Jonathan Glanz is the Senior Vice President for Mungsube, a global manufacturer of custom kiosks systems, outdoor Smart kiosks and components for digital display. Jonathan is a dynamic enterprise level executive with in-depth expertise in helping Global Brands incorporate technology into selling environments.
The College of Communication and the Arts at Seton Hall University (Weehawken, N.J.) will honor four alumni, one from each of the centers within the College, at the second annual Alumni Reception to be held on April 20, 2017. Bryan Meszaros is the honoree from the Center for Art and graduated in 2000 with a degree in Art History and Design.
Stephanie Pryor is an art director at Michael Graves Architecture and Design. She believes that graphic design represents the intersection of business and art. Her mission as Art Director at MGA&D is to successfully communicate information and inspire individuals through graphic design.
Cesar Sanchez is a founding partner of the graphic design and information design Consulting firm Nice Kern LLC. Nice Kern specializes in signage, wayfinding systems, information design and branding projects. Nice Kern offers Design and Consulting for Wayfinding Programs, Sign design, site assessments, technical design and implementation oversight of sign programs. Environmental graphics branding, business collateral materials and website design.
Two architects, two visions, and two memorials commemorate loss and foster healing.
The terrorist attacks of September 11, 2001 endure as indelible visions of chaos, destruction, and unimaginable loss. About 2 billion people—one-third of the world’s population—watched the day’s tragedies as they unfolded live on television and online. Within 24 hours, another 2 billion learned of the succession of catastrophes, which were to be the most widely witnessed events in human history.
Hardworking graphics add punch to the community-centered design of the 21st century library.
Think of a public library, and what comes to mind? Perhaps the red-brick blocks of our youth, where fluorescent lighting cast a yellowish glow and anything above a whisper was strictly taboo? Fast-forward to today, and a slew of newly built libraries are conversation starters, awash in natural light, with vibrant colors and patterns beckoning card-holders to linger and explore.
The Image of the City
Fifty years after the publication of Kevin Lynch’s seminal book, his vocabulary and human-centered approach are still shaping urban design and wayfinding.
In my junior year in college, I took a correspondence course in urban geography from Penn State. As I read the textbook in the basement boiler room of an old elementary school (my summer job cleaning and fixing boilers was actually ideal for taking a correspondence course), I discovered an author who would forever change my perceptions about urban planning and design.
More than just a line on a wall, effective timelines pull visitors into the story and keep them there.
“…Time, time, time, is on my side. Yes it is.”
Walking the [Technology] Talk
At Liberty Science Center, visitors use technology and new media to interact with—and even change—museum content.
In a world where science and technology dramatically affect our everyday lives—think global warming, pandemic disease, and nanotechnology—science museums share the critical mission of educating visitors to make good choices about the way they live, work, and play.
In 2005, New Jersey’s Liberty Science Center looked in the mirror and faced the fact that it wasn’t up to the task.
Designed as an exhibition space to market one of New Jersey's tallest buildings, the Newport Tower Marketing Center's purpose was to help potential tenants visualize what they could achieve within the space.
Princeton Public Library needed a new brand identity that was simple, clever, and easily translated into a comprehensive branding program to include signage, stationery, and brochure system. They also needed to compete with the popularity of large chain bookstores and avoid any confusion with the nearby Princeton University Library. The architectural solution was to make the new building retail in concept – with lounge seating, music listening stations, and a coffee bar – and the environmental graphic design package follows this approach.
The Walter and Leonore Annenberg Science Center
The design approach was to engage the students' educational experience on many levels. No matter where students and visitors go in the building, they are surrounded by science.
Universally recognized graphic symbols, such as those used to delineate parking spaces and other facilities for individuals who are physically handicapped, can be an effective tool for communicating important information to individuals with Limited English Proficiency (LEP). The aim of this project was to design a set of graphic symbols that would be easily understood and, ultimately could be universally recognized for use in health care environments to aid LEP visitors.
Harrah’s goal was to assert itself as the premier resort in Atlantic City by creating a unique and cutting-edge architectural media statement that would command the attention of all visitors coming to and from the city. Harrah’s intention was not to create a giant billboard. Not only would the display be huge, but it would give the Waterfront Tower, the casino’s home, its own personality.
Just west of the tip of lower Manhattan and at the confluence of the Hudson River and the Atlantic Ocean, Liberty State Park played many roles in the events of September 11 and its aftermath. During the attacks, Jersey City residents and office workers gathered on the shore, witnessing the burning and collapse of the towers. Soon after, dozens of private, commercial, and Coast Guard boats shuttled evacuees from lower Manhattan to the docks at the park in the largest boatlift ever undertaken.
Brian Meszaros is Vice President of the 2016 SEGD Board
Bryan Meszaros is the CEO & Founder of OpenEye Global. Formed in 2003, OpenEye rapidly emerged as an industry trailblazer led by an ambitious and enterprising young entrepreneur. At a time when the use of interactive visual media was an offbeat practice, Bryan saw the potential to blend his passion towards design and fascination with technology into a new modernist approach.