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a Issue:Volum e 12, No. 1W i n t e r 2 0 0 6 / 2 0 0 7The Journal ofBusiness and DesignPublisherCorporate Design FoundationPeter Lawrence, ChairmanSponsorSappi Fine Paper North AmericaEditorDelphine HirasunaDesignPentagramKit Hinrichs, Design DirectorMyrna Newcomb, DesignerContributing WritersDelphine HirasunaPeter LawrenceCover"The New InternationalMan of Business"Collage: PentagramPhoto of man: Stephen Smith,Getty ImagesIllustrationDaniel AdelElwood SmithFor More InformationCorporate Design Foundation20 Park Plaza, Suite 4 0 0Boston, MA 02116Phone: 617 566 7676Email: [email protected] Site: www.cdf.org

Editorial Advisory BoardPeter LawrenceCorporate Design FoundationAgnes BourneAgnes Bourne StudioKit HinrichsPentagramDelphine HirasunaHirasuna EditorialPeter LaundyDoblin GroupJames PatellGraduate School of Business,Stanford UniversityChristopher PullmanWGBH Educational Foundation

Board of DirectorsSara Beckman, ProfessorHaas School of Business,University of California, BerkeleySam Farber, FounderOXO Internat ionalRobert Potts, DirectorIndustrial Design andInformation DesignBayer DiagnosticsChris PullmanVice President for DesignW G B HRoger SametzPresident and FounderSametz Blackstone AssociatesRichard TellerAttorney at LawSullivan & WorcesterPeter LawrenceChairman and FounderCorporate Design Foundation
mailto:[email protected]://www.cdf.org/http://www.cdf.org/mailto:[email protected]


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@ I S S U E C O N T E N T S

Herman Miller's BrianWalker On DesignCEO Brian Walker talksabout Herman Miller'spractice of working withoutside designers and thechallenges and rewardsthese relationships provide.

Burnishingthe Golden ArchesIn its first major restaurantmakeover since 1969,McDonald's was sensitiveto the needs of franchiseowners, customers of allages and its brand value.8Oakley: An Eye for DesignFrom snowboarding gogglesto backpacks, Oakley hascreated a "lifestyle brand"coveted for its fashionablehipness and renownedfor its exacting technology.18

Quiz: Graphic ClichesGraphic cliches are theshorthand language of aculture. But before youcan create visual puns e.g., Food in Am erica with them, you have tounderstand their meaning.

Universal Design TipsWho cares if it looks cool,if you can't use it? Hereare seven tips on universaldesign to keep in mindwhen designing for youngand old, tall and short,strong and weak.24Clarity Isthe Best MedicineWhen Target Stores sawdesign student DeborahAdler's redesign of thestandard medicine bottle,it immediately recognizedthat it could save lives.26Business andDesign ClassicIngeniously function al, thesupermarket shoppingcart, introduced in 1936,forever changed howgrocery products are sold,packaged and handled.322007 (Issue Business/Design ConferenceSign up now for the secondannual @lssue Businessand Design Conference,slated for April 23 at thestunning, new de YoungMuseum in San Francisco.36


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The Interview

resident and CEO of

Herman Miller Inc. since2004, Brian Walker

oversees the company'sglobal operations. Hejoined the company 18

years ago, originallyholding various financial

management positionsbefore being named Chief

Financial Officer in1995. Walker was instrumental in the company's

adoption of the EconomicValue Added financial

and performance metricprogram, aimed atimproving employee

business literacy andaligning employee inter

ests with shareholders.

Herman Miller's BrianWalker on DesignHerman Mil le r CEO Br ian Walker ta lks wi thCorpora te Des ign Founda t ion Cha i rman Pe te rLawrence about tapping the crea t ive networkfor ins ights and breakthrough ideas .

H erman Miller has a long tradition ofworking with design consultants likeCharles Eames, Isamu Noguchi, andGeorge Nelson. Why an external creativenetwork rather than an inhouse design staff?The driver for us is our comm itmen t to newideas and solutions. This external networkensures tha t we are always tak ing a fresh lookat problems faced by our customers witho utsubjecting it to our own filters. If you have onlyan internal design staff, even an enorm ouslytalented one, you are inherently limited by theirexisting world view and experiences. Our abilityto tap into a broader outside network lets usrevisit and reinvent our ow n filters on a regularbasis and get a fresh pe rspective on existingor emerging problems. This approach has itschallenges, but it often leads to the best ideasand breakthroughs. Our creative network isat the core of Herman Miller's DNA.Herman Miller has continued to partnerwith some of today's great designers.Yes. A huge contributor for decades was BillStumpf, who received the Sm ithsonian Cooper-Hewitt National Design Award for ProductDesign in 2006, just prior to his passing lastAug ust. People like Ayse Birsel, Eric Chan,Yves Behar, Studio 7.5 Berlin and others havecontinued to extend our design tradition.

Is there a secret toworking well with outside designers?The central th ing that we've learned is awillingness to follow and give ourselves over tothese designersnot lose ourselves, but beopen to following them to places that we mayquestion in the beginning. We give our creativenetwork an outline of a perceived problemand let them share their insights as to whetherwe're on the right path and then enable themto bring their own gifts to the search for asolution. We follow them in their journey wi thout judging too quickly. One of the hardestthings to do is not to judge too quickly, basedon the first physical appearance of something.Instead, we try to understand the essenceof what they're describing in physical form,written form or sketches.

The genius of Herman Miller's R&D folks isin knowing how to put the right constraintsin place so that we end up not only with a greatstatement of design, a great innovation, butsomething that solves real problems for customers and has commercial value. It's easy insome ways to come up with great designs thatdon't have comm ercial value, but to have greatdesign that solves real problems and createscomm ercial value, that's where the genius comesin. That's where our R&D people make their


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The Interview

"It's easy insome ways tocome up withgreat designsthat don ' t

have commercial value,but to have great designthat solves real problemsand creates commercialvalue, that 's where thegenius comes in /5

real contr ibut ion; i t 's their abi l i ty to know howto put the right constraints in place to push thecreat ive netw ork to a d if ferent p lace.Herman Miller is known for pioneeringwork in consumer research, including "globalsc enario planning." W ha t is it?Every few years, we do global-scale scenarioplann ing, where we look out a number of yearsand create mult ip le vis ions of how we th inkthe world may change. We ask ourselves, i f theworld did evolve along one of those paths, how

would that af fect the waypeople work, l ive, andfeel? These scenariosgive us vectors on whichto explore new potentialp rob lems and new so lut ions . Solving problemsis where our design workbegins. We rare ly startof f saying, 'W e just w anta chair in this pricepoint . ' More of ten, wesay, 'Here 's a problemarea that we see forfo lks. How do we solvei t? ' Around here we

often quote George Nelson, our lead designerin the '40s and '50s, who used to say, 'Designis a response to social change.'Cite an example of a workplaceproblem you are trying to address.Right now we see a growing need for temporalp laces that aren ' t as permanent as an of f icenor just a meet ing space, but something inbe t ween . A quest ion we ask ourselves is whatkind of seating is best suited for such a t e m poral place? If you begin by trying to solve thep rob lem , you get a d if ferent outcome thansaying, 'We need to go do a chair that 's $200. 'Herman Miller's product offeringsgo beyond office furniture, don't they?Herman Miller has had several periods of revivalor renewal where we have changed our focus.We don' t def ine ourselves as an of f ice furn iture

com pany or even a furn itu re com pany. Ourboundary is around people and human performance. I t 's around habitat and wherever wecan af fect the performance of human beingsin their habitats. Problem-solving design isat the core of what Herman Mil ler is, and thatcan be applied to a broader f ield and evolve overt i m e . Clearly some habitats have not beenprimary to us in the recent past, but are logicaland natura l steps. We have h istor ica l groundingin the home, so we can play off of that. Educat ional inst i tu t ions have a lo t of connect iv i tyand , in many ways, have needs that are similarto the of f ice and the home. And we've hadinterest in the healing area for many years. Thosebecame the jumping-of f point for us.

W e also have a group cal led the He rma nMil ler Creat ive Off ice working on th ings thatyou can' t def ine by environmen t or habitat type.They' re clear ly not furn iture e ither. The mostrecent example is Convia, a modular, programmable sub-bui ld ing in f rastructure system fore lectr ica l and data that makes bui ld ings moreadaptable and changeable by the user. Webel ieve i t has profound impl icat ions for thedesign and management of bui ld ings, acrossmult ip le categories of use.How has Herman Mil ler managed to stayat the forefront of introducing new materials,from Eames' molded plywood to the fabricon the Aeron chair?Trying to solve problems in a new way of tenleads us to new mater ia ls. One advantagewe have as a company is that we' re not veryver t ica l ly in tegra ted f rom a manufactu r ingstandpoint . I f we were, i t would be d if f icu lt toconvince ourselves to change mater ia l types.We see ourselves more as an in tegrator thana manufacturer. We're able to do mater ia lexplorat ions somewhat f reely and g ive designers a fairly free hand to bring us new ideas.You have a strong financial background.How did you learn about design?I t 's almost impossible to be here for 18 yearsand not learn something about design. I don ' t


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cons ider myse l f knowledgeab le about how todes ign, but I have become a student of design.I have had the benef i t of great teachers atHe rm an Miller, both in our creat ive network andin our own management team and Board o fDirectors. I have the good for tune of work ing withGary Mi l ler and Don Goeman who have beeninvolved in the design and innovat ion processesat Herman Mil ler for 25 to 30 years. Spendingt ime with those folks and being wi l l ing to l is tento them and have them say, 'Let me tel l youwhy we're approaching i t th is way' has been agreat benef i t . More recent ly I 've got ten tospend more t ime wi th our c reat ive network .

W h e n I was t ransi t ioning f rom Chief O perat ingOff icer to CEO, I used to sit in on every designrev iew launch team meet ing . I spent a lot oft ime l is tening to the detai ls of what was goingon , not as the boss cr i t iquing their work, butas an observer t ry ing to un derstand w here i t wasgoing. Even today, whe n one of our designersis in town, Don Goeman checks to see i f I havean hour or two to meet . I t 's not about spendingt ime to approve anything; somet imes i t 's totake me through the latest model and hear whatthey ' re th ink ing.You recently went to China to exploremarketing opportunities and took a team ofdesigners with you. That's rather unusual.We spent almost three weeks in China doingresearch into what our ent ry st rategy should be.Our group inc luded Don Goeman and threemembers of our creat ive networkEric Chan ofEcco Design in New York, Bil l Stumpf of Stumpf/Weber, and Burkhard Schmitz f rom Studio 7.5in Ber l in. Ab ou t a th ird of our t r ip was cul turalimm ersion, v is it ing museums, the homes of localpeople, tour ing emerging and old c i t ies. A thirdof our t ime was spent me et ing w i th potent ia lcustomers, companies and suppl iers, and a lotof t ime was spent on buses, airplanes and overdinner just ta lk ing. The power of i t was thatwe in man age me nt got a chance to see Chinathrough the eyes of these very gi f ted creat ivefolks, and the designers got the opportuni ty to

see their creat ive spark through our f i l ter as wetr ied to assess the marketabi l i ty and do-abi l i tyfor us as a company. A fascinating back and forthdiscussion took place.Can you share any takeaways from that trip?We learned that the Herman Mi l le r b rand doesmean someth ing in Ch ina and that a growingappreciat ion and respect for good design existsthere. I t a lso became c lear that we were goingto have to create some design very speci f icto that marketplace and we would have to hirelocal people, both on thedes ign and managements ide to real ly understandthe Chinese culture and besensit ive to it .Herman Miller still abidesby the environmental values of your founder D.J.DePree. W ha t formed hisbeliefs?To paraphrase DePree:'Ult imately businesses wil lbe judged by their contr i bu t i on t o hum an i t y andwe have a duty to be goods tewards o f the env i ron-

'The one overall trendthat we're starting tosee is a less mechanisticfeel to the way officesare put together. They'llbecome moreorganic. They5have more ofa residentialquali ty insome ways."

m e n t / D.J. had a deep sense that we don'treal ly ow n these resources in the lon g run, wes imply are bor rowing them, and we needto pass them on to future generat ions in goodorder . That 's the underp inn ing o f HermanMi l le r 's env i ronmen ta l va lues . As ide f rom themoral obl igat ion, there's an economic return,i f we're good at i t . We have 10 target goals setfor 2010 that we cal l "The Power of Ten."They are par t o f our u l t imate "2020 V is ion"of leaving no operat ional footpr int on theenv i ronment by the year 2020.

A second com m i t m en t is t ha t 50 % o f ou rsa les must come f rom produc ts tha t meetthe Design for the Environment protocol (DFE)establ ished with the help of Bi l l McDonough,Michae l Braungar t and the i r Cradle-to-Cradlepr inc iples. Our Mirra chair was the f i rs t non-


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The Interview

About the CompanyHerman Miller is

headquartered in Zeeland,Michigan, and has

manufacturing facilitiesin the U.S., Italy and

the United Kingdom. Itsproducts are sold in

more than 40 countriesworldwide.

textile product to meet DFE in our industry.Now we require a l l o f our new products to gothrough DFE analysis before they're launched.For decades, Herman Miller has shaped theoffice workplace. How do you see it evolving,and is the open plan office still relevant?Open plan off ices are not going to go away, butI th ink we are going to see much more of amixed landscape that will vary not only by company, but by areas with in a company and whothose users are. One size wo n't f it all. That's whyamong our newer products you can see MyStudio Environment, focused on people who needto do individual work and need an e lement ofcontro l lab le pr ivacy, and Vivo, a frame-and-tileoff ice system . By the way, it is impo rtan t thatthese two p roducts can work toge ther harmoniously. At the same time, neither invalidateswhat we d id with Resolve, which is a moreextreme move toward col laborat ion. Al l o f thesesystems f i t with in the port fo l io of who weare and you' l l cont inue to see more productsthat f it in those kind of more temporal areasthat are neither pr ivate of f ices, open p lan norconference rooms. The one overal l t rend thatwe're start ing to see is a less mechanistic feelto the way of f ices are put together. They' l lbecome more organic. They' l l have more of aresident ia l qual i ty in some ways.Where does the home office fit intoyour scheme? Didn't the company enterthis segment a dec ade ago?When we re launched our resident ia l businessin '94, we were probably ahead of the curve.Part of the reason was the technology infrastructure wasn' t there. You had a clunky d ia l-upconnect ion that made i t s low to upload anddownload f i les. Today, people can't tell if you'reat home or in the off ice. We will see more ofa b lurr ing. I also think there will be as much ofa need to ask how you are going to deal withthe mobil i ty between a l l o f those locat ions. Ourdrive is not just to ask how we solve issuesof the home and home off ice, which we do havean interest in, but how we can address issues

that people are going to deal with betweenthe hom e, the of f ice, and that other p lace.Is Herman Miller involvedin office equipment technology?That wi l l be an area of growing connect iv i tygoing forward. Certa in ly as we look at ourown research, we' re seeing many more opportunit ies emerging with the advent of newtechno log ies. We ' re act ive ly deve lop ing ourown internal capabi l i t ies and we' re looking

external ly for both design ta lent and col laborat ive resources for new technology.Herman Miller's commitment to design qualityextends to print communications as well. Fordecades your annual report, designed inhouseby Steve Frykholm, has been an award-winner.How is your report evolving?We want to make sure that any vis ion, anyproduct that we produce is relevant to the audience and the t imes. Annual reports producedbefore the Web were targeted to investors andana lys ts who p robab ly don ' t f ind p r in tedannuals as relevant today because they can geta lot of that data online. But we believe ourcustomers and employees st i l l read our annualreport , so last year we d id a summary annual


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wi th my le t te r d i rec ted more to cus tomers ,em p loyees and o t he r cons t it uen t s . We wou ldl ike to do more of an employee annual reportta lk ing about th ings at a level that we probablycan't to external audiences, but do so in ascreat ive a way as we have for outs ide groups.We cont inue to th ink there is an audience forprinted annual reports, but we have to reorganizethe content and reinvent i t for the segmentswe are t ry ing to reach.

beyond what you get f rom the produc t , youget an exper ience that wi l l enable you toimprove your bus iness .A few years back when your business was in adownturn, Herman Miller made a bold decisionto emphasize research and design. What doesthis say about the company's evolution?I give Mike Volkema, now our chairman but whowas CEO at the t ime, a lot of the credi t . Wehad the choice to say, 'We are going to be an

"We see a growing need fortemporal places that aren't aspermanent as an office norjust a meeting space, but something in between. A questionwe ask ourselves is what kindof seating is best suited forsuch a temporal place?"What about your SEE magazine, which seemsto conc entrate less on promoting Herman Millerproducts than on positioning the c ompany asa thought leader.You hi t the nai l on the head with the term'thought leader.' We think that is r ight lyHerm an M il ler 's posi t ion because our productsand serv ices spr ing f rom our focus on p roblemsolv ing and research. Our SEE magazine isa way to connect with customers, inf luencersand business leaders by sharing some of theknowledge that we have acqu i red. SEEr wh ichfeatures ar t ic les by our des ign network ,also is meant to convey the energy and focuswe put into research. I t shows that whenyou come to Herman Mi l le r as a cus tomer ,

of f ice furni ture company and jet t ison everythingelse, ' or to say 'Let 's begin to paint a biggerpicture for our future. ' We chose the lat ter andelevated research and development fundingover other areas of our business. I t was a gutsycall. What 's phenomenal about th is cho ice isthat the path of Herman Mil ler has always beenabout evolv ing to a new placefrom what D.J.DePree, our founder, saw in the 1930s, movingfrom p er iod furni ture to a design-dr iven c om pany, to an of f ice furni ture leader in the 1960s,to today saying we can have a broader impacton human habitat .

Ult imately, our greatest asset is our abil i ty tocreate. You can call i t innovation, but we call i tproblem-solv ing design.

A Bit of HistoryFrom its start as a manufacturer of residentialfurniture in 1923, HermanMiller went on to transformoffices everywhere withits introduction of panelsystems (cubicles) andergonomic seating suchas the Aeron chair, an dreinvention of the geometryof systems furniture.


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Case Study: Environmental Design

Max CarmonaSenior Director,

Restaurant DesignMcDonald's USA

Oa k Brook, ILSince 2001 Max

Carmona has beenresponsible for all

McDonald's restaurantdevelopment in the

U.S., including designdirection and designservices that encompass

site-specific construction,standards, and policies

and procedures.

Burnishingthe GoldenArchesA lot changed over the half century since McDonald'sproved that Americans could eat out fast anda f fo rdab ly . Compet i to rs made in roads in to thedin ing category that i t had or ig inated. Demand for a BigMa c wit h f r ies lost groun d to a chicken salad wi th non-fa tdressing. Plast ic furn ish ing, lauded for i ts ch i ld-f r iendlycleanl iness, was scorned as synthet ic and impersonal. Whatwas innovat ive then had become so ' last cen tu ry" now.

"Customers were te l l ing us that they wanted to see someth ing d if ferent , more contemporary, more re levant ," saysMa x C armona, senior d irector, restaurant design, Mc Dona ld 'sUSA. "They were t i red of what we had."

McDona ld 's took these comments to hear t in adop t inga strategy i t ca l led "Forever Young." But for a company with31 ,000 f ranch ise-owned restauran ts serv ing 50 mi l l ioncustomers dai ly, i t a lso recognized that any misstep r iskedal ienat ing both operators and patrons.

Intent on preserving what people loved about the brand,McDonald 's brought on brand-bui ld ing expert Larry L ightas g lobal ch ief ma rket ing of f icer and con ducte d num eroussurveys on how to improve i ts demographic appeal, menuoptions, dining experience, and social relevance. Part of thatplan included the f irst major architectural makeover of itsrestaurants since 1969. Before in i t ia t ing th is undertaking,management sought to learn f rom the experience of othercompanies that had completed successfu l brand turnarounds.As i t happened , the speaker i t invi ted f rom Nissan gavean inspiring account of the automaker's return to profitability,and in d iscussing the re imaging of Nissan dealerships,he f requent ly pra ised the work of the designers, L ippincot tMercer , who even tua l ly won the McDona ld 's account .At that point, the New York-based consultancy was not evenon the long l ist o f design f i rms up for considerat ion.

In narrowing down i ts l ist o f candidates, McDonald 'sinvited two design f irms, including Lippincott Mercer, to make

M c D o n a l d ' s mmm

."VU;i"5


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Peter DixonSenior Partner andCreative Director, RetailLippincott MercerNe w York, NYArchitect Peter Dixonhas specialized inthe design an dimplementation ofmulti-unit retailfacilities, includingextensive involvementin all areas of theretail environment.


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Case Study: Environmental Design

Customer Exper ience Mapping"Lippincott Mercer fol lows a processthat i t cal ls "customer experiencemapping" to analyze how peopleexper ience a brand. I t "decomposes"the way a customer engages wi ththe env i ronment to communica tebrand a t t r ibutes a t key touchpoints .

O Order CounterBudget limitationsrestricted the redesignof the order counter,but designers created atidier menu board byorganizing food choicesfor easier understanding and placing awooden bezel aroundthe display.

O ArrivalThe signature

elements ofthe McDonald's

brandname,color, and logoare clearly in

view as customersapproach the

restaurant.

> *

-* % ! ? '

"|T|riHISSI2- ffl

O Entry Vie wThe entry offers a view of the general dining area. Maintenan cewas an important consideration, so fabric-backed seats weredesigned to be changed easily if damaged and the louvred windowblinds to provide visual interest and simple cleaning. The mural-size photos feature images of the local area.

[ )

o

\i 1 oKitchen

OOJ?Qo O dfflfflfflFabric SwatchesSimple geometric patterns and contemporary colors create a McDonald'slook, yet provide each franchise owner

enough latitude to individualize theecor according to personal

or regional tastes.


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O Adul t DiningBlack-and-whitephotographs of localscenes, pendantlights and cushionedfabric-backed seatinggive a sophisticatedatmosphere to thisdining area.

O Dr ive-ThruThe drive-thru is

given m ore presencethrough the use ofyellow canopies and

W electronic displaysthat merchandise

products as drivers waittheir turn to place an order.

p

Q Fast FoodBar stools allowed the designers to vary the topography inside therestaurant through different seating heights. The bar stool dining optionalso appeals to people eating alone or in a rushand to young children.

O Linger ZoneClublike chairs in an area that is slightly removed fromthe main restaurant activity offer custome rs, particularlyyoung adults, a place to hang out with friends and workon their laptops.

Pendant LightingPendant lighting,which subtly usesMcDonald's yellowand red signaturecolors, softens anyinstitutional feel andserves as a pleasingdecorative element.


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Case Study: Environmental Designa presentat ion before senior management. Such compet i t ive"bake-o f fs" fo r wh ich par t ic ipan ts a re paidgive c o m panies a chance to preview how a design f irm would approacha p ro ject be fo re award ing a mega-con t ract . Each f i rmwas briefed on McDonald's research f indings and new brandstrategy and g iven six weeks to prepare i ts presentat ion.One st ipulat ion was to th ink in terms of a retrof i t o f exist ingMcDonald 's restaurants, not a design f rom scratch.

The L ippincot t Mercer team was led by creat ive d irectorPeter Dixon. "Our presentat ion was not so much a specif icdesign idea, which we hate to do on spec, but an ef fortto demonstrate how we th ink," Dixon says. "We knew we

Whenever possible, the designerstried to contain costs for franchiseesand respond to envi ronmentalconcerns. "We understand that it isn'tabout doing things that operatorscanno t afford," says Dixon. "Byavoiding unnecessary changes andchoosing materials that last, we trynot to send too much to landfill."

Stepl Step 2

The typical M cDona ld's restaurant has a recognizable roof line andlighting elements that accentuate its double-mansard shaped roof.

To depart from the old look without major structural changes, a parapetwas added and exterior color enriched to a more "food credentialed" hue.

needed to do [ the design] with them, we couldn ' t make th isup on our own. We focused on what we understood 'ForeverY oung ' to mean."

A spec i f ic recommendat ion tha t L ipp inco t t Mercer d idmake, however, was the im portanc e of a l ter ing the doublemansard roof that had been part of McDonald 's image sincethe 1970s. "Our init ial evaluation was that if we could dosomething to neutralize the roof, we could do a lot to changethe image of the restaurant," Dixon says. "We found a wayto modify the roof l ine without having to remove the roof ordo a lo t of damage to the bui ld ing enve lope."

The L ippincot t Mercer team also presented their v iewson how McDonald 's could increase i ts appeal among 18- to34-year-o lds without a l ienat ing i ts st rongest const i tuency,kids and moms. "We explained how the competit ive landscapefor young adults of fers more choices of restaurants thatuse design in ways that are re levant to them," Dixon says.

A key goal for McDonald 's was something i t re fers toas "food credent ia l ing"i.e. , conveying the f reshness and

authent ic i ty of i ts meal ingredients. To communicate thatwith decor, the designers argued for the need to "deplasticize"the brand. The mere m ent ion of "deplast ic iz ing", however,worr ied some managers, Dixon recal ls. "They asked, 'Doesthat mea n you aren't using plastic? Plastic is a great m ater ia l for maintenance. ' We had to reassure them that wemeant perceptual deplast ic izat ion, the use of mater ia ls thatpro jected a sense of authent ic i ty and natura lness."

Awarded the job , L ipp inco t t Mercer went to work t ranslat ing their general impressions in to specif ic appl icat ions."W e use a me thodo logy tha t we ca ll 'customer exper iencemapping, ' " Dixon expla ins. "I t 's a decomposit ion approachwhere you take the customer exper ience w i th in an env i ronment and break i t in to more d iscrete touchpoints and thenf igure out how to dr ive brand at t r ibutes through them."

In the case of McDonald's, Lippincott broke the experiencedown into areas such as approach, order ing, eat ing, etc.From there, they f igured out how the at t r ibutes of "ForeverY oung" could be brought to life at each point.


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The first touchpoint was the silhouette of the buildingitself. As dated as it looked, the double mansard roof was afamiliar landmark to millions and dismantling it would becost-prohibitive for many franchise operators. The designersgot around this dilemma by cosmetically hiding the old roofbehind a false parapet and a yellow sloping curve that echoedthe Golden Arches. The addition of a more gracious yellowawning also gave the entrance greater presence.

Inside, Lippincott Mercer tried to soften the stark "fast-food" look by creating distinc t dining zones, delineated bydifferent types of furniture and seating arrangements to offercustomers a choice of experiences. A "linger" zone with

of plastic without eliminating plastic completely. "In ouranalysis, we found the proportional use of the yellow andred combination created a plastic effect," Dixon says."We decoupled the colors and concentrated more on yellow,which is the core brand color of the Golden Arches andmanifests the 'Forever Young' idea. Coupling yellow withmaterials and colors from nature like ochre, terra cotta,sage and sienna enhanced food credentialing, suggestingthe authenticity of the ingredients. We used McD onald'sfamiliar red as an accent and identifier of certain importantelementsthe red fry box, the pickup and pay windowsat the drive-thru." The designers also screened off "manu-

70 minimize business interruption and construction costs, newarchitectural elements were installed around the building envelope.

New trade dress elements, derived from the "arches" logo geometry andcore yellow color, create a "restaurant" look that is inviting, friendly and fun.

armchairs, sofas and wi-fi connections was created toappeal to young adults who want to hang out with friends.A "grab-and-go" zone with tall counters, bar stools and aplasma TV turned to the news and weather w as designed tocater to customers who eat alone. A "flexible" zone withbooths appointed with fabric-cushioned seats as well astable seating invited family dining.

The designers also changed the topograph y of the seating to take away from the cafeteria look. "We created lowseating and high seating," Dixon says. "The different types ofseating com municate choice. Customers can choose theway they use the restaurant."

To depart further from the no-frills fast-food look, thedesigners jettisoned the harsh 2x4-foot fluorescent lightpanels set in the acoustical tile ceiling. "We tried to improvethe quality of lighting with recessed lights and selective useof pendant fixtures that created a sense of intimacy andadded some color around the environment."

Changing color balances also helped to mitigate the feel

factured" kitchen processes while keeping an open view ofpersonalized steps like sandwiches being assembled individually with fresh ingredients.

Drive-thru represents about 60% of McDonald's businessin the U.S., so it was imp ortant to turn this c ustomer contactpoint into more of a destination. Dixon explains, "We createdan entry pylon to announce the arrival of the drive-thru andused the travel path to merchandise other products orpartners, then continued that 'story-telling' after the orderingwith lenticular graphics that moved as your point of viewchanged. The order station reprised the curved roof element."

Whenever possible, the designers tried to contain costsfor franchisees and respond to environmental concern. "Weunderstand that it isn't about doing things that operatorscannot afford," says Dixon. "By avoiding unnecessary changesand choosing materials that last, we try not to send toomuch to landfill." This goal has also led the designers on asearch for 100% post-consumer recycled cladding material,so far to no avail. "W e w ere able to prototype some materials


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that were cheap, could take paint and could be machined,but the problem was that they lacked the thermal propert iesto w i ths tand 4 0 - 5 0 degree temperature swings dur ing theday. We are st i l l looking," Dixon says, inv i t ing any companythat has such a product to step forward.

Whi le being named a designated suppl ier for McDonald'sbui ld ing mater ia ls conceivably can provide access toupwards of 31,000 restaurants, each f ranchise operator isst i l l a l lowed considerable decorat ing autonomy. That cameas a "b ig surpr ise" to the L ipp incot t M ercer tea m wh oini t ia l ly thought that al l McDonald's restaurants were al ike.Actual ly , Mc Don ald's of fers f ranchisees a lot of lat i tude indecorat ing as long as they stay within a f lex ible f ramework.Hence, any design has to allow for details ranging fromf loral wal lpaper to brass lamps and old ship wheels. "Theoperators drive this, so the hard assetswall f in ish, colors,flooringhad to be kept neutral and s imple," says Dixon."The fu ture o f multiunit branding is not to be cookie-cut ter ,but to create identit ies that are recognizable, yet can becustomized to f i t into the local context , whether that is byregulat ions, local codes for looks, f inishes or colors, orjust to be a goo d neighbo r that f i ts into the com mu nity. "

McDonald's internal archi tecture and design team wereins t rumenta l in he lp ing L ipp incot t Mercer unders tandregional needs. Carmona says, "We worked back and for thwi th L ipp incot t Mercer because we had the exper ienceof bui ld ing McDonald's restaurants in al l par ts of the U.S. ,and know the issues that develop regarding permit t ingand mun ic ipa l i t ies . " Carmona's team also worked c loselywith the Owner Operator Leadership Group, par t icular lythe "Place" subgroup, keeping them appr ised al l a long.

This ongoing collaborat ion resulted in a design that offersboth f lex ibi l i ty and uni formity and ant ic ipates concernsdown the l ine. The result was widespread "buy- in" by ma n agement and operators even before construct ion on thef i rs t prototype began. " I haven't heard any operators saythey didn't l ike it ," Carmona says.

The same goes for McDonald's customers who are f indingthe contemporary look as re f resh ing as the new menuof fer ings. The broad acceptance of McDonald's rev i ta l izedbrand has helped to accelerate the pace of the makeover.Thousands o f " re imaged" res taurant in ter io rs have a l readybeen completed in the U.S. , wi th more new bui ld ings andret rof i ts underway so that McDonald's can l ive up to i ts goalof s tay ing forever young.

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The Quiz

Graphic ClichesBy its very definition, the word "cliche" meanshackneyed, overused and tri te, but that doesn't meanthat cliches do not serve a useful purpose. Graphiccliches are rife with implied meaning. They are oftenviewed as the embodiment of an industry, insti tution,emotional value or point of view. They become avisual shorthand language that is familiar and understood by a culture and sometimes the whole world.That's why graphic cliches are a popular device witheditorial cartoonists who need to communicate complexideas succinctly in a single image. In the hands ofthe right designer, graphic cliches can be twisted orjuxtaposed to become fresh and exciting, witty andrevealing, and even profound. Conversely, in the wrongh a n d s , they simply appear obvious and banal. I t 'sall in the interpretation. First, i t is important to recognize a graphic cliche when you see one. See if youcan identify the meaning that people attach to these.

I i N@ % # !


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V


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Case Study: Product Design =Oakley: An Eyefor DesignOakley marches to i t s owndrummer , but i t has ga ined sucha following that it looks like itis leading the parade.

O akley defies conventional beliefs about how to growa business, how to develop product line extensions, andeven how a corporate headquarters should look. Butfor Oakley, it works. In 2006, the company recorded net sales of$762 mil l ion, up 18% over the previous year. In the world ofathletics, its eyewear is considered de rigueur.

From the start, Oakley favored revolution over evolution. FounderJim Jannard was a 25-year-old pharmacy school dropout in 1975when he pooled together $ 30 0 to form a company named after hisdog, Oakley, to market a be tter ha ndgrip for motocross motorcycles. He made the grip from a new high-traction material hecalled "Uno btanium " that shaped to the human hand.

The success of the gr ip spurred Jannard to look at w hat'swrong with motorcycle goggles as well. Oakley ski goggles soonfollowed and sunglasses a few years after that. The first products to incorporate lens geometry , Oakley eyewear prov idednon-distort ion lens qual i t ies and precision craftsmanship thathigh-performance athletes eagerly embraced.

The holder of more than 600 patents, Oakley st i l l puts asmu ch em phasis on i ts futur ist ic tech nology as the look of i tsproducts. "'God is in the detai ls, ' " says President Colin Baden,quoting legendary archi tect Mies van der Rohe and claimingOakley's products are "invention wrapped in art."

Describing Oakley's m ethodology, Baden says, "W e look forproblems and we invent solutions from scratch. Wha t we saw ineyewear was that the active outdoor person was not able toget glasses that fu nctio ne d we l l in a given spo rt. We entere dthe category because no one [i.e., compet i tors ] cared aboutoptics." Baden claims that Oakley eyewear is sti l l unsurpassed.


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Case Study: Product Design

Invent ion Wrapped in ArtFrom i ts signature goggles andeyewear, Oakley has extendedits brand into a range of ruggedwear i tems. The one commondenominator i s that technologicalinnovation factors into everyproduct that Oakley designs .

T i m e Tank Wat c hMade with ultra-lightweight

titanium, this Swiss-madechronograph has the ability to

measure cumulative time, intermediate time and split time, from

Vioth second to 30 minutes.

Crowbar GogglesDesigned to thestandards of professional athletes, thesegoggles offer a wideunobstructed fieldof vision and havevents on the front lensto prevent fogging.

Oakley's signature "O"is integrated into the

look of all its products.

S.I. Assault BootsFinding standard athletic

footwear inadeguate for its needs,the U.S. Elite Special Forces

asked Oakley to design a new typeof assault boot. Oakley came upwith a stylish boot with a 6-inch

ankle-stabilizing upper, wick linerand high-traction outer sole

grip. T he boot is now availablein a civilian version.

T h u m p MP3 EyewearThe MP3 audio circuitry of Thum p eyewearis built right into the frame, eliminatingdangling wires. The wearer can pivotthe speakers to balance environmen talsounds with the digital music or flipthem up to carry on a conversation.

. I V

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One-Piece Snow SuitUsing a science createdfo r astronauts, the StormOne suit integrates membrane technologies tomaintain waterproof yetbreathable barriers andtemperature control withreversible heat storage.

OPackFunctionality and fashion

come together in the 0 Pack,a sturdy lightweight nylon

bag with external side pocketsfor bottled water and internal

media pockets. Accentsof red on the two-color pack

add style, with the Oakley"'rolling 0" logo dec

orating the tabsand clasps.

"I could put our glasses up against anybody's, and you wouldsee a superior point of difference. That difference is our juice.We can walk into an account and say, 'Look, you won' t getheadaches when you wear these glasses.' Once someone seesand understands that, they are l i felong converts."

To call Oakley an eyewear company, however, is to ignorethe eclectic range of its enterprises. "We are a design-drivencompany," says Baden. "W e create things that interest us. Whe nyou want to be a company at the forefront, you really can't gointo the marketplace and look at what is going on or ask peoplewhat they want because all there is is what there is. We areall abou t wh at is going to be."

The shock of the new may leave some people uneasy, Badenadmits. But for Oakley, l iving outside your comfort zone is howinnovations come about. "The products that we think are the'next thing', we call them 'talking to the people in the front row.'They are the people who get our jokes and can turn around andexplain them to the people in the last row. Then everyone goes,'Oh, okay.' Whe n ou r front-row athletes are wearing our glassesstrapped to the top of their heads, we sell thousands of them."

Even without such tacit endorsements, Baden says thatOakley would sti l l be driven to explore new frontiers. Indeed,Oakley's officeor "corporate interplanetary headquarters," asit is officially called looks l ike a set from "Star Wars". Itsbunker-l ike e xterior leads into an equally forbidd ing vault-l ikelobby with a torpedo in a cradle on the floor and B-52 ejectionseats in the wa iting area. The building was designed by Baden,an architect before he was asked by Jannard to head Oakley'sdesign functions in 1996. Today Jannard and Baden are sti l lclosely involved in the design process.

"Buildings can be a great vehicle for m aking a statem ent,"Baden says. "W he n you come here as an employee, you feell ike part of the club. The culture drives the team. That competitive fierceness drives the design features we make. If youare a competitor, you sense that we put a lot of value in wh atis going on in this place."

What is going on is all of Oakley's design and research anddevelopmentand the manufactur ing of most of Oakley'seyewear. More than three-quarters of the 417,00 0-square-footheadquarters is devoted to manufactur ing. Oakley investsheavily in technology, not only in R&D and in the products, butin the machines that make its products. Every m achine wascreated by the Oakley design department. Oakley builds itsown parts, invents programs to run cutting tools, and evendevelops mold processes unheard of in the world of industrial


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Case Study: Product Designmanufacturing. "This is all to drive the quality of the product," Baden explains. 'There are no machines on the planetthat can make our products the way we want them . Weare forced to make the machine that makes our products."

Keeping all of Oakley's R&D and design work in oneplace offers tremendous advantages, Baden believes."W e use a lot of rapid pro totyping equ ipment. I am a firmbeliever in sketching and hand models, but I also amdriven to get that into the digital wo rld so we can reallycraft the product and test i ts functional i ty." WhileOakley's creative process may take months, once the

design has been determ ined, the comp any can create amodel and prototype inhouse in less than a week.

This is radically different from how most companiesoperate, Baden emphasizes. "There , you might draw apair of glasses, then go describe the draw ing to a developer.The developer rolls up your drawing and has your wordsin his head. He gets on a plane and flies 14 hours to Asia,where he meets with the head of a factory and tells himwhat your company wants. His words are then relayed tothe factory design engineer. In three weeks, you mightget a prototype back from the factory, but that prototypeis an interpretation of what just three people thoughtit should be. You can imagine the diminishing return on avision that started out really good. Here at Oakley, it isconstant evolution, dialog, visualization, modeling, prototyping, back and forth . You get a much better end productand get it much faster."

The R&D and design team keep many unusual objects

w ooden guitars, barbel ls, Elvis picturesaround fo rinspiration and contemplation. "Our best productshaven't started as wha t they w ere intend ed," says Baden."A pair of eyeglasses didn't start out as a pair of glasses.It started as a blower on a drag racer. W e constan tly keepit loose in that department so we have the opportunityto discover something different."

Perhaps because of that, Oakley has not shied awayfrom products that do not fit its flagship eyewear l ine.Interestingly, a portion of Oakley's business comes frommaking combat boots for the U.S. Special Forces. That

came about because Oakley was providing protective M Frame eyewearto the military, and the relationship ledSpecial Forces to ask Oakley to reinvent performance footwear for tacticaluse. Until then, no one had built anathletic variance for military footwear.Today Oakley boots are standardSpecial Forces issue. Oakley also nowoffers footw ear for civil ians, as wellas leather bags and backpacks.

"Our brand has evolved successfullyby pursuing design at the highest levelto gain a competitive position," saysBaden. "This creates a construct whereoutcome is front-row stuff. It is not

about market studies. That is not what we are about."At the same time, Oakley focuses heavily on appealing

to outdoor sports that have as their premise technicalperformancee.g., skiing, snowboarding, surfing, cycling,extreme motorcross. For each of these markets, Oakleyoffers a selection of products, including fashion apparel.The brand has also expanded into precision performanceproducts such as watches and wearable electronics.

That does not mean that Oakley will stay contentedlywithin the confines of these businesses. "The most disappointing point [in the process] is when we launch ourproduct," Baden admits. "It is over. It is all about the hunt,the adrenaline rush. We need our highs. We are alwayslooking for the next thing."

Perhaps Oakley's corporate profi le sums it up best:"With a corporate culture dedicated to purpose beyondreason, Oakley blends science and art to redefine productcategories, rejecting the constraints of conventional ideas."


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Colin BadenPresidentOakley, Inc.Foothill Ranch, CAOakley founderJim Jannard wassearching for anarchitect whoshared his vision o fcreating a headquarters that wouldmatch the unconventional spirit ofOakley. He foundColin Baden, thena partner at LewisArchitects in SeattleIn addition todesigning Oakley'sheadquarters,


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Design Tips

BabyBoomersand SevenUniversalDesignPrinciples

Consider this: Over the next 25 years , the number of peopleover age 65 will more than double , and an est imated 20%of the U.S. population will be in their so-called "goldenyears ." In sheer numbers, the 77 million post-World War IIBaby Boomers, born between 1946 and 1964, represent asizeable consumer marketexcept now instead of hula hoopsand lava lamps, they are driving up demand for retirementvillages and hearing aids.

More design savvy than their parents, the Boomers are notwilling to settle for things that are functional but ugly. Forthem, it is not a choice of "either/or." They want sensible andsexy, practical and pretty, safe and stylish. They are the firstgeneration to believe that elegant, intuitive product solutionsare not only possible, they are a basic consumer right.

For designers, a common misconception is that pract ic inguniversal design requires compromising aesthetics or dealingonly with things like wheelchairs and hospital beds (althoughboth could use a makeover). In reality, products hailed asinnovative often represent the best examples of universaldesign. They become classics because they never outlive theirusefulness and contemporary appeal. The seven principles,developed by the Center for Universal Design, show thatuniversal design isn't a specialized field. It is simply thoughtful problem-solving through design.

1 MakeIt Equal

Designers o f mass-manufactured products tend todesign for the "no rm , " whichin the U.S. is often for able-bodied consumers about30 years of age, around 5foot 6 inches tall and notoverweight . Heaven help therest of us who are too shortor too ta l l , or handicappedtemporar i ly o r permanent ly .Universal design takesinto consideration the needsof people of all ages, sizes,and physical and cognit iveability. If that is not possiblein a single design, it presentsequivalent alternatives, l ikewheelchair street curb ramps.2 Minimize. Physical Effort

For a person with severearthr i t is, the simple task ofturn ing a doorknob can bepainful, which is why so manynew homes incorporate leverdoor handles that requireless range of mot ion. When


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designing for the f rai l orelder ly , the fat igue factor isan impor tant cons idera t ion .Househo ld produc ts tha tal low users to maintain aneutral body posi t ion, minimize repet i t ive act ions andreduce the need for sustained physical ef for t makeper forming chores moreen joyab le and comfor tab le .3 B Provide AdequateSize and Space

4 m Keep It Simple and Intuitive

Publ ic bui ld ings have rulesand regulat ions on handicapped access , someth ingsorely lacking in pr ivatehomes. Safe ty -proof ing abath room , for exam ple, is ofl i t t le use i f the wheelchaircan't fi t through the do orway.A key pr inc iple of universaldesign is making sure thatappropr iate s ize and spaceis provided for approach,reach, manipu la t ion and useregardless of the user's bodysize, posture or mobi l i ty .That demands prov id ing aclear l ine of s ight f romeither a seated or s tan dingpos i t ion and ample roomfor assist ive devices.

User- f r iendly appl ies to moret han com pu t e r so f t wa re .Users should not have to readinst ruct ions to learn howto remove a bot t le cap, butthat is somet imes the case.Effect ive design makes thingsmore intui t ive. I t e l iminatesunnecessary complex i t y andar ranges in format ion byimpor tance and/or sequenceof use. I t makes things easyto unders tand regard lessof the user 's exper ience,know ledge, language sk i l lsand cognit ive abi l i ty .5 Allow for Flexible Use

Lef t -handed people knowthat the wor ld was designedfor r igh t -handed peop le .That doesn't have to be thecase. Universal designaccomm odates a w ide rangeof indiv idual preferencesand abil it ies. I t can facil i tate

the user 's accuracy andprecis ion and adapt to theuser's pace. For people withd im in ished s t rength andagi l i ty , the k i tchen and bathroom are of ten the scar iestrooms in the house. Pul l -outshe lves , counter tops w i threcessed space to accommodate a seated person canmake cook ing more en joy able for people with l imitedrange o f mot ion . Ad jus tab leshowerheads, of fset watercontrols that can be easi lyreached f rom outs ide thetub, bench shower seat ingand grab bars of fer waysto improve bathroom safe ty .

7 Build In Error Tolerance% * &

6 MakeInformationPerceptible

Safety barriers can bedesigned into householdobjects to help people whohave d i f f i cu l t y rem emb er ingor comprehend ing or haveprob lems wi th ba lance andcoo rd ina t i on . Good des igncan minimize the adverseconsequences of unintendedact ions by isolat ing orshielding hazardous elem entsand arranging e lem en t saccord ing to most f requentuse or sequential steps tocom ple te a task.

W e l l - d e s i g n e d p r o d u c t scommunicate necessaryinformat ion c lear ly to theuser, regardless of ambientcondit ions or the user 'ssensory abi l i t ies. For peoplewi th impai red hear ing orv is ion, us ing mult ip le modespic tures , sound, touchtopresent essent ia l informat ion can al lev iate f rust rat ion.

Doorbel ls and k i tchen t imerscan be made to f lash a l ightas wel l as chime. Dist inct iveuse of color and tact i le markers can help people judgethe depth of a stair, f ind theirway dow n a d im ha l lway ,or see the edge of a counter-top. Of course, legible typeon a glare- f ree su r face isessent ia l , wh ethe r read inga magazine or inst ruct ionson a f rozen food box.

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Case Study: Package Design

Minda GralnekVP/Creative D irector

Target Corp.,Minneapolis, MNMinda Gralnek joined

Target as a creativedirector in 1 990 andassumed her current

position in 2002.She is responsible forTarget's advertising,

branding, marketing,packaging and in-store

communications.

Deborah AdlerClearRx Creator and

Principal DesignerNew York, NY

Deborah Adler designedher revolutionaryprescription bottle for

her masters projectat the School of

Visual Arts. She is nowa senior designer

at Milton Glaser, Inc.

Clarity Isthe Best MedicineA well-designed pill bottle may not cure diseases,but it can save lives. Target's Clear Repackagingsystem, designed by School of Visual Arts mastersstudent Deborah Adler, offers just such a break-through in prescription packaging.

T he pharmaceut ica l industry of ten ta lksabout addressing "unmet medica lneeds," but it invariably means discovering new drugs, not redesigning the package inwhich they are sold. In fact, the familiar roundamber-colored p i l l bot t le has remained vir tual lyunchanged since the end of World War I I ,except for a switch to child-proof caps in the1970s. It took a design student named DeborahAdler at the School of Visual Arts in New YorkCity to question why this had to be the case.

As part of a two- yea r masters pro gram ,chaired by Steven Heller and Lita Talarico, Adlerwas charged with developing a product f romscratch for a "Designer as Au tho r" course. "I t isabout authorship and owning your own stuf f , "explains Adler. The thesis assignment requiredgoing through all the steps of designing a produc tand taking i t to market , including wri t ing abusiness plan and researching manufacturability.

Adler recalls that while she was mullingover "a whole bunch of thesis ideas," her dadhappened to ment ion that her grandmotherhad accidenta l ly taken her grandfather 'smedicat ion. Looking at the nearly ident ica lpil l bott les, she could see how easily sucha mistake cou ld be ma de, especially since hergrandparents, Helen and Herman Adler,had similar start ing names and were on the

same medicat ion but at d i f ferent doses. Thepotent ia l for t ragedy w as chi l l ing to consider.

"I real ized that my grandparents were nota lone in their confusion," Adler says, "and Ithought maybe I 'd redesign the medicine bot t lefor my masters thesis."

Redoing a pil l bott le for a design assignmentwas not a part icu lar ly g lamorous undertaking,

wh ich some o fOverdose:25-34 year o ldsare more l ikely totake more than therecommendedamount o fmedicat ion,comparedto adul tsaged 45and older.

Adler 's teacherspointed out whenthey asked her ifth is was t ru lywhat she wantedto do. It was.

As Adler begandeconst ruct ingthe standardprescr ipt ion drugbot t le , sh ebecame acute ly

aware that it is rife with problems. "The largesttype on the label is the drugstore logo," shepoints out. "The name of the drug often istucked at the bottom of the labelthat's a prettyimpor tan t p iece o f in fo rmat ion . "

Also, numbers are of ten pr inted on the labelwithout explanat ion of what they mean. Crucia lwarning st ickers are slapped on haphazardly,


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R E G I S T E R N O W F O R T H I S Y E A R ' S

E S S & D E S I G N

D E Y O U N G M U S E U M , S A N F R A N C I S C OW hat makes a successful design project? The nation's leading corporateand design experts share their views and provide candid, real- l i feexamples of what worked and what didn't at the second annual@lssue Business and Design Conference, offered by Corporate DesignFoundation. Special next-day op tion : An exclusive "beh ind-the-scenes"tour of Pixar Animation Studios. Go to www.cdf.org for detai ls.

BusinessW sappi
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Sappi Fine Paper North Americ aSappi Fine Paper offers theworld's broadest and finest choiceof coated printing papers. Sappibrandsincluding McCoy,Lustro, Opus and Somersetare known for keeping pace withthe qual i ty demands of advancedprint ing technology. A favori techoice of corporations, publishers,advert isers and direct mai lmarketers, Sappi papers arefrequently specif ied for corporateannual reports, magazines, premium catalogs, advert isinginserts and fine art books. Sappiis certif ied un der the SustainableForestry Init iative (SFI), ForestStewardship Counci l (FSC),ISO 9001 and ISO 14001. Sappiis commit ted to promot ing abet ter understanding of designin business through sponsorshipof numerous industry-relevantprograms.www.sappi .comPaperPrinted on McCoy Gloss Cover100 lb/27 0g sm and McCoy SilkTex t 100 l b / 148gsm.

Corporate Design FoundationCorporate Design Foundat ionis a nonprof i t ed ucat ional andresearch organizat ion w hosemission is to improve the qualityof l i fe and the effectivenessof organizat ions throu gh design.It cond ucts resea rch, developsteaching mater ia l and co l laborates with business school facultyto introduce product design,communicat ion design and of f icedesign into the business schoolcurric ulum . The Foundationalso works wi th facul ty andstudents f ro m business, designand at least one other disciplineto int roduce interdiscipl inarycourses. The Foundation conductsconferences, workshop s, andpart icipates in other educat ionalprograms a bout the role of designin business success.www.cdf .org

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at issue vol12 no1

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