KATE McCOUBREY :: PORTFOLIO by Kate McCoubrey

K AT H E R I N E McCOUBREY PORTFOLIO

106 8th Avenue 5S New York NY 10011

kfmccoubrey @ gmail.com 215 913 9714 Kate McCoubrey | 1

2 | Kate McCoubrey

CONTENTS Graphic Design

1 2 3 4 5 6

Neighborfood The Story of Love and Hate Family Cards Max Bill Timeline U is the Symbol All the News that Fits the Print

INDUSTRIAL DESIGN

7 8 9

Pain at the Pump: Design Research The Sleevee Treecycle

Professional WORK

10 11 12

William Rawn Associates, Architects Clean Air Council Yale Rudd Center for Food Policy

Fine Art

13 14 15 16

Cityscapes Power Strip Strip Architexture Portraiture

Acknowledgments Resume

Kate McCoubrey | 3

4 | Kate McCoubrey

GRAPHIC DESIGN

Kate McCoubrey | 5

Neighborfood

PROBLEM

Create a concept for a fictional exhibit, then design an identity system and collateral materials.

Solution

I conceived of an intimatelyscaled show focused on local farmers and seasonal eating in Connecticut, to be exhibited across regional community art galleries. A rigorous study of local farming iconography, both past and present, resulted in an identity system that celebrates twelve months of seasonal produce. The highly-flexible, iconic logo is printed with soy-based ink on various types of recycled and hand-made paper.

EARLY BRAINSTORM

To advertise the show, I handcrafted monthly mailings with seasonal recipe cards, sent in seed-packet-inspired envelopes. The exhibit catalog (shown on the following pages) includes a poster-sized harvest calendar and twelve hand-made books, each with an essay on a featured local farmer, as well as his or her favorite recipes and gardening tips.

RESEARCH

Turn-of-the-century masthead

Family-run local farm 6 | Kate McCoubrey

New Haven farmersâ&#x20AC;&#x2122; market, logo & vendor Artspace gallery in New Haven

Letterhead and Envelope; Business Card; Envelope and Recipe Cards Kate McCoubrey | 7

Brochure opens into a functional, poster-sized harvest calendar. 8 | Kate McCoubrey

The Neighborfood exhibit catalog includes 12 small hand-made books, each with an essay on a local farmer Kate McCoubrey | 9

THE STORY OF LOVE AND HATE

PROBLEM

Illustrate a film scene using solely typography.

Solution

In the selected scene, from Spike Lee’s Do the Right Thing (1989), Radio Raheem (Bill Nunn) tells the story of Love and Hate, punching the air with his gold knuckle rings as he narrates. My final book recalls a boxing match, with the violent backand-forth monologue laid out on square spreads. Radio Raheem’s fists come to life through handpainted gold letters, while the white text of his monologue leaps forward and regresses, mimicking the animated quality of his speech. In the backgrounds of both the film scene and the book spreads, the anthem of the film plays out: Fight the Power by Public Enemy.

RESEARCH: Film stills from Do the Right Thing of Radio Raheem’s monologue

Radio Raheem (Bill Nunn) & Mookie (Spike Lee)

Film poster 10 | Kate McCoubrey

Radio Raheem’s knuckle rings

Kate McCoubrey | 11

12 | Kate McCoubrey

Kate McCoubrey | 13

FAMILY CARDS

PROBLEM

Develop a set of business cards for my family.

Solution

Inspired by my familyâ&#x20AC;&#x2122;s proclivity for spending time together under our own roof, as well as our shared passion for architecture, the cards display a section of our house. Each family member is distinguished by his or her bedroom (identified by actual paint colors), wake-up time, and unique morning exit route. On the front of each card, the nine letters of our last name are carefully placed to formally connect to the backside of the card, with a different letter representing each room.

CONCEPT SKETCHES

14 | Kate McCoubrey

Kate McCoubrey | 15

PROBLEM

Create a timeline spanning the life of a renowned graphic designer that describes sociopolitical, historical, and personal context.

SOLUTION

Max Bill in his studio, 1951 Max Bill in his studio, 1951

Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Benito Mussolini addressing troops in Italy, 1923. Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, Bauhaus building designed by Walter Gropius in Dessau, Germany, photographed by Lucia Moholy, 1926. no. III, 1911. 70x215mm, 1935. Versailles Treaty, 1919. 59.4x84.1cm, 1960. Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Mussolini addressing troops in Italy, 1923. Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, building designedan byexhibition Walter Gropius in Dessau, Germany, Lucia Moholy, 1926. Max Benito Bill, series of covers for Information Max Bauhaus Bill, poster for negerkunst, of prehistoric South Africanphotographed rock painting, by 1931. no. 1911. Versailles Treaty, 1919. 1960. Cover ofIII, the original German Max 70x215mm, Dalang, poster1935. for Mode 1916, 1916. magazine, 1932. Max 59.4x84. Bill, poster1cm, for wohnausstellung neubuhl, 90.5x128 cm, 1931. Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Benito Mussolini addressing troops in Italy, 1923. Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, Bauhaus designedanbyexhibition Walter Gropius in Dessau, Germany, by Lucia Moholy, 1926. Max Bill, series of covers for Information posterbuilding for negerkunst, of prehistoric South Africanphotographed rock painting, 1931. edition, 1912. Max Max Bill’s Bill, Bauhaus student identification card, 1928. 70x215mm, Versailles Treaty, 1919. 59.4x84. cm, 1960.for Schulthess Coverno. of III, the1911. original German Max Dalang, poster1935. for Mode 1916, 1916. magazine, 1932. Bill, poster1for wohnausstellung neubuhl, Max Max Bill, promotional brochure & Co90.5x128 in Zurich, cm, 1931. Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Mussolini addressing troops in Italy, 1923. Bill, poster for an exhibition at Staatsgalerie Stuttgart, building designedan byexhibition Walter Gropius in Dessau, Germany, Lucia Moholy, 1926. Max Benito Bill, series of covers for Information Max Bauhaus Bill, poster for negerkunst, of prehistoric South Africanphotographed rock painting, by 1931. edition, 1912. Max Bill’s Bauhaus student identification card, 1928. 210x297 mm,Max 1934. no. 1911. 1935. Versailles Treaty, 1919. 59.4x84. 1960.for Schulthess Cover ofIII, the original German Max 70x215mm, Dalang, poster for Mode 1916, 1916. magazine, 1932. Maxpromotional Bill, poster1cm, for wohnausstellung neubuhl, 90.5x128 cm, 1931. Max Bill, brochure & Co in Zurich, Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Mussolini addressing troops in Italy, 1923. Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, building designed byexhibition Walter Gropius in Dessau, Germany, Lucia Moholy, 1926. Max Benito Bill, series of covers for Information Bill, poster for negerkunst, an of prehistoric South Africanphotographed rock painting, by 1931. edition, 1912. Max Max Bill’sBauhaus Bauhaus student identification card, 1928. 210x297 mm,59.4x84. 1934. Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural 1960. no. 1911. 1935. Versailles Treaty, 1919. Cover ofIII, the original German Max 70x215mm, Dalang, poster for Mode 1916, 1916. magazine, 1932. Bill, poster1cm, for wohnausstellung neubuhl, Max Max Bill, 1923. promotional brochure for Schulthess & Co90.5x128 in Zurich, cm, 1931. industry cafeteria, Wassily Kandinsky, Improvisation Zurich, Switzerland, 1908. Max Bill, brochure for Shell-Bodenpolitur, Map of Germany according to the Benito Mussolini addressing troops in Italy, 1923. Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, Bauhaus building designedan byexhibition Walter Gropius in Dessau, Germany, photographed Lucia Moholy, 1926. Max Bill, series of covers for Information Max Bill, poster for negerkunst, of prehistoric South African rock painting, by 1931. edition, 1912. Max Bill’s Bauhaus student identification card, 1928. 210x297 mm, 1934. Aleksandr Rodchenko, for wohnausstellung an advertisementneubuhl, for the Moscow agricultural 59.4x84. 1960. no. 1911. Versailles Treaty, 1919. Cover ofIII, the original German Max 70x215mm, Dalang, poster1935. for Mode 1916, 1916. magazine, 1932. Bill, design poster1cm, for Max Max Bill, 1923. promotional brochure for Schulthess & Co90.5x128 in Zurich, cm, 1931. industry cafeteria, Max Bill, series of covers for Information Max Bill, posterstudent for negerkunst, an exhibition of prehistoric South African rock painting, 1931. edition, 1912. Max Bill’s Bauhaus identification card, 1928. 210x297 mm, 1934. Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural Cover of the original German Max Dalang, poster for Mode 1916, 1916. magazine, 1932. Bill, poster for wohnausstellung neubuhl, Max Max Bill, promotional brochure for Schulthess & Co90.5x128 in Zurich, cm, 1931. industry cafeteria, 1923. edition, 1912. Max Bill’s Bauhaus student identification card, 1928. 210x297 mm, 1934. Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural Max Bill, promotional brochure for Schulthess & Co in Zurich, industry cafeteria, 1923. 210x297 mm, 1934. Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural industry cafeteria, 1923. Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural industry cafeteria, 1923.

Fleischmann, G., Bosshard, H.R., Tate Glossary (2009). Tate Museum Designed by Kate McCoubrey at & Begnens, C. (1999). Max Bill: Website: http://www.tate.org.uk/ Yale University in 2009. Fleischmann, G., Bosshard, H.R., Tate Glossary (2009). Tate Museum typography, advertising, book design. collections/glossary/default.htm. Designed by Kate McCoubrey at & Begnens, Website: http://www.tate.org.uk/ Zurich: Niggli. C. (1999). Max Bill: University 2009. 45 This Yale timeline is set in Univers Fleischmann, G., Bosshard, H.R., Ursprung, Tate Glossary (2009). Tate Museum Designed by Kate McCoubrey at typography, advertising, book design. collections/glossary/default.htm. P. (2004). Continuity: in sizes 8/9.6 and10/12 and in & Begnens, C. (1999). http://www.tate.org.uk/ Yale University 2009. Zurich: Niggli.Graphic Heller, S. (2000). DesignMax Bill: Max Bill’s Website: public sculpture and This67 timeline is18, set33, ininUnivers Univers in sizes and 36.45 Fleischmann, G., Bosshard, H.R., Tate Glossary (2009). Designed byused Kate McCoubrey at Line:typography, book design. collections/glossary/default.htm. Ursprung, P. (2004). Continuity: Time A Century ofadvertising, Design the representation of money. In C. Tate Museum in sizes 8/9.6 and10/12 and in Adobe InDesign CS3 was & Begnens, C. (1999). Max Bill: Website: http://www.tate.org.uk/ Yale University 2009. Niggli. This67 timeline is18, set33, in Univers 45 Milestones. Heller,Zurich: S.New (2000). Graphic Design Max Bill’sFiguration/Abstraction: public sculpture and York: Allworth Press. Benton (Ed.), in All sizes and 36. for itsUnivers production. images were Fleischmann, G., Bosshard, H.R., Tate Glossary (2009). Tate Museum Designed by Kate McCoubrey at typography, advertising, book design. Ursprung, P.Sculpture (2004). 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Verlag: Niggli Ashgate Schmid, E. (Producer and from retrieved the following sources. Zurich: Niggli.Graphic Design This67 timeline is18, set33, in Univers 45 Milestones. S.New (2000). Max(Ed.), Bill’sFiguration/Abstraction: public sculpture and inwas sizes and 36.Rüegg, Allworth Press. Benton for itsUnivers production. All images were A.Heller, (1997). DasYork: Atelierhaus Europe 1945-1968 (pp. 231-245). archives. Information gathered Limited. (2008). Max Master’s Ursprung, P. (2004). Continuity: in sizes 8/9.6 and10/12 in Bill: The Time Line:Verlag: A Century of Design the representation of money. InDesign was usedandMax Strategies forPublichsing Public Sculpture in In C. from books CS3 and internet Bill 1932/33. Niggli AG. England: Ashgate fromretrieved the Adobe following sources. Schmid, E. (Producer and Writer). Vision [Motion Picture]. Switzerland: Heller, S. (2000). Graphic Design Max Bill’s public sculpture and 67 in All sizes 18, 33, and 36.Rüegg, Milestones. New Allworth Press. Benton (Ed.), Figuration/Abstraction: for itsUnivers production. were (1997). DasYork: Atelierhaus Europe 1945-1968 (pp. 231-245). archives. Information wasimages gathered Limited. Bill: A. The Master’s Ariadne Film Max GmbH. Time Line: A Century of Design the representation of money. Adobe InDesign was(2008). used Strategies forPublichsing Public Sculpture in In C. from books CS3 and internet MaxE.Bill 1932/33. Niggli AG. England: Ashgate fromretrieved the following sources. Schmid, (Producer andVerlag: Writer). Vision [Motion Picture]. Switzerland: Milestones. New York: Allworth Press. Europe Benton (Ed.), Figuration/Abstraction: for itsInformation production.was All images were Rüegg, A. (1997). Das Atelierhaus 1945-1968 (pp. 231-245). archives. gathered Limited. (2008). GmbH. Max Bill: The Master’s Strategies forPublichsing Public Sculpture in fromsources. books andAriadne internetFilm MaxE.Bill 1932/33. Niggli AG. England: Ashgate fromretrieved the following Schmid, (Producer andVerlag: Writer). Vision [Motion Picture]. Switzerland: Rüegg, A. (1997). Das Atelierhaus Europe 1945-1968 (pp. 231-245). archives. Information was gathered Limited. (2008). Bill: The Master’s Ariadne Film Max GmbH. MaxE.Bill 1932/33. Niggli AG. England: Ashgate Publichsing from the following sources. Schmid, (Producer andVerlag: Writer). Vision [Motion Picture]. Switzerland: Limited. (2008). Bill: The Master’s Ariadne Film Max GmbH. Schmid, E.Picture]. (Producer and Writer). Vision [Motion Switzerland: (2008). Bill: The Master’s Ariadne Film Max GmbH. Vision [Motion Picture]. Switzerland: Ariadne Film GmbH.

Fleischmann, G., Bosshard, H.R., & Begnens, C. (1999). Max Bill: typography, advertising, book design. Zurich: Niggli.

Zurich, Switzerland, 1908.

Max Bill, brochure for Shell-Bodenpolitur, 70x215mm, 1935.

Map of Germany according to the Versailles Treaty, 1919.

Max Dalang, poster for Mode 1916, 1916.

Benito Mussolini addressing troops in Italy, 1923. Max Bill, series of covers for Information magazine, 1932.

Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, 59.4x84.1cm, 1960.

Max Bill, poster for wohnausstellung neubuhl, 90.5x128 cm, 1931. Max Bill, promotional brochure for Schulthess & Co in Zurich, 210x297 mm, 1934.

1914 1914 1914 1914 1914 1914

1911 1911 1911 1911 1911 1911

Cover of the original German edition, 1912.

1919 1919 1919 1919 1919 1919

Wassily Kandinsky, Improvisation no. III, 1911.

1916 1916 1916 1916 1916 1916

Max Bill in his studio, 1951

1904 1904 1904 1904 1904 1904

Personal Personal Personal Context Personal Context Personal Context Personal Context Context Art Historical Context ArtHistorical Historical Art Context Art Historical Context Art Historical Context Art Historical Context ContextSociopolitical Context Sociopolitical Sociopolitical Context Sociopolitical Context Sociopolitical Context Sociopolitical Context Context Context

Digital Mock-Up

Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural industry cafeteria, 1923.

Bauhaus building designed by Walter Gropius in Dessau, Germany, photographed by Lucia Moholy, 1926. Max Bill, poster for negerkunst, an exhibition of prehistoric South African rock painting, 1931.

Theo van Doesburg, Counter German citizens digg Composition VI, 1925. for concentration cam Theo van Doesburg, Counter German citizens victims, 1945. Composition VI, 1925. for concentration Theo van Doesburg, Counter German 1945. Massvictims, roll call of SA,citi S Composition VI, 1925. for concent troops in Nuremberg, Theo van Doesburg, Counter November Germa 194 Massvictims, roll call of S 9, 1935. Composition VI, 1925. for con in Nuremb Theo van Doesburg, Counter troops Ge Massvictims roll ca November 9, 19 Composition VI, 1925. troops in for Nu Theo van Doesburg, Counter Massvic ro November 9 Composition VI, 1925. troops Ma Novem tro No

Theo van Doesburg, Counter Composition VI, 1925.

Max Bill’s Bauhaus student identification card, 1928.

German citizens digg for concentration cam victims, 1945.

Mass roll call of SA, S troops in Nuremberg, November 9, 1935.

1933 1933 1933 1933

Max Bill in his studio, 1951

1930 1930 1930 1930 1930 1930

Max Bill in his studio, 1951

1927 1927 1927 1927 1927 1927

Max Bill in his studio, 1951

1923 1923 1923 1923 1923 1923

Max Bill in his studio, 1951

This interactive accordionfold book invites the reader to literally unfold the story of Swiss designer Max Bill. Inspired by his leadership in the concrete art movement, keyholes in the shapes of circles, triangles, and squares correspond to information about personal, art historical, and sociopolitical contexts, respectively. Liftable flaps and various folding options encourage readers to choose their own paths through the narrative text and imagery. 1922 1922 1922 1922 1922 1922

MAX BILL TIMELINE

Tate Glossary (2009). Tate Museum Website: http://www.tate.org.uk/ collections/glossary/default.htm.

Accordion-folded (6 x 7 in)

1933

1930

1927

1923

1922

1919

1916

1904

Top flaps unfold, revealing descriptive images beneath

Art Historical Context

Personal Context

Schmid, E. (Producer and Writer). (2008). Max Bill: The Master’s Vision [Motion Picture]. Switzerland: Ariadne Film GmbH.

Ursprung, P. (2004). Continuity: Max Bill’s public sculpture and the representation of money. In C. Benton (Ed.), Figuration/Abstraction: Strategies for Public Sculpture in Europe 1945-1968 (pp. 231-245). England: Ashgate Publichsing Limited.

1914

Rüegg, A. (1997). Das Atelierhaus Max Bill 1932/33. Verlag: Niggli AG.

1911

Heller, S. (2000). Graphic Design Time Line: A Century of Design Milestones. New York: Allworth Press.

Sociopolitical Context

This timeline is set in Univers 45 in sizes 8/9.6 and10/12 and in Univers 67 in sizes 18, 33, and 36. Adobe InDesign CS3 was used for its production. All images were retrieved from books and internet archives. Information was gathered from the following sources.

Open Lengthwise (78 x 7 in) Max Bill in his studio, 1951

Wassily Kandinsky, Improvisation no. III, 1911.

Zurich, Switzerland, 1908.

Cover of the original German edition, 1912.

Max Bill, brochure for Shell-Bodenpolitur, 70x215mm, 1935.

Map of Germany according to the Versailles Treaty, 1919.

Max Dalang, poster for Mode 1916, 1916.

Benito Mussolini addressing troops in Italy, 1923. Max Bill, series of covers for Information magazine, 1932.

Max Bill, poster for an exhibition at Staatsgalerie Stuttgart, 59.4x84.1cm, 1960. Max Bill, poster for wohnausstellung neubuhl, 90.5x128 cm, 1931. Max Bill, promotional brochure for Schulthess & Co in Zurich, 210x297 mm, 1934.

Bauhaus building designed by Walter Gropius in Dessau, Germany, photographed by Lucia Moholy, 1926. Max Bill, poster for negerkunst, an exhibition of prehistoric South African rock painting, 1931.

Theo van Doesburg, Counter Composition VI, 1925.

Max Bill’s Bauhaus student identification card, 1928.

German citizens d for concentration victims, 1945.

Mass roll call of SA troops in Nurembe November 9, 193

Aleksandr Rodchenko, design for an advertisement for the Moscow agricultural industry cafeteria, 1923.

Open Lengthwise and Vertically (78 x 13 in) 16 | Kate McCoubrey

1933

1930

1927

1923

1922

1904

Art Historical Context

Key to cut-out shapes (circle, triangle, square, respectively)

Personal Context

Schmid, E. (Producer and Writer). (2008). Max Bill: The Master’s Vision [Motion Picture]. Switzerland: Ariadne Film GmbH.

1919

Rüegg, A. (1997). Das Atelierhaus Max Bill 1932/33. Verlag: Niggli AG.

Tate Glossary (2009). Tate Museum Website: http://www.tate.org.uk/ collections/glossary/default.htm.

1916

Heller, S. (2000). Graphic Design Time Line: A Century of Design Milestones. New York: Allworth Press.

1914

Fleischmann, G., Bosshard, H.R., & Begnens, C. (1999). Max Bill: typography, advertising, book design. Zurich: Niggli.

1911

Sociopolitical Context

ging graves mp

Max Bill, poster for an Allianz exhibition at Kunsthaus Zurich, 70x100 cm, 1947.

SS, and NSKK ,

Richard Paul Lohse, poster for an Allianz exhibition at Helmhaus, Zurich, 1954.

Max Bill, poster for a concrete art exhibition at Kunstverein Freiburg.

The 18-kilometer-high mushroom cloud over Nagasaki, 1945.

Max Bill, continuity, second version, Frankfurt, 2003.

Max Bill and Tomas Maldonado in Ulm, photographed by Hans Conrad, 1956.

Max Bill, continuity, second version, Frankfurt, 2003.

Max Bill, Ulmer Hocker in natural spruce, 1954.

Lohse, Muller-Brockmann, Neuburg, Vivarelli, cover and opening article of Neue Grafik, No. 1, August/September, 1958.

Max Bill, poster for an exhibition at the Hanover Gallery in London, 1966.

The Federal Palace in Berne, seat of the Swiss parliament.

Max Bill, poster for the Munich Olympics, 1972.

Mimeograph of the British Artists’ Protest published in The New York Times, July 1965.

The research phase included compiling major works by Max Bill and his contemporaries, as well as reading the prolific artist’s many essays. Max Bill, continuity, original version, Zürich, 1946.

Max Bill before developing the eye tumor, photographed by Binia Bill, 1941.

Installation view at Haus Konstruktiv Zürich, 2008.

Max Bill several years after the operation in the haus bill Zumikon, c.1980.

Max Bill, poster for an exhibition of Concrete Art at Kunsthalle Basel, 90.5x128 cm,1944.

Max Bill in his studio at Zumikon-Zürich, 1973.

Max Bill, rhythm in four squares, oil on canvas, 30x120 cm, 1943.

1994

1986

1977

1972

1967

1965

1958

1951

1948

1945

1944

1937

Narrative essay allows for fluid movement through the book, while cut-out shapes incite readers to unfold further to explore the text visually.

1925

Brief captions complement rich imagery, creating the option for a purely visual narrative Max Bill, poster for a concrete art exhibition at Kunstverein Freiburg.

The 18-kilometer-high mushroom cloud over Nagasaki, 1945.

Max Bill, continuity, second version, Frankfurt, 2003.

Max Bill and Tomas Maldonado in Ulm, photographed by Hans Conrad, 1956.

Max Bill, continuity, second version, Frankfurt, 2003.

Max Bill, Ulmer Hocker in natural spruce, 1954.

Lohse, Muller-Brockmann, Neuburg, Vivarelli, cover and opening article of Neue Grafik, No. 1, August/September, 1958.

Max Bill, poster for an exhibition at the Hanover Gallery in London, 1966.

The Federal Palace in Berne, seat of the Swiss parliament.

Max Bill, poster for the Munich Olympics, 1972.

Mimeograph of the British Artists’ Protest published in The New York Times, July 1965.

Max Bill, continuity, original version, Zürich, 1946.

Max Bill before developing the eye tumor, photographed by Binia Bill, 1941.

Installation view at Haus Konstruktiv Zürich, 2008.

Max Bill several years after the operation in the haus bill Zumikon, c.1980.

Max Bill, poster for an exhibition of Concrete Art at Kunsthalle Basel, 90.5x128 cm,1944.

Max Bill in his studio at Zumikon-Zürich, 1973.

1994

1986

1977

1925

1972

1967

1965

1958

1951

1948

Max Bill, rhythm in four squares, oil on canvas, 30x120 cm, 1943.

1945

Richard Paul Lohse, poster for an Allianz exhibition at Helmhaus, Zurich, 1954.

1944

Max Bill, poster for an Allianz exhibition at Kunsthaus Zurich, 70x100 cm, 1947.

1937

digging graves camp

A, SS, and NSKK erg, 35.

Kate McCoubrey | 17

FINAL BOOK: Inkjet print on matte paper. Glue bound. Cut and constructed by hand.

18 | Kate McCoubrey

Kate McCoubrey | 19

Reader chooses his or her own experience, unfolding through visual space and time.

20 | Kate McCoubrey

Kate McCoubrey | 21

U IS THE SYMBOL

PROBLEM

For one of a series of posters featuring chemical elements, use specific factual text on Uranium in a typographic form that expresses the elementâ&#x20AC;&#x2122;s unique qualities.

Solution

Uraniumâ&#x20AC;&#x2122;s highly unstable and radioactive nature inspired the layout and fluctuation in font size. The resulting texture resembles the silvery-white color of the element.

RESEARCH

Solid uranium 22 | Kate McCoubrey

Periodic Table

Universally-recognized symbol of radioactivity

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nium

Kate McCoubrey ura | 23

s lo f g o e r h d a ac t

ALL THE NEWS THAT FITs THE PRINT

PROBLEM

Limited to one digital tool â&#x20AC;&#x201C; a black and white photocopier â&#x20AC;&#x201C; create a cut-and-paste book that incorporates all the material from the March 8, 2007 New York Times cover page.

Solution

I employed a minimalist, website-inspired system using lines to draw attention to particularly powerful words, as well as to link images and captions. 24 pages; 8.5 x 11 in

Source material: every glyph, image, and line from the page above appears in the final book

Front cover 24 | Kate McCoubrey

Website-inspired layout draws the eye across the spread

Opening spread continues front cover image

Back cover Kate McCoubrey | 25

26 | Kate McCoubrey

INDUSTRIAL DESIGN

Kate McCoubrey | 27

PAIN AT THE PUMP DESIGN RESEARCH MASS. COLLEGE OF ART & DESIGN

RE-THINKING FUEL PUMPS With the average American filling his or her gas tank 40 times per year, and with over 116,850 gas stations in the U.S., a re-examination of the experience â&#x20AC;&#x201C; from parking to pumping to paying â&#x20AC;&#x201C; is long overdue. Through extensive photodocumentation, one-on-one interviews with both drivers and passengers at local gas stations, and analyses of current data, I defined a set of issues related to the user experience of operating a fuel pump. My final presentation makes a compelling case for re-thinking the current system. Featuring video and audio clips, statistical data, and entertaining scenes of gas pump mishaps, my presentation concluded with five key focus areas for improvement.

28 | Kate McCoubrey

Cover flow view of my Powerpoint presentation, which included video interviews, data analysis, clips from popular media, and extensive photodocumentation.

PROBLEM STATEMENT

SECONDARY RESEARCH

ONE-ON-ONE INTERVIEWS & OBSERVATION

Average Time Spent in Private Vehicles (U.S.) Over 70 Minutes MINUTES PER ANNUM

VIDEO AGE GROUP

Affecting nearly all Americans and visited very frequently, fuel pumps are difficult and unpleasant to use, as well as unsanitary and dangerous.

Current data confirmed the relevance of my problem statement. With over 117,000 gas stations in the US, and over 40 tank-fills per person per year, the experience ought to be convenient, easy, and even enjoyable.

VIDEO

Interviews revealed that people “don’t really think about [pumping gas]” – but maybe they should.

Kate McCoubrey | 29

FOCUS INTERVIEWS: SHOW, ASK, LISTEN

CONCLUSION: Key Problem Areas 1 PARKING

VIDEO

After you figure out which side of the car the gas tank is on, then you must maneuver the car close enough to the pump without hitting it (or the 6 other cars waiting to fill up). And, for some, re-parking may be in order.

2 PAYING

To stimulate feedback on the experience of pumping gas, I had focus groups watch a video of a good-humored young man fill his gas tank. I then asked viewers to describe their observations. Not only did participants offer striking insights on the video, they also volunteered complaints about personal experiences that came to mind while watching the video. The results painted a decidedly negative picture of the entire fuel-pumping experience. 30 | Kate McCoubrey

How many numbers can you find here? What type of gas does your auntâ&#x20AC;&#x2122;s car take? Did you remember to grab your wallet when you got out of your car? Want to pay with cash? Youâ&#x20AC;&#x2122;ll have to make the trek into the station shop.

3 Operating Pump

Heavy and bulky, with a large metal trigger, gas pumps are neither easy nor comfortable to operate. On a large SUV the gas tank may be at shoulder-level for some folks. Even Halle Berry looks awkward as she fills her tank (at left).

To illustrate (an extreme version of) the safety risks of pumping gas, I presented the infamous gas station scene from popular comedy Zoolander.

A parody of male models, the scene shows the models spraying gas on one another for fun.

4 SENSORY EXPERIENCE

The scene comes to an explosive end when one of the men lights a cigarette.

LOOKING AHEAD: design INSPIRATION

Many interviewees complained about having to get out of their heated cars in freezing winter conditions to wait for the gas tank to fill. Along with bad weather, people dislike the sounds, smells, and typical appearance of gas stations. Endless concrete, honking horns, revving engines, toxic fumes: not exactly a recipe for fun.

5 HEALTH & SAFETY

watch your ipod!

LEAKING GAS Germs

GAS PUDDLES

Simply put, using a fuel pump can be gross. One must grab and continually hold the pump â&#x20AC;&#x201C; a swift vehicle for spreading hand-to-hand germs â&#x20AC;&#x201C; while avoiding drips of gas that inevitably fall from the nozzle. Care to wash up in the station shop? You may have to watch out for even less-sanitized bathrooms and lurking criminals.

Kate McCoubrey | 31

SLEEVEE

After a comprehensive study of consumer needs and market demand, our team developed the Sleevee – a disposable product that prevents outersurface condensation on iced-coffee cups. Made of absorptive recycled paper with a thin plastic coating, the Sleevee is a combination cup sleeve and coaster.

NEW PRODUCT DEVELOPMENT Yale University

PROBLEM STATEMENT

RESEARCH, STRATEGY AND DEVELOPMENT

DEVELOPMENT PROCESS • • • • • • • • •

Disposable plastic cups containing iced coffee produce outersurface condensation, resulting in:

Brainstorm & Problem Statement Customer Needs Surveys (n=80) Target Specifications Lists Concepting: 5 Different Designs Material Selection, Prototype & Testing in Real Conditions Cost Analyses: Materials, Ramp-up, Production + Marketing Financial Analyses: Rate of Return & Break-Even Point Examination of Product Novelty and Existing Patents Formal Product Pitch

Target Specifications CHART • Based on customer needs surveys

1 Discomfort (cold, wet hands); 2 Water damage to table surfaces; and 3 Water damage to items that come in contact with the cup (such as leather gloves, cell phones, or physics homework).

CONCEPT SELECTION MATRIX Comparison of 5 concepts: 1 Non-disposable container with built-in layer 2 Reusable polyurethane sleeve 3 Disposable sleeve with elastic 4 Disposable, rigid, bottomless sleeve 5 Disposable, rigid sleeve with bottom

32 | Kate McCoubrey

2.4 Target Specifications Metric Needs Affected No. 1 Low cost 2 Protective, durable 3 4

Lightweight Environmentally friendly

5 6 7

Metric Cost per unit Absorbency

Importance (1-5 scale) 5 5

Units Dollars Grams

5 4

Protective, durable Small size

Weight Amount of recycled material Thickness Height

4 3

Ounces Percent recycled material Inches Inches

Small size

Diameter

Inches

List of Uncertainties •

Cost per unit

•

Absorbency

•

Weight

•

Thickness

•

Shape

•

Size

•

Name

Estimated Value < 0.25 > Amount of condensation on container < 1.0 ≥ 50% <1.0 Depends on container Depends on container

Cover flow view of Powerpoint presentation

FINAL PRODUCT

DISPOSABLE CUP SLEEVE AND COASTER VIDEO

VIDEO

no sleevee = wet table & cold hands

EVALUATION

Would you use a free, disposable cup sleeve with coaster for protection on an iced beverage?

Clean & comfortable with the sleevee! Final Sketch 2: Wrap-Around Component (Before Gluing Construction)

Final Sketch 1: Elevational View, Illustrated as Used on Standard Size 16-Ounce Plastic Cup

Final Sketch 4: Section Showing Material

Yes – 96% No – 4%

Diameter of Cup Top = 3.75”

Length of Sleeve Top = 9.82”

Spray-On Plastic Coating

Double-Weight Recycled Woven Paper

Height of Sleeve = 3.125”

Diameter of Sleeve Top = 3.125”

Length of Sleeve Bottom = 7.89”

Final Sketch 3: Bottom Component (Before Gluing Construction)

Height of Sleeve = 3.125”

Circumference of Sleeve Bottom = 7.89”

Diameter of Cup Bottom = 2.5”

Glue Joint

Diameter of Sleeve Bottom = 2.5125”

Our working prototype is still in use today Kate McCoubrey | 33

TREECYCLE

NEW PRODUCT DEVELOPMENT MASS. COLLEGE OF ART & DESIGN

PROBLEM STATEMENTRESEARCH: FOCUS ON PROBLEM STATEMENT DOWNTOWN BOSTON

The Case for WASTE CompactORS in Boston • City-owned trashcans: 1,500 • Daily trash pickups: 3 • Daily cans emptied: 4,500 Solar compactors reduce pickups by 80%, potentially reducing the number of daily cans emptied from 4,500 to 900.

Public trashcans are unattractive, unsanitary, and boring, and they discourage recycling.

I developed a large collection of images of trashcans in downtown Boston, as well as recordings of people using them. The decision to focus on Boston was driven by my belief that the design of city amenities should be sensitive to site and context.

34 | Kate McCoubrey

My research also highlighted other designed elements of the streetscape from which a trashcan designer might draw inspiration, such as benches, lamp posts, mailboxes, bus shelters, bulletins, and newspaper dispensers.

Cover flow view of Powerpoint presentation

USER SURVEY AND NEEDS ASSESSMENT

SITE SELECTION: BOSTON COMMON

Four sites were selected based on pedestrian traffic

SITE 1

SITE 2

SITE 3

My survey of Boston residents revealed a wide range of problems with public waste receptacles. I established 3 key design principles to guide their re-design: 1 Sustainability 2 Aesthetics 3 Civic Contribution

SITE 4

Kate McCoubrey | 35

Precedents: Real-time data display; color-coding system; insect and animal shapes; transparency; and painted facades.

CONCEPT SKETCHES

PART II: INTERVIEWS & PHOTODOCUMENTATION

I explored various ways people might “play” with waste receptacles, as well as forms that would both facilitate and visually highlight sustainability.

36 | Kate McCoubrey

FINAL CONCEPT

Photovoltaic “Leaves” Provides Power for Compactors, Displays & Lighting

LED Lighting Automatically Turns On at Sundown

TREECYCLE Usable from All Sides

Capture the excitement of recycling in any parkscape. With customizable photovoltaic “leaves”, this solarpowered waste compactor automatically sorts waste from recycling.

4 Real-Time Data Displays Automatic Lids Low Height for Accessibility Drawer System For Easy Emptying Inside: Infrared Trash Sorter Trash Compactor Recyclables Compactor

Four Mini-Planters Customizable Wood Finish

“Boston Elm” Treecycle: Designed for the Boston Common, this customized form engages the elm trees of the natural parkscape. Kate McCoubrey | 37

38 | Kate McCoubrey

PROFESSIONAL WORK

Kate McCoubrey | 39

WILLIAM RAWN ASSOCIATES, ARCHITECTS MARKETING, WRITING and book design

HARVARD BUSINESS SCHOOL

Building D

Proposal | October 1, 2010

Relevance to HBS Exec Ed Building D:

Apartment-Style Housing Above a Major Mixed-Use Academic Building COLLEGE OF COMPUTER & INFORMATION SCIENCE & RESIDENCE HALL NORTHEASTERN UNIVERSITY Boston, MA

Size 300,000 g.s.f. for Buildings G &H 485 Beds Construction Cost: $72 M Estimated Schedule 43 months to completion Actual Schedule Design Duration: 1/01 -- 3/02 Construction Duration: 6/02 -- 8/04 All Schedule Deadlines met Client Representative Richard Freeland President, 1996 - 2006 Northeastern University 617.275.1133

William Rawn Associates, Architects, Inc. 10 Post Ofce Square, Suite 1010, Boston, MA 02109 t) 617.423.3470 f) 617.451.9205 www.rawnarch.com

PROPOSALS and Qualifications (RFPs & RFQs)

Nancy May Director of Capital Projects, Northeastern University 617.373.2623

Part of William Rawn Associates’ West Campus Master Plan, which included over 1,700 beds designed and built by our rm, this 17-story tower announces Northeastern University’s presence along Huntington Avenue (Boston’s “Avenue of the Arts”). Its subtly varied glass face engages the City and celebrates the building’s mix of academic and residential uses.

Architect’s Key Staff William L. Rawn, FAIA, LEED AP Clifford V. Gayley, AIA, LEED AP Samuel Lasky, AIA, LEED AP

Classrooms equipped with exible technology offer state-of-the-art teaching spaces

Responsible for graphics, writing and production.

design Awards submissions 1. CIVIC INNOVATION

Open and Welcoming “Town Common”

NEW PUBLIC LIBRARY 2012 INSTITUTE HONOR AWARDS FOR ARCHITECTURE

TRANSPARENCY Connecting Library and Park

Responsible for graphics, writing and production. Over 40 major design awards won since joining the firm in 2009. 40 | Kate McCoubrey

unno�ced: ects Award ociate, he esigners. e team,” e from ars out ﬀerent appen.”

ANNUAL RANKING OF

AMERICAN ARCHITECTURE FIRMS RANK

1 2

3 4

ITECT Magazine. ctmagazine.com

FIRM PERKINS+WILL • Chicago • Employees: 900 or more SMITHGROUP • Detroit • Employees: 500–899

WILLIAM RAWN ASSOCIATES • Boston • Employees: 10–49 • The New England prac�ce that William Rawn, FAIA, built is back in our top ve, a�er its number-one showing in 2009. Having a 100-percent LEED accredita�on rate among its staﬀ certainly helped. SKIDMORE, OWINGS & MERRILL • New York • Employees: 900 or more

Reprinted from May 2011 Issue

brochures and reprints

Responsible for graphics, writing and in-house production.

III. Fitting into a Cherished Campus Setting A monumental entrance aligned with an existing Performing Arts center, tree canopy preservation, entrances at primary pedestrian pathways and open spaces, and exterior materials relating to nearby landscape and academic buildings enable this science center to seamlessly fit into a cherished campus setting and complete the definition of the central campus open spaces - the “Campus Green.”

Areas of translucent glass opposite classroom seminar tables offer privacy for group discussion while still maximizing daylight in the corridors

A number of additional features add to the

flexibility and function of the classrooms:

Plans

1. Centre St. Entrance Lounge 2. Central Gathering Lounge 3. Inquiry Lab

1. Garage Doors allow joint classrooms

5 2

3. A movable Lab Bench gives the teacher flexibility in explaining experiments 4. Transclucent glass opposite the Harkness Table gives privacy for class discussions

5. Inquiry Labs are connected directly to the Faculty Lounge to ensure after-hours supervision of student’s own experiments

Connected classroom labs Connected inquiry labs

4. Physics Classroom

2. Harkness Tables can be pulled apart for smaller discussions

6. Second floor roof garden

5. Biology/Chemistry Classroom

6. Faculty Lounge

10. Roof Garden

4. Performing Arts Center

9. Fabrication Room

2. Central Gathering Entrance 3. Rainwater Garden

S RO

MPU

5. Faculty Housing

6. Former Science Trailer

7. Lab Prep Suite 8. Project Room

1. Centre Street Entrance

OPEN TO BELOW

7. Old Growth Trees

Second Floor Plan

2 3 4

5 3

CAMPUS GREEN

First Floor Plan

CENTRE STREET

Milton Academy

Pritzker Science Center

3 5

Select pages from award submission for Milton Academy Science Center Kate McCoubrey | 41

Now in my third year at William Rawn Associates, I have had the privilege of contributing to several long-term graphic design and writing projects.

Website coordination

My ongoing coordination of William Rawn Associatesâ&#x20AC;&#x2122; website (designed and managed by Design & Co.) has strengthened my understanding of web design. Currently I am overseeing the new Firm Monograph project, coordinating graphics, layout, and copy for a 256-page book to be published in May 2012. Cover Options - Draft 5 - 10.13.11

MONOGRAPH DEsign and Copy

Responsible for coordinating image selection, text, and general updates. 4 In collaboration with Design & Co. (website designer & developer). Cover Options - Draft 5 - 10.13.11

WILLIAM RAWN ASSOCIATES, Architects, Inc.

Architects, Inc.

WILLIAM RAWN ASSOCIATES, Architects, Inc.

Cover Options - Draft 5 - 10.13.11

WILLIAM RAWN ASSOCIATES, Architects, Inc.

Monograph jacket designs (9 x 9 in) 42 | Kate McCoubrey

William Rawn Associates webpage mock-up – now live at www.rawnarch.com.

William Rawn Associates mobile website mock-up

Cambridge Public Library

Cambridge, MA Square footage: 103,900 s.f. (New: 76,700 sf; Renovation: 27,200 sf) Owner: City of Cambridge Completion: 2009 LEED Status: LEED Silver Certiﬁed Associate Architect/Historic Building Architect: Ann Beha Architects

Creating a new typologyCambridge for a main public library, Cambridge Public Library redenes The Library celebrates as a highly diverse community (50 different the library as new “Town Common” for theschools). City – welcoming, and that languages arethe spoken by students in its public It seemedinviting, fundamental accessible all citizens. democratic inviting, and populist, the Library celebrates we shouldto create spacesDecidedly that were welcoming, and accessible—not imposing Cambridge as a highly diverse where over 50 different languagesan are or elitist. A Library must be allcommunity, about opportunity. The building has attracted spoken in public schools. overwhelming number of daily visitors to the building in its ﬁrst few months, and given the commitment of the citizenry to the book, the building has become

The rst of its type in the United States, an innovative double-skin curtainwall literally a new “Town Common” for Cambridge. forms the building’s front facade. Achieving a remarkable transparency while ensuring protection from excessive heat gain, heat loss, and glare, the doubleThe mandate of the Directorthermal of the Library Susan Flannery simply the skin curtainwall maximizes comfort at the readingwas spaces. Thethat facade building “celebrate the book” enter thethe building, know brings a signi cant amount ofeverywhere—that balanced natural “as lightyou deep into library,you carefully it’s a building books and reading.” Unlike libraries which double as community controlled byabout movable sunshades. centers, this building organizes itself around books in a city well-known both for

its academic and its commitment to was educational opportunities for its The mandateinterests of the Director of the Library simply that the building immigrant the population. “celebrate book” everywhere – that “as you enter the building, you know it’s a building about books and reading.” In a city well-known both for its academic interests its Library commitment to aeducational the Library stands The New and Public includes large-scaleopportunities, double-skin curtain wall as the as a new type of civic building. building’s front facade (180 feet long x 45 feet high). The double-skin facade uses established European technology but is the only one of its kind using a 36 inch deep

The new building connects seamlessly its historic counterpart (designed by Vana air space, multi-ﬂoor “ﬂue” and 12 inchto movable louvers. The double skin achieves Brunt & Howe, 1889), sitting shoulder-to-shoulder in deningpositioning the primary remarkable transparency (in spite of its southwest orientation), theedge library to a new Civic Green. Ann Beha Associates was the Associate Architect/Historic as a new type of civic building. Building Architect.

Recent projects

Above, a light-lled reading space provides extensive views. At left, the ground plane of the Civic Green continues through the transparent facade, connecting to interior spaces.

13 11 12

Floor 3

10 9 7

Third-oor Children’s Room with treetop views

Floor 2

Diversity of reading rooms in the new and historic buildings invites patrons of all ages and backgrounds.

Open ground oor activates the new building

Restored Historic Reading Room

1 0

Cambridge Public Library

40ft

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Stone and Glass: historic and contemporary buildings sit shoulder-to-shoulder on newly landscaped Civic Green.

Main entrance Circulation desks Reading area Courtyard Information commons Young adult collection Reference desk Reference collection Cambridge history room Administration Children’s desk Children’s collection Children’s program room Staff ofﬁces Meeting rooms Meeting room lobby

Floor 1

Monograph page layouts. Publication: May 2012. In collaboration with Images Publishing, Kate McCoubrey | 43

YALE RUDD CENTER Marketing RESEARCH

Working as a freelance graphic designer at the Rudd Center for Food Policy at Yale University, I created images for a study on the effects of promotional packaging on children’s dietary choices. The project engaged my longtime interest in the impact of marketing (and promotional graphics, in particular) on public health. Completed in collaboration with a web designer, a fun, interactive game lets participating kids “buy” snacks, beverages and toys at an online “market”. Data collection is currently in progress.

Control

Promotion A

Promotion B

Control

Control 44 | Kate McCoubrey

Promotion A

Promotion B

Screenshots of online game sequence: (1) Enter the Market; (2) Choose an aisle to browse; (3) Click an item for a close-up and/or purchase.

Screenshot of Snack Aisle (Healthy Food Promo Condition): Participating kids decide which items to buy with $13 to spend. Kate McCoubrey | 45

CLEAN AIR COUNCIL

PUBLIC & ENVIRONMENTAL HEALTH CAMPAIGNS

For Immediate Release June 11, 2008

Contact: Thurm Brendlinger (215) 567-4004 ext. 104

PENNSYLVANIA SENATE PASSES STATEWIDE SMOKE-FREE LEGISLATION PROTECTING MOST PENNSYLVANIA WORKERS Workers in many industries, however, remain unprotected from secondhand smoke

Philadelphia, PA - On July 10, the Pennsylvania Senate followed the House’s action last week in passing statewide smoke-free legislation that will protect workers in most industries in Pennsylvania from the dangers of secondhand smoke. Though Clean Air Council appreciates that the House and Senate have taken action to protect Pennsylvania’s citizens from secondhand smoke in the workplace, the Council is disappointed that some classes of workers have been left unprotected by Senate Bill 246, and that the measure deprives local governments other than Philadelphia of the right to adopt stricter non-smoking regulations. “All Pennsylvanians deserve that which the majority of Americans already have: entirely smoke-free workplaces,” said Joe Minott, Executive Director of Clean Air Council. “Neighboring states, including Delaware, Maryland, New York, New Jersey, and Ohio, already have comprehensive smoking bans and Pennsylvania deserves the same.” Smoke-free bans have many proven benefits, including rapid improvement of workers’ respiratory health. Research also shows that smoking bans have no negative economic consequences for businesses. Moreover, the majority of citizens - smokers and nonsmokers alike – support smoke-free laws. While it is encouraging that the House and Senate have taken a step toward protecting Pennsylvanians from secondhand smoke, Clean Air Council remains concerned for employees of casinos, bars, and other workplaces overlooked by Senate Bill 246. The Council continues to urge Pennsylvania’s lawmakers to create legislation that ensures that everyone in the state is protected from tobacco smoke in the workplace. ###

The press release that I wrote on Pennsylvania’s new smoking ban commends the statewide effort, but also highlights concern for employees of workplaces excluded from the new legislation.

Developed in response to the new statewide smoking ban, this brochure was sent to owners of small businesses (like restaurants & bowling alleys) to support them in transitioning to the legislation.

46 | Kate McCoubrey

GAYS AGAINST GLOBAL WARMING Just because you’re HOT doesn’t mean the planet has to be!

HOT ISSUE:

COAL to LIQUIDS Despite the hype, liquefied coal is an expensive way to produce energy - and Big Coal wants billions of dollars from U.S. taxpayers to cover their costs.

THE COAL INDUSTRY IS TOUTING A PLAN TO TRANSFORM MILLIONS OF TONS OF COAL INTO DIESEL AND OTHER LIQUID FUELS. THIS IS AN EXPENSIVE, INEFFICIENT Liquid coal requires PROCESS THAT RELEASES LARGE massive amounts of QUANTITIES OF HEAT-TRAPPING CARBON DIOXIDE INTO OUR AIR. water: producing one FORTUNATELY, BETTER, CLEANER gallon of liquid coal OPTIONS EXIST TO REDUCE requires more than 5 AMERICA’S DEPENDENCE gallons of water. ON OIL: EFFICIENCY, SMART GROWTH, AND RENEWABLE FUELS.

The coal to liquid process requires 57 to 87% more energy to derive liquid fuels than is used to obtain gasoline and dielsel fuel from conventional oil, with virtually all of this energy coming from fossil fuels.

The coal to liquid process requires an increased need for hazardous mountain-top coal removal and strip mining which chokes our streams, devastates our landscapes, and destroys our state’s natural habitats.

The process to turn coal into liquid for fuel is highly expensive, inefficient, and creates so much pollution that for every mile driven, even a hybrid car would pollute like a Hummer.

Even under the most optimistic scenarios liquid coal can’t replace 10% of our oil use.

say NO to liquid coal!

the ANSWER? WE CAN REDUCE OIL DEPENDENCE DRAMATICALLY THROUGH MORE EFFICIENT VEHICLES, SUSTAINABLY-MADE RENEWABLE FUELS, AND BETTER DESIGNED COMMUNITIES. Liquid Coal Awareness Poster for Philadelphia Gay Pride Fest, 2007 Kate McCoubrey | 47

48 | Kate McCoubrey

FINE ART

Kate McCoubrey | 49

CITYSCAPES

Massachusetts Avenue Bridge from the Esplanade (Marker on paper; 6 x12 in)

Waterfront hotel (Marker on paper; 9.5 x14 in) 50 | Kate McCoubrey

This set of ink-pen drawings of Boston scenes speaks to my fascination with the built environment and how it shapes behavior â&#x20AC;&#x201C; whether fostering community, providing space for solitude, or simply repelling pedestrian traffic.

Boston waterfront scene (Marker on paper; 11 x 14 in) Kate McCoubrey | 51

POWER STRIP STRIP

Contemporary appliances exist to simplify tasks. Ironically, they also lead to complex tangles of cords. This piece explores the (sometimes humorous) coexistence of convenience and inconvenience. Through a series of translucent pages, the process of “stripping” a set of six power strips is unveiled. Marker on layered paper and translucent acetate. 16 pages. 4 x 5 in.

KATE MCCOUBREY YALE UNIVERSITY ADVANCED GRAPHIC DESIGN APRIL 2009

Select pages (4 x 5 in)

52 | Kate McCoubrey

Kate McCoubrey | 53

architexture

Sun Shut (Color print; 35mm;11 x 16 in) 54 | Kate McCoubrey

A focus of my photographs is the exploration of buildings as abstract, formal elements of larger compositions, emphasizing texture and color over function. This series highlights how natural elements such as sunlight and weather damage re-define man-made structures.

The Clothespin (Color print; 35mm;11 x 16 in) Kate McCoubrey | 55

Tidal Wall (Color print; 35mm;13 x 24 in) 56 | Kate McCoubrey

Wallflower (Color print; 35mm; 8 x 12 in)

Grid Lines (Digital print; 7 x 8 in)

Kate McCoubrey | 57

PORTRAITURE

One of the most interesting branches of social psychology is non-verbal communication. Portraits, to me, are more than a moment in time; they probe the depths of the subjectâ&#x20AC;&#x2122;s selfconsciousness while inciting the viewer to self-reflect.

Nina Baby (Silver gelatin print; 35 mm; 11 x 14 in)

Mark My Silence (Silver gelatin print; 35 mm; 8 x 10 in) 58 | Kate McCoubrey

Samâ&#x20AC;&#x2122;s Up (Silver gelatin print; 35 mm; 11 x 14 in)

Wussie (Silver gelatin print; 35 mm; 11 x 14 in) Kate McCoubrey | 59

Dusk Flight (Digital print;12 x 16 in)

ACKNOWLEDGMENTS

Deepest thanks to the professors, teachers, and colleagues who provided bountiful guidance and collaborative energy for the works presented in this portfolio:

60 | Kate McCoubrey

Alice Chung Pamela Hovland Julian Bittiner Lisa Kereszi William Rawn, FAIA Mark Guarraia Dr. Kelly Brownell Dr. Jennifer Harris Thurman Brendlinger

Kate McCoubrey Education

106 8th Avenue 5S New York, NY 10011

kfmccoubrey@gmail.com 215 913 9714

Yale University BA Psychology, Class of 2009 Magna Cum Laude; Distinction in major; Phi Beta Kappa; Psi Chi Honor Society in Psychology Thesis: “Packaging Food with Fitness: A quantitative assessment of food packaging graphics” Extensive coursework in graphic design, typography and architecture Studied abroad through Yale programs in London (2008) and Sardinia (2006) Massachusetts College of Art and Design Post-graduate course: Introduction to Industrial Design, Fall 2011

Experience

DEGW, New York NY Strategic Consultant, May 2012–Present Integrate research, design strategies, and spatial concepts to enhance organizational performance for clients including Roche Diagnostics, Bristol-Myers Squibb, GlaxoSmithKline, Qatar Airways, and AECOM Lead user research and space assessments, including both qualitative (focus groups, interviews, visioning sessions) and quantitative (survey design and analysis, time utilization studies, benchmarking) Develop and implement programs for space effiency, branding, change management, and workplace mobility William Rawn Associates, Architects, Inc., Boston MA Director of Marketing, June 2009–April 2012 Led business development, including proposals, interview presentations, site visits, and client research Managed strategy and content for web presence, award submissions, and public relations endeavors Designed and edited a new 256-page monograph, as well as numerous press publications Efforts contributed to a 220% increase in annual billings and over 40 major design awards Yale Rudd Center for Food Policy, New Haven CT Research Assistant and Freelance Graphic Designer, 2008–2011 Developed web graphics for studies on the effects of food promotions on children’s dietary preferences Clean Air Council, Philadelphia PA Public Health Intern, Summer 2008 Developed and launched a statewide outreach campaign for businesses adapting to Pennsylvania’s new smoking ban, in collaboration with Tobacco Program Director The Food Trust, Philadelphia PA Public Health Research and Evaluation Intern, Summer 2007 Developed an evidence-based, scalable implementation model of Pennsylvania’s Fresh Food Financing Initiative (FFFI) that was adopted by three states and the Federal government Analyzed and assessed impact of ongoing programs, working closely with Director of Research and Evaluation Additional Experience Davenport Digital Media Arts Center, New Haven, CT, Coordinator, 2007–2009 Yale Infant Cognition Center, Research Assistant: Social evaluation of preverbal infants, 2006 Yale Capuchin Cognition Laboratory, Research Assistant: Evolution of metacognition, 2005–2006 Para Los Niños Orphanage, La Paz, Bolivia, Intern, Winter 2003

Publications and Awards

Monograph: William Rawn Associates, Architects, Inc. Designer and coauthor with W. Rawn, C. Gayley, D. Ball; Images Publishing Group; November 2012 wide release Journal Article: Policy solutions to the ‘grocery gap’ Health Affairs, 29.3 (2010): 473-80; Coauthor with A.Karpyn, M. Manon, S. Treuhaft, T. Giang, C. Harries Richter Fellowship, 2008 Independently designed and executed a study on the accessibility of nutrition education across several U.S. cities Conducted primary research at various urban health clinics and community centers Yale Class of 1982 Cowles Fellowship, 2007 Public health research and evaluation internship at The Food Trust

Leadership

Skills

Partners for Youth with Disabilities, Mentor, 2010–2012 Special Olympics, Track Coach, 2010–present St. Baldrick’s Foundation, Event Planning Volunteer, 2011–present Yale Women’s Club Lacrosse, Captain, 2006–2008 Yale Community Health Educator, 2006–2007 Kappa Alpha Theta Sorority, Facilities Manager, Archivist and Historian, 2006–2009 InDesign, Photoshop, Illustrator, PowerPoint, Excel, SPSS, SurveyGizmo, SketchBook Pro, expository writing, intermediate French, basic Italian and Spanish

Thank you for allowing me to share my work with you!

K at H e R I N E mccoubrey P O RT F O L I O j a n u a r y 2 012