marquis Hotel, New York City Worldesign88

1989 Marriott City Center, Minneapolis, MN Minneapolis89 1990 Red Lion Inn, Santa Barbara, CA Strategy of Design 1991 Copley Marriott, Boston, MA Revolution/Evolution 1992 Hyatt Regency Hotel, San Francisco, CA Worldesign92 1993 Westin Peachtree Plaza, Atlanta, GA Atlanta93 1994 Henry Ford Museum, Dearborn, MI What Drives Design 1995 La Fonda Hotel, Santa Fe, NM Alternative Realities 1996 Disney Dolphin Hotel, Orlando, FL Worldesign96 1997 Omni Shoreham Hotel, Washington, DC Blurring Boundaries 1998 Del Coronado Hotel, San Diego, CA Why Design?

1999 Drake Hotel, Chicago Reflection: Projection 2000 Fairmont Hotel, New Orleans, LA Design Gumbo

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Chair(s)

04 81

73 Damon C. Woods, FIDSA 98 Gene Tepper Walter Furlani Pierre Crease, Read Viemeister, FIDSA John Christian William Purcell Carroll Gantz, FIDSA Manuel Vasquez Arnold Wasserman, Arnold Wolf, FIDSA Ray Wheeler Niels Diffrient, FIDSA Peter Bressler, FIDSA Ralph LaZar Peter Lowe, FIDSA, Darrell Staley, FIDSA Cooper Woodring, FIDSA Vincent Foote, FIDSA Gene Garfinkel Noel Mayo, Arnold Wasserman Dave Tompkins, FIDSA LeRoy LaCelle, FIDSA Deane Richardson , FIDSA Michael McCoy, IDSA Noland Vogt Donald Rorke, IDSA Tucker Viemeister, FIDSA, Steve Holt Tom Sanders, Ed Paas Steve Hauser, FIDSA, Ron Pierce Mark Dziersk, FIDSA Maureen Thurston-Chartraw Lee Payne Dave Jenkins, Shaun Jackson Tucker Viemeister, FIDSA Charles Allen Bob Brunner, IDSA Steve Hauser, FIDSA Aura Oslapas, IDSA Steve Wilcox, FIDSA

08

67

89 A 68 65

70

94

86

88 03

76

C B

75

71 77

95

93

06 14

00 11

A Boston

74, 91, 01, 12 B Washington, DC

69, 79, 85, 97, 05 C Chicago

83, 99, 13 D San Francisco

66, 92, 07

82 96

80

09

72

Year Location 2001 2002 2003 2004 2005

2006 2007 2008 2009 2010 2011 2012 2013 2014 2015

Park Plaza Hotel, Boston, MA Monterey Marriot Hotel, Monterey, CA Marriott Marquis Hotel, New York City Westin Hotel, Pasadena, CA Wardman Park Marriott Hotel, Washington, DC The Hilton, Austin, TX Masonic Center, San Francisco Biltmore Hotel, Phoenix, AZ Loews Miami Beach Hotel, Miami, FL Hilton Portland, Portland, OR Roosevelt Hotel, New Orleans, LA Westin Boston Waterfront, Boston, MA Hyatt Regency, Chicago Hilton Austin, Austin, TX Westin Seattle, Seattle, WA

Theme

Chair(s)

Designing Your Life Kaleidoscope 02 What is Cool Utopian Realities RE-ACTION: Rethinking Design for the Real World Elements of Change CONNECTING’07 Polar Opposites Project Infusion DIY Design: Threat or Opportunity Community: You.Me.We The Future Is...

Breaking the Rules The Exchange Future of the Future

Gianfranco Zaccai, FIDSA

If you can fill in the few blanks left, please contact IDSA at 703.707.6000. Thank you.

Scott Henderson, IDSA Tom Campbell, IDSA Shaun Jackson Mark Kimbrough, IDSA Bill Moggridge, FIDSA Craig Vogel, FIDSA Bruce Claxton, FIDSA Sohrab Vossoughi, IDSA Tad Toulis, IDSA Austen Angell, FIDSA Paul Hatch, IDSA Steven Umbach, IDSA Surya Vanka, IDSA

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5 0 / 3 5 / 50

Crossword Redux* 1

2

3

4

5

6

7

8

9

10

14

15

16

17

18

19

20

21

22

24 26

27

39

32

33

56

57

40

43

42

44

46

52

31

36

38

45

51

30

35

48

13

23

29

34

41

12

25

28

37

11

47

49

50

53

54 60

55

58

59

62

63

64

65

66

67

ACROSS 1. Half 5.

IDSA Code of Ethics author Arden 10. Saucy 14. Persia once 15. “Illustrator” developer 16. Jockeyed 17. Abbreviated directors 18. Pago Pago location 19. Molding 20. IDSA part 22. “A gun in every home” 24. Pared preceder 25. Skeptic 26. Part of 20 30. Cuban choreography 34. Supplemented 35. Nolan Ryan’s concern 36. Spell 37. Maori pit for roots 38. What’s a Harrier?

61

40. Moon vehicle activity 41. Senior VP at Dolly Inc. 43. Phoebus 44. Narrow gash 45. Suppose Australian & New Zealand industrial designers joined societies 46. Study of symbols as denotative units 48. Sort of askew 50. Wade opponent 51. More harsh 54. Raven 58. Chow chow 59. Thomson Electronic’s Louis 61. God of love 62. Backthorn 63. Hollywood craze?

64. Names in Nantes 65. Incisive 66. Belonging to Cupid 67. Dirk

*Created by Budd Steinhilber, FIDSA and originally published in 1994 in the January issue of Design Perspectives.

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DOWN 1. Fades 2. Therefore 3.

Portsmouth’s Harrison 4. Banal 5. Screws 6.

Forever and _______.

7.

Stored computer data 8.

Black keys 9. Pine 10. See 42 Down 11. Mark of commerce 12. Coveted award 13. Bark 21. Energy unit 23. Targeter 25. Art of Kodak frame 26. Skin 27. GK design guru 28. Tower where Charles Harrison tolls 29. Epoch 31. Onth and nery preceder 32. Acid type 33. Playwright Clifford 36. Cameras by Drefuss 38. Autoban burners 39. Chrysler’s Gale 42. Auto for André 44. Father of Excalibur 46. Slip or bit follower 47. Neither companion 49. Massimo companion 51. Firken 52. Haggstrom 53. Author Edgar _______.

54. Ivan or Nicholas 55. Roger Fleck’s wind?

56. Alaskan city 57. Being 60. National Fingerlickers Organization

To IDSA’s 50 Most Notable Members, Sir Winston Churchill said of WWII,

“Never have so many, owed so much, to so few.”

So it is with IDSA; Congratulations to all 50 of you; I’m proud to be one of you.

Cooper C. Woodring, FIDSA

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Further Reading A Life’s Design: The Life and Work of Industrial Designer Charles Harrison by Charles Harrison (Ibis Design Inc., 2005).

America at Home: A Celebration of Twentieth-Century Housewares by Victoria Matranga, James Beck and Karen Kohn (National Housewares Manufacturers Association, 1996).

American Design Ethic: A History of Industrial Design to 1940 by Arthur Pulos (MIT Press, 1983).

American Streamlined Design: The World of Tomorrow by David A. Hanks and Anne Hoy (Flammarion, 2005).

Never Leave Well Enough Alone by Raymond Loewy (Simon and Schuster, 1951).

Norman Bel Geddes Designs America by Donald Albrecht (Harry N. Abrams, 2012).

Raymond Loewy: Designs for a Consumer Culture by Glenn Porter (Hagley Museum and Library, 2002).

The Alliance of Art and Industry: Toledo Designs for a Modern America by Dennis P. Doordan et. al. (Hudson Hills Press, 2002).

The American Design Adventure: 1940–1975 by Arthur Pulos (MIT Press, 1988).

Design Chronicles: Significant Mass-Produced Designs of the 20th Century by Carroll Gantz (Schiffer Publishing, 2005).

The Industrial Design Reader by Carma Gorman, editor (Allworth Press, 2003).

Designing for People by Henry Dreyfuss (Allworth Press, 2003).

The Industrialization of Design: A History from the Steam Age to Today by Carroll Gantz (McFarland & Company, 2010).

Designing Modern America: Broadway to Main Street by Christopher Innes (Yale University Press, 2005).

Eames Design: The Work of the Office of Ray and Charles Eames by John Neuhart and Marilyn Neuhart (Abrams, 1989).

Elements of Design: Rowena Reed Kostellow and the Structure of Visual Relationships by Gail Greet Hannah (Princeton Architectural Press, 2002).

Twentieth Century Limited: Industrial Design in America, 1925–1939 by Jeffrey Meikle (Temple University Press, 2001).

Victor Schreckengost: American Da Vinci by Henry Adams (Tide-Mark Press, 2006).

Women Designers in the USA, 1900–2000: Diversity and Difference by Pat Kirkham, editor (Yale University Press, 2000).

Eliot Noyes by Gordon Bruce (Phaidon Press, 2007).

Get Ten Eagles by Edward J. Zagorski (Instantpublisher.com, 2011).

Henry Dreyfuss, Industrial Designer: The Man in the Brown Suit by Russell Flinchum (Rizzoli, 1997).

History of Modern Design by David Raizman (Prentice Hall, 2003).

Industrial Design by John Heskett (Thames and Hudson, 1980).

Industrial Design: A Practical by Harold Van Doren (McGraw-Hill, 1940 and 1954).

Industrial Strength Design: How Brooks Stevens Shaped Your World by Glenn Adamson and David Gordon (MIT Press, 2003).

We march to whatever beat we’re streaming.

sonos.com/jobs

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S HO W C A SE

“SmartShape Design and Blue Spark Technologies present TempTraq—the wearable, wireless, continuously monitoring smart thermometer.”

TempTraq designed by SmartShape Design for Blue Spark Technologies; www.smartshape.design

“Say good-bye to your list of passwords and hello to a new access control experience.”

Everykey designed by SmartShape Design and Everykey; www.smartshape.design

The submitters pay for the publishing to this unjuried showcase.

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S H O W CASE

“Now is the time to change the way you organize your batteries.” eLink designed by Simple Mono Shop; www.simplemonoshop.com

“This new fridge is what happens when gravity meets design—intentionally set at 5 degrees.”

5° Refrigerator designed by Min Xin & Nan Zhao; cn.linkedin.com/in/zhaonan22

“A best-in-class barcode and RFID label

printer for the quick and accurate movement of goods.

”

Avery Dennison Tabletop RFID Printer and Encoder designed by Radius Product Development for Avery Dennison; radiuspd.com

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LEVERAGING THE POWER OF IMAGINATION

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