Garbage cans are often the center of pollution on an individual level. By implementing unexpected display approaches in particular public contexts, this set of three installations sought to heighten viewer awareness of this often-overlooked functional object and draw attention to issues of both individual and society-wide consumption and pollution.
Sarah M. Kirchoff (MFA candidate, project manager)
Frost* Design created Wonderland as a site-specific typographical artwork for the 2009 Sculpture by the Sea outdoor exhibition, which annually attracts more than 500,000 visitors to Sydney’s Bondi Beach.
The whimsical installation featured 138 fluorescent orange letters that spelled out a verse from the introductory poem All in the Golden Afternoon from Lewis Carroll’s Alice in Wonderland:
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.
Battery Point Sculpture Trail is a permanent installation of nine individually designed and fabricated sculptures along a walking route through an historic waterfront suburb of Hobart, the capital city of Tasmania, Australia's island state. The trail was conceived as a way to increase visitor movement along the foreshore, encourage exploration of the roads and paths, and raise awareness of the area’s history while giving equal balance to public art and interpretation.
Futago in collaboration with Judith Abell and Chris Viney
Dig Deep, a typographic installation created by MFA candidate Cassie Hester, is a study in the power of simplicity. Installed on the exterior wall of the Pollak Building, a design facility on the campus of Virginia Commonwealth University in Richmond, Va., the 16- by 4-foot typographic installation consists of two sheets of 4- by 8-foot treated birch plywood, three coats of white high-gloss outdoor paint, 500 plastic straws, 8,064 pilot holes, 8,064 nails, and pink and white outdoor sequins.
Fletcher Construction has large construction sites around New Zealand, with thousands of construction workers involved. To educate workers about how wearing the right safety gear can save their lives, Fletcher asked Studio Alexander (Auckland) to create a site safety education program using environmental graphics at the work sites.
Inspired by Karl Lagerfeld’s new urban architecture and graffiti campaign, expressed in his downtown New York photographs, Chanel’s new SoHo store was wrapped with a “Wall of Light” as part of a three-day celebration of the city and the launch of the new Chanel store design in New York City.
Apologue (Los Angeles) designed a porous 140-ft.-wide by 10-ft.-high, L-shaped LED canvas and hired United Visual Artists (London) to collaborate on developing generative animations for Lagerfeld’s urban photography.
Nicole Dowd is currently the Graduate Recruitment Coordinator at the Corcoran College of Art + Design. She is an alumni of the MA Exhibition Design program and was a founding member of the first organized SEGD student group. She is currently the Faculty Advisor for the Corcoran SEGD group. She also serves on the SEGD Academic Advisory Committee.
In addition to recruitment, Nicole Dowd also works on freelance exhibitions, graphics, and public art installations.
As part of a larger courtyard renovation project, PUBLIC: Architecture was asked to create a visual expression of what it means to study arts at the University of British Columbia. The Faculty of Arts consists of 26 schools, from Economics to Classical, Near Eastern, and Religious Studies. To craft a singular message of interconnectedness, PUBLIC asked faculty representatives to supply a quote or phrase that struck at the core value of their field of study.
As the designer of record for Oriole Park at Camden Yards since 1992, Ashton Design has been responsible for developing and maintaining the ballpark’s complete graphic vision—from exterior, wayfinding, and ADA signage to placemaking. In the stadium’s branding, Ashton Design has drawn inspiration from the team and city history, and in-depth research has resulted in many unique and authentic touches, including the ornithologically accurate Baltimore Orioles weather vanes above the scoreboard.