Perfect for anyone focused on developing an identity at multiple levels. This course blends architecture, exhibit design, wayfinding, planning, and graphic design in an in-depth discussion of what a complete brand is, how an identity can be incorporated into a number of levels, and how identity effectiveness can be measured.
BJ Krivanek embraces the multiple roles of designer, art educator, and public artist. He was principal of BJ Krivanek Art+Design, with a clientele ranging from the Union Rescue Mission (Los Angeles) to The Irvine Company, a major developer in California. His design work has been published/ written about in numerous design publications, including a feature article about his work in Graphis 310 (Zurich/ New York).
This multidisciplinary site activation involved the projection of large-scale texts from and on to two buildings that face each other on Chicago Avenue. These dynamic, historic billboards suggest a dialogue between factions in the community: elderly survivors of the 1932-33 Ukrainian Famine (Us) and outsiders such as Soviet Officials and recent Latino immigrants (Them) represented by the voices of Soviet propaganda and local Chicago schoolchildren.
Working with historians and archivists, BJ Krivanek researched California history and recent social contexts to develop an environmental art program that builds upon the urban design of the campus, siting a program of environmental elements within a metaphoric landscape.
Community Architexts, a non-profit arts organization, developed and implemented a public design program within the depressed commercial district along Chicago Avenue in the Austin neighborhood of Chicago. The program was intended to collect and articulate the collective public voice of the largely invisible community of mothers, daughters, and caregivers in this inner city neighborhood.
In the development of a site-specific public art program for a new building on the ASU campus, Krivanek+Breaux considered the social dynamics of a multi-use classroom building within the campus and its relationship to the outside community.
In the shadow of Brach's, twenty-eight massive wooden posts stand in an orderly rectangular configuration. Painted creosote black, the east and west faces of the posts are inscribed with the job titles of members of the Austin community. The north and south sides are inscribed with descriptive words these workers use to explain their job experience. The north contains negative descriptions and the south contains positive words. The skeletal configuration of the blackened posts mirrors the massive, unoccupied Brach's factory structure across the street.