Inside the preservation story of Atlanta's Ivy Hall

May
20
2015

In honor of Preservation Month, we celebrate Savannah College of Art and Design's Ivy Hall. On May 21, 1917, the Great Fire of Atlanta spared one of the South’s rare examples of Queen Anne-style architecture, the Edward C. Peters House, or Ivy Hall after the Peters family symbol. Flanked at the time by a long dirt road, now the busy thoroughfare of Ponce de Leon Avenue, Ivy Hall landed in the National Register of Historic Places in 1971. In 2000, as The Mansion Restaurant, Ivy Hall barely survived another devastating blaze. It took more than fate to intervene and save the house a third time.

“We worked seven years on the process and we were glad to see SCAD come in on a white horse to really save the building,” said Boyd Coons, executive director of the Atlanta Preservation Center. "We stopped the destruction, but we needed SCAD to come in and be the steward of this.”

As Atlantans and tourists may recall, the once grand manor resembled a haunted house until SCAD received it as a donation in 2007. After undertaking an award-winning restoration that involved interior design and historic preservation students, the university reopened Ivy Hall in 2008 as home to SCAD Atlanta’s writing program.

That’s good preservation because it’s not just making a house a museum, it has a sustaining purpose. That kind of use and adaptive reuse is what’s really important. - Boyd Coons

Ivy Hall hosts writing classes and connects students and the public to renowned writers like New York Times best-selling author Augusten Burroughs, Camille Paglia, Pearl Cleage and Cinda Williams Chima. In this way, Ivy Hall’s importance has come full circle.

Another pivotal author, Margaret Mitchell, is said to have based Gone with the Wind’s character Rhett Butler on Richard Peters, father to Edward Peters who built Ivy Hall in 1883. His home lives on as a center for aspiring writers. Quite a journey for what was once considered one of Atlanta's most endangered places.

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Students dive deep into Hong Kong's contemporary art fairs

May
8
2015

Art Week is the most anticipated time of the year on the Hong Kong gallery scene. This international art frenzy brings together a community of artists and art lovers for a series of citywide pop-up events, opening receptions, and art installations. Savannah College of Art and Design used the occasion, and the convergence of Art Basel Hong Kong with the debut of satellite fair Art Central, as an opportunity to promote the city’s promising future as Asia’s premier international art hub.

In the lobby of the Mandarin Oriental, the official hotel partner of Art Basel Hong Kong, SCAD installed twin kinetic balloon sculptures by alumnus Jason Hackenwerth (M.F.A., painting, 2011). The Aries installation took 40 hours to complete and used more than 3,000 latex balloons to represent springtime and the intermingling of Eastern and Western cultures. The bright, whimsical piece welcomed more than 8,000 guests drawn to Hong Kong for Art Basel.

Meanwhile, SCAD partnered with Art Central as the fair’s official university sponsor to provide educational tours and showcase the next generation of talent alongside international commercial art galleries from across the globe. SCAD’s booth featured the artwork of three notable alumni from the school of fine arts: a site-specific silk flower installation by Gyun Hur (M.F.A., sculpture, 2009), a series of backlit lambda duratrans by Michael Porten (M.F.A., painting, 2012; B.F.A, illustration, 2004), and a large format painting by Jonathan Yoerger (M.F.A., painting, 2011; B.F.A., illustration, 2008). Nearly 4,500 guests visited the booth to see the exhibition, which the artists accomplished by collaborating across three time zones.

Porten designed his light-box triptych in Savannah while Yoerger and Hur, professors at SCAD Hong Kong, worked on-site. Then he traveled to Hong Kong before the fair opened to assemble the pieces and assist with the booth’s setup. Contrasting Hur’s contemplative work and Yoerger’s playful painting style, Porten’s artwork digitally incorporated various visual data to play off of the repetition in pattern and color.

The energy of all three artists working under one roof created a buzz among students, who popped in from day to day to see Yoerger’s progress on Cougar Meets Cougar, an acrylic painting on canvas, inspired by animal-print fashion and MCM accessories seen on the streets of Asia. The openness of the booth’s assembly provided a rare forum for students to critique a professor’s work and Yoerger invited their feedback during the painting’s creation. “Watching the piece unfold made the contemporary art fair and overarching idea of painting very tangible and accessible to the students,” said Yoerger.

The students were able to be a part of the process instead of just seeing the finished piece on the walls of the fair. - Professor Jonathan Yoerger

Hur’s installation, A Replication of My Mother’s Wedding Blanket No. 2, also enlisted the help of students. Together they spent 500 hours plucking, chopping, and shredding dozens of silk flowers that were sourced from local flower markets. Fashion marketing and management student Mashal Mushtaq joined the team after seeing a video of Hur’s installation work.

“I thought it would be a great opportunity to experience a project in a real-world environment, and this project is so culturally and personally important to Professor Hur,” said Mushtaq.

 

Born in Korea, Hur migrated to the U.S. with her parents at the age of 13. She believes art is a means to connect with the past and her former self “left behind” in Korea. “One of the greatest things that art does for us is to explore the emotional aspect of ourselves,” said Hur. While completing her M.F.A. at SCAD, shredded silk flowers became an integral part of her practice, representing the impermanence of beauty, joy, and memory. This eventually evolved into emblematic reproductions of her mother’s wedding blanket, which uses culturally coded colors from Korean ceremonial attire. But the act of cutting the flowers means just as much. “The process itself is repetitive, laborious, and simple,” observed Hur. The artist’s parents are typically the ones who help her cut the flowers. This was the first time she shared the process with her students, conjuring an emotionally charged environment in which they could explore the commercial art world.

Overall, Art Central provided students with access to the art fairs and networking opportunities with experts from East and West. Executive director of SCAD exhibitions, Laurie Ann Farrell, hosted insider tours of Art Central and Art Basel, which gave students a deeper understanding of the contemporary art world and introduced them to industry professionals. It was an eye-opening week for all students involved and provided a global stage for interaction with audiences who may one day return to see these emerging artists display their own work.

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Animation captures modern dilemma of digital overload and ADC Award

April
30
2015

Be they images or social posts, videos or emails, staying on top of digital keepsakes can overwhelm. Leave it to digital art to perfectly capture how it feels to tame our digital memories into submission. We face a daily monsoon of data, so we think you’ll relate to this Vimeo Staff Pick. ADC and Adobe did, handing the creators a Silver Cube at the Art Directors Club Awards and first prize at the Adobe Design Achievement Awards. Savannah College of Art and Design students Yeojin Shin (B.F.A., motion media) and Daniel Uribe (B.F.A., motion media), and alumnus Peter Clark (B.F.A., graphic design, motion media, 2014), used a range of motion production tools to combine hand drawn animation, stop motion, illustration and composited effects to bring you Memory Stream. Don’t feel compelled to file, save or share.

Memory Stream from Yeojin Shin on Vimeo.

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SCAD descends on Tybee for Sand Arts sculpting contest
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Adventure to a college Emmy

April
24
2015

How do I travel for free and make this my job? Many ask this question, but Joey Katz (B.F.A., film and television, senior) answered it. Winner of a College Television Award, the Adventure Katz web series is the culmination of two years spent documenting shoe-string-budget trips to Europe, Malaysia, Hong Kong and Jacksonville, Florida. And those are just the episodes in the can. The thing that differentiates Adventure Katz from other travel series is Katz’ mission to inspire his audience to do more than watch.

I hope to create something that will change how we look at reality TV. I want to make something that teaches people how to make their own adventures.

It’s a strategy for attracting young viewers, an audience Katz believes is underserved by reality TV, and he just might get the chance. He is pitching Adventure Katz to producers during a time when networks like Travel Channel want immersive, rugged content.

That’s one hook Katz has going for him. Another is his savvy use of social media to build a loyal following. “When I make a film, I shoot something that’s worth sharing on Reddit,” he said. To promote the episode Wales: MADMAN or Poet? Katz posted an image of the Cader Idris mountain in Reddit subgroups and included a YouTube link to his video. The image received 1.8 million views, persuading thousands to watch and hundreds to subscribe to his channel. In the episode, Katz endeavors to scale Cader Idris and test the legend that climbing the mountain turns hikers into madmen or poets.

Katz’ love affair with filmmaking began in seventh grade when his parents gave him a cell phone. He began shooting and editing videos on the mobile device, eventually graduating to a laptop and professional editing software. After becoming disenchanted with a string of internships as a production assistant, he was inspired by Andrew Wonder, director of the viral film Undercity, to hit the road. He started watching YouTube in 2007, but Wonder’s videos helped him realize he had everything he needed to break out of the traditional production routine. What’s in his bag?

I carry the least amount of gear I can. You need something you can shoot on really quickly. I shoot on the Canon PowerShot S100, a point and shoot camera. Batteries are cheap and if I break it I can replace it. Content is more important than what you shoot on. I carry a lightweight tripod and edit on Adobe Premiere.

True to their commitment to help film students develop projects beyond narrative films, Savannah College of Art and Design professors encouraged him to develop Adventure Katz for his  senior project. That led to a nomination for best reality series by the Television Academy.

So did Katz return from Cader Idris a madman or a poet? Teaser alert: Katz says the trip made him a bit of both. “My video is my poetry," he said. "But it takes both to not know where you’re sleeping for the next few nights.”

Watch and tell @AdventureKatz what you decide.

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Sandcastle like a pro: world champ teams up with students to sculpt Tybee

April
23
2015

Master sand sculptor Ted Siebert’s enormous creations - more than 700 sculptures in 30 years – makes the practice of sandcastling look effortless. But the world record holder knows differently: the tools are simple but the techniques require skilled hands.


A sand castle by Ted Siebert in Cape Town, South Africa. Courtesy of The Sand Sculpture Company.

The misconception is that sandcastling is a lot of fun. It’s hard work. - Ted Siebert


The King's Palace in Kuwait, courtesy of The Sand Sculpture Company.

To prepare Savannah College of Art and Design students for the annual Sand Arts Festival (May 1), Ted brought the beach to the classroom. He’s teaching best practices he developed as owner of The Sand Sculpture Company, like packing, subtractive processes and layout. An authority in a small community of professional sand sculptors, the opportunity to work alongside Ted, also an oil painter, is rare. The students will be able to apply the lessons they learn from Ted to their professional art practices. "The hope is that they'll take these lessons down to Tybee and have more technically adept works," said SCAD foundation's study professor Matthew Toole.


In Ted's workshop, SCAD students learn how to sculpt sandcastle towers, made from 400 pounds of compact sand.

Childhood memories of sandcastling competitions in Cannon Beach, Oregon led Ted to write The Art of Sandcastling and make the world’s beaches his palette. He’ll unveil his collaboration with SCAD students at Sand Arts 2015 in Tybee Island, Georgia. Fittingly, he’ll also judge the contest's Most Ambitious category.

In process, Ted's first sculpture with a university, a collaboration with Professor Matthew Toole's Art of the Spectacle class.

Here are Ted's tips for sandcastling like a pro:

• Use a lot of water. The sand has to be very wet. Bring spray bottles to wet the sand as you work.

• There’s an angle that all sand will stack at. Find it. If you’re too ambitious and try to build something too steep you’re going to have a collapse.

• Pack the sand, then pack again. Compaction is crucial.

• Be organized and sculpt from the top down or the center out so you don’t walk all over your work.

• Use the right tools: sharp knives, straws and brushes. Pallet knives are ideal. Plastic knives are too dull and won’t work.

• Bring suntan lotion.

• Make a plan. If you don’t bring an idea, you’ll waste time shoveling something you don’t have to shovel.

• It’s a collaborative sport. Divide and conquer.

Ted uses compact sand. Some beaches, including Tybee, have loose sand, making it difficult to achieve the height his sculptures reach in places like Asia, the Middle East and Hampton Beach, New Hampshire. If the temporary nature of a sand sculpture doesn't seem worth the effort, consider that winning professional sand sculpting contests can net a sculptor tens of thousands of dollars in prize money.

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Architects will save the planet

April
22
2015

Architecture students, get your super-suits ready. We need you. Other keystone players will also play critical roles in promoting climate change and halting resource depletion, but I’ll stick with the notion that architects are superheroes. You know the ones. We're masked (because few really know who we are, unless we design a big shiny thing in the center of a world-class city), mega-muscled, hyper-focused oddballs who fly straight at the metaphorical meteor and redirect it away from Earth in the nick of time. That’s us.

I teach architecture and urban design at Savannah College of Art and Design. My students are ready to wear the super-suit, and it fits them well. They understand the urgency to design better buildings and cities and see the opportunities to fix our broken environment through mindful design. It’s a sure bet that our emerging architects will change the game. Most of the architecture and urban design students I talk with want to earn LEED credentials before graduating, and, if they’re in my sustainable design class, probably will. They’re also designing beautiful bio-climatic projects in studio to meet the Living Building Challenge, modeling energy consumption and learning about topsoil science and the importance of nurturing healthy urban ecosystems. This isn’t your grandfather’s architecture school.

We now teach and practice creative and integrative design that demonstrates the approach we must all pursue as part of a global solution to resource depletion and climate change.

The urgency is in the numbers. In 2013, 40 percent of total U.S. energy consumption was attributed to residential and commercial buildings, according to the U.S. Energy Information Administration, and that number continues to rise due to growing building size, population and consumption. North Americans still consume three and half times more energy than the global average per capita. Many scientists and policymakers agree we only have a decade to definitively reverse our CO2 emissions before hitting a point of no return. 

The architect’s responsibility is evident in our market impact. There are 5.5 million commercial buildings in the U.S., with a conservative renovation cycle of 30 years and an estimated 15 percent demolition rate during that period, creating a potential retrofit market of around 150,000 buildings each year. Additionally, over a million new commercial buildings will be constructed within that same 30 years. Who is designing these retrofits and new buildings? Architects. That’s a call to don our capes and tights and save the planet. The majority of all renovated and new buildings must be designed for current or near-future net zero carbon operations with minimal ecological footprint, or we could lose the game.

This is a huge opportunity for architects to make better buildings, reduce greenhouse gas emissions, and save the planet. Mindfully designed buildings mean healthier people, happier clients, a robust economy, vibrant cities and healing ecology. Opportunity emerges in specialization, as well. Once you put on your super-suit, what will your superpower be? Designing hospitals that contribute to faster healing? Or schools that inspire better learning and nurture curious students? Maybe today’s architecture students will take a significant step toward moving residential design to high performance, low consumption, healthy environments for families.

If we’ve already reached the tipping point for sustainable design, then today’s architecture students are the beneficiaries of this momentum. To ride this wave, every architect needs to understand not only how to make a beautiful building that will be loved, but also how to make it perform like a symphony of integrated parts—generating more than it consumes, while contributing to a vibrant sustainable economy.

Elaine Gallagher Adams, AIA, LEED AP BD+C, is a professor of architecture and urban design at SCAD. Follow her on the SCAD Architecture Voices blog.

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Preview Fred Spector's furniture collection for High Point Market

April
7
2015

Watch as the owner of Frederic Spector Design Studio shows how he creates award-winning residential furniture. In this demonstration, livestreamed here on Tuesday, April 7 at 5:30 p.m. EDT from the SCAD Museum of Art Theater, Fred Spector takes you inside the design process of collections like Avalon, a bedroom suite to be shown along with his new dining collection in Casana Furniture's showroom at High Point Market (April 18-23). Furniture makers AAmerica and Ligna will also show bedroom collections by Frederic Spector Design Studio at the furniture industry’s largest trade show. The program coordinator for SCAD furniture design, Spector has also worked for Pottery Barn, Restoration Hardware, Williams-Sonoma and Anthropologie. This presentation is part of the School of Building Arts Lecture Series and is free and open to the public.

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Who will Lululemon design for next?

April
2
2015

The downward trend for Lululemon’s sales and reputation seemed to stall with its announcement of a line of pants tailored to the male anatomy. The yoga and activewear brand is likely considering additional strategies for reviving its business, and it just might find answers in case studies by students from Savannah College of Art and Design. Challenged by the Young Menswear Association to develop a new product or marketing tactic to help Lululemon regain its footing, these aspiring leaders of the fashion industry each won $5,000 YMA Fashion Scholarships for their ingenuity. Here are the consumers they believe Lululemon should target next.


The style conscious
Jessica Ferreira’s (B.F.A., fashion) solution is to tap the talent of emerging American designers to revive the struggling brand. In her plan, Lululemon partners with the Council of Fashion Designers of America to select designers who can bring luxury to the high-performance athletic gear, thereby attracting a new base of trend-savvy customers. For example, Jessica recommends the designers behind Proenza Schouler, who are known for their prints. Her sketches illustrate how graphic leaf prints could infuse a Lululemon capsule collection with overtones of Zen and nature.

The plus-sized
Annalise Lao (B.F.A., fashion) created ELEVATE, a high-end, exclusive division of Lululemon, to be offered in sizes four to 24. ELEVATE would integrate plus sizes into a regular line, with clothes designed to flatter the body using high energy prints and cuts that resonate with an urban customer base. In an attempt to reach the global traveler and the growing Asian market, ELEVATE would debut in American Airlines lounges across the United States and with its affiliates Cathay Pacific, Malaysia Airlines and Quantas.

The young
Lindsay Cousins (B.F.A., fashion) chose to target new blood. Her brand extension for Lululemon, Urban Spirit, would appeal to a younger customer base. She designed a collection of yoga garments for this modern customer that would be functional for athletes of all kinds and incorporate performance enhancing materials.

The millenial male
Lulu Warrior is Daniela McIntire’s (B.F.A., fashion marketing and management) answer to the question: "How can Lululemon take a bite out of the big dogs Nike and Adidas?" The menswear concept is geared toward the male customer, ages 18 to 35, who enjoys rock climbing in Norway, zip lining in the Puerto Rican rain forest, and skateboarding in Santa Monica, California. A partnership with retailers like Patagonia and REI would further enable Lululemon to capture these discerning and adventurous sports enthusiasts.

The swimmer
Shaina Levin (B.F.A., fashion marketing and management) noticed that Lululemon was ‘landlocked’ in its approach to personal fitness. To build on the brand’s commitment to the well being of its loyal followers, and recognize the many activities that encompass the lifestyles of modern women, she developed Amphibian. Her collection of exclusive swimwear revolves around a concern for sustainability and the values of the Lululemon brand.

The environmentalist
Nikolas Hakanson (B.F.A., fashion marketing and management) created the Green collection, incorporating sustainability into all aspects of the activewear. From fabrics to styling, and production across the supply chain, this concept would allow Lululemon to position itself as a leader in sustainability.

The androgynous
S / He by Vicky Ma (B.F.A., fashion and fashion marketing and management) incorporates unisex styling and versatile fabrics as a way to tap the trend toward androgyny, while also empowering Lululemon to expand their current level of business with men.

If a lack of inclusivity bedeviled Lululemon in the past then, taken together, these fresh ideas should have the brand covered. 

Hero image courtesy of Neil Hieatt (M.A., advertising, 2011).

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Bienenstock Furniture Library: these chairs have our attention

March
24
2015

When was the last time you felt loved by your chair? It’s a rare expectation from our furniture, but it’s possible. That's because good designers can imbue inanimate objects with human characteristics. The Honest Chair by Eny Parker, winner of the 2015 Bienenstock Furniture and Interior Design Competition, illustrates how this dynamic is achieved with something that we use every day, but rarely notice.

As designers, we should not only appreciate materials, but push their natural characteristics to become something unimaginable. - Eny Parker

The body-embracing curves of The Honest Chair, the first prototype that Eny has manufactured as a graduate student in furniture design at Savannah College of Art and Design, are hard won. Its simplicity masks the difficulty of crafting a compound curve, a wood bending technique requiring the maker to bend Italian plywood in two different directions - one along the grain and the other against it. 

Many cracked sheets of plywood later and the Frank Gehry-inspired chair was born. Here’s how Eny made it:

"The start of my process included sketches made in conjunction with paper models. Design No. 4 was chosen for further development."

"Due to its organic form, shaping the prototype mold by hand was the best approach. I traced the elevations to establish the shape and then cut the foam to its profile using an electric wire, which took many hours."

 

A video posted by @enyleeparker on

 

"Because the bending ply prefers to bend in one direction, pre-steaming was necessary for the compound curve. This was done several times until I found the desirable radius. After several attempts, which included some cracking, an acceptable form emerged. Six layers of bending ply were successfully used for the prototype. After steaming each layer, the pieces were left to dry for the gluing process in the vacuum bag with the mold."

"The chair was then trimmed to the right shape and height. Biscuits were added to create a flush seam between both shapes, while two stainless steel Chicago screws were added on the slim area where the legs meet for support."

The Bienenstock Furniture Library will award Eny a $5,000 scholarship at the High Point Market in April. Eny has a background in interior design, like fellow SCAD graduate student Christian Dunbar, a finalist in the 2015 competition.

Christian’s Arcal Chair is a salute to designer Milo Baughman. His visit to the Thayer Coggin plant during the High Point Market in October inspired the mid-century modern piece. "During the factory tour, I saw a few unfinished chair backs with slots removed from the backs," said Christian. "I thought it would be interesting to design a piece that celebrates slots like those."

These emerging designers will make sure we take our seats more seriously.

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2015 CFDA/Teen Vogue Scholar targets the wild side of streetwear

March
18
2015

Awarded the 2015 Council of Fashion Designers of America (CFDA)/Teen Vogue Scholarship, the collection of streetwear designed by Savannah College of Art and Design sophomore Sang Lim Lee exists somewhere between urban Korea and the untamed Serengeti.

The men’s line evokes the vibrant color, textures and details of the streetwear that Sang grew up seeing in Seoul, and was inspired by a documentary she watched on the Serengeti.

Majestic desert views gave her the idea to stylize the patterns in the desert animals’ coats. The results are youthful prints that are lighter than classic animal patterns and, as applied to Sang’s garments, create streetwear suited for performance and style.

I like the wildness of the Serengeti. It’s kind of like a man’s life. – Sang Lim Lee

It wasn’t just the aesthetics of the environment that informed her design, but the ranges in desert climate. So Sang chose synthetic materials over natural fabrics to provide suitable protection from the elements: cold, hot, rain, sun. Fabric, says Sang, is something that distinguishes Korean fashion from American fashion.

Koreans really focus on details, fabrication and the texture of clothes. I went to a lot of Korean fabric stores, which inspired the look behind my collection. I think that fabric is as important to fashion as silhouette.  - Sang Lim Lee

Ultimately, Sang wants to be a designer who is relevant in both Korean and American markets. One of her biggest influences is designer Choi Bum Suk, whom she admires for overcoming humble beginnings to prevail in Korea’s fashion industry, while establishing a studio in New York. "It’s hard to come to the U.S., but he did it. He didn’t give up," said Sang.

Being mentored by Choi Bum Suk in Seoul and then reuniting with him in the U.S. were key moments in Sang’s developing fashion career, the origins of which took place in the shadows of silk screening machines. She was greatly influenced by her family’s silk screening business and their expertise matching color, graphics and fabric.

Another milestone for Sang was leaving South Korea to study fashion at SCAD, which led to the $25,000 CFDA/Teen Vogue Scholarship and becoming a Target Fashion Scholar. The honor carries a host of opportunities for exposure, starting with a spring break adventure to visit Target’s design team in Minneapolis.

It’s a great start for Sang, who endeavors to learn more about American fashion. But maybe in the process of absorbing the intricacies of a major brand, Sang’s penchant for combining texture and multiple fabrics will rub off on the established designers who teach her.

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