Discussions

Cradle to Cradle Book Review
(as published in our Journal, summer 2008)

Introduction by Kevin Grady & Andrew Smiles

In Cradle to Cradle: Remaking the Way We Make Things, William McDonough and Michael Braungart present a manifesto calling for a new industrial revolution, one that would render both traditional manufacturing and traditional environmentalism obsolete. It's a much-lauded clarion call for both business big whigs and environmentalists alike, so we were a little taken aback upon reading AIGA Book Group member Andrew Child's rather critical review of the influential tome. (In fact, it's so influential that it's been adopted as government policy for building in China, which needs to house 400 million more people in the next 12 years.) Still, Andrew's review brings up some provocative points, whether or not we agree with all of them, so we present it to you here.

What do you think? Let us know in your comments below.

We should all be more like ants.
By Andrew Child

At least, that's the impression one gets from reading William McDonough and Michael Braungart's book Cradle to Cradle. The authors repeatedly hold up the simple ant as a paragon of ecotopian virtue. Ants, the authors note: safely and effectively handle their own material waste; grow and harvest their own food while nurturing the ecosystem; construct their homes, farms and other "facilities" from truly recyclable materials; create healthy, safe and biodegradable disinfectants and medicines; and maintain healthy soil for the entire planet's benefit (pg. 79). What the authors don't mention is that ants can also display the following characteristics:

• Rigid class and social structure in which most females are sterile and denied an opportunity to reproduce
• Erode diversity of species (commit genocide) by decimating arthropods through predation and by causing extinction of native bird species through the elimination of their food sources
• Engage in systematic starvation of competing colonies by denying them food sources and by stealing food from their workers
• Disperse seeds of invasive plant species, thereby threatening native plant species
• Recruit, train and deploy suicide bombers equipped with toxic chemical weapons for attacks against rivals
• Interfere with plant pollination by successfully competing for nectar with ecosystem's key pollinators and by robbing beehives and predating bees
• Enslave and cannibalize the children of competing colonies.

And that's really why the book is such a disappointment.

The authors spend most of the book's 186 pages selectively choosing facts that support their point of view, glossing over real-world trade-offs and exaggerating logical arguments to the point of absurdity.

Do I really need to worry that the rubber abrading off my sneakers will give my child cancer when we go out for a walk after dinner tonight? I don't think so.

Should I be concerned that "recycling" as it's practiced today is really "down-cycling" to lower-quality raw materials with each cycle? Hmmmm, maybe I should.

The problem is that the authors make both arguments in Cradle to Cradle. While I'm inclined to agree with the latter, the former is just so dubious that it (and similarly extreme arguments) makes me question everything else in the book.

Which isn't to say that McDonough and Braungart aren't onto something. The fact of the matter is that I actually agree with most of the underlying principles they espouse. At the core of their book is the simple suggestion that we should try to be less bad (reduce, reuse, recycle) and should, instead, try to be good. We should design our things to be recycled from the beginning - separating organic, biodegradable "biological cycles" from inorganic "technical cycles" to avoid cross-contamination of both. This simple concept would shift the approach of consumer society from one in which products are disposed (cradle-to-grave) to one in which they are recycled (hence the title).

They offer several examples of simple manufacturing processes in which this could work. While the vision is enticing, they never really address complex manufactured goods. Sure, a shoe could be designed in such a way that its base components (organic and inorganic) can be recycled separately. I'm guessing a toaster oven could be, too.

But how about an automobile? Well, maybe. But at what cost? The authors conveniently skip from shoes to a utopian vision of environmentalists and industrialists celebrating new car sales.

Wouldn't it be wonderful if, rather than bemoaning human industry, we had reason to champion it? If environmentalists as well as automobile makers could applaud every time someone exchanged an old car for a new one, because new cars purified the air and produced drinking water?

Sure that would be nice. I'm willing to go on record as being pro world peace, too. But, that doesn't mean either can or will happen in my lifetime.

If cost effectiveness of the 'Cradle to Cradle' concept is given serious consideration, a good starting point might be the book itself. With a jacket price of $27.50 for a 186 page paperback, it's well over twice the cost of the typical paperback on my nightstand. I suspect the reason is because it's not really made out of paper. The authors point out that the (rather expensive) book I'm holding is a step in the direction they advocate, "the design of this...book is to tell a story within the very molecules of its pages." (pg. 71) The book, you see, is actually made of plastic. Polypropylene, to be specific which, in theory, makes it a number 5 recycling plastic.

While McDonough and Braungart assert that this book can be recycled, I checked with my town recycling center and they're not so interested. A couple of phone calls and a lot of Googling later, here's what I was able to determine...

I called the publisher and was told that the book can be "upcycled". Works in theory but, in practice, recycling centers like to recycle containers. Books don't make them very happy and are considered contamination, polypropylene or not.

The fact that the book is made of plastic means that if it isn't recycled, it will probably end its useful lifecycle in a landfill where it will take a very, very long time to degrade. It could, again in theory, be incinerated at high temperatures with the only chemical byproducts being water, carbon dioxide and carbon ash. I'm thinking that's not very likely, though.

Interestingly, the book's manufacturer doesn't pitch environmental friendliness as much as it does the waterproof nature of its books. Apparently, the key sales point seems to be that you can have sex in a hot tub while reading one of these books without - and this is what makes it unusual - damaging the book. Really, I'm not making this up. Go to [http://www.melcher.com] and read the 'About Durabooks' section.

Eco-effectiveness gimmicks aside, Cradle to Cradle does close with some very useful suggestions. The last thirty-six pages, in particular, outline a process in which ecology, equity and economy can be assessed and balanced against each other within the framework of the design process. Broken into five stages, the process is simple and could be easily adapted to print as well as other design media. The book is worth the read for the last three dozen pages alone. If you choose to skip the first 150 pages, just say to yourself, "design to recycle" and you won't have missed much.

Andrew Child [andrewchildphotography.com] is a freelance photographer and AIGA member. When he's not shooting or stepping on ants he participates in AIGA Boston's book group, which meets every other month at the Audubon Circle Restaurant.

Posted by boston in Book Reviews | June 18, 2008

L-R: Stephanie Kates, Lindsey Beaver, Rebecca Holden, Kristen Bernhard, Brian Hourihan, Justin Miller, Dr. Richard E. Wylie (President)


L-R: Dean Mark Town, Amy Grigg, Annie Wilcox, Lindsey Beaver


L-R: Linda Klein (faculty), Rebecca Holden, Lindsey Beaver, Annie Wilcox, Cynthia Roberts (faculty)


L-R: Elijah Gould (AIGA student group president), Amy Grigg, Rick Haynes (faculty)

In December 2007, the AIGA student group at Endicott College released its second issue of the magazine EnSight. Throughout the semester, students meet weekly at Endicott’s Art Center to discuss trends, current events, and concepts for the magazine. They are responsible for the ideas, content creation, layout, design, and production of the total publication.

New Beginnings

EnSight’s development began shortly after Endicott launched its AIGA student group in the fall of 2006. The magazine—created in the group’s infancy—is a testimony to the students’ motivation and commitment to the pursuit of design as practice. The name, EnSight, is a combination of “Endicott” and “Insight”—strategized via Facebook message boards during winter break 2006-07.

“I knew this was a chance to do something different than other clubs on campus. I wanted it to be an organization students would join because of their passion for design, rather than for their resume,” states Elijah Gould, Endicott’s AIGA student group president. “My favorite part of the process is brainstorming ideas… I love seeing new members bring new ideas to the table.”

Cynthia Roberts, Endicott’s faculty advisor, speaks to the EnSight gestalt: “The students are taking on leadership roles, and creating an expression of what they are learning through design. By having ownership to the magazine’s form and content, the students approach the process with integrity—and a sense of authorship.”

Creating a Culture of Awareness

After a successful launch of the magazine in the Spring of 2007, students applied for a college-wide grant opportunity, The Political Awareness Fund, a special Presidential award created as a catalyst to inspire students to increase their political awareness through unique on-campus projects. Through this grant, students develop a growing engagement with the politics and politicians, within the context of contemporary culture.

Gould states: “The grant idea came up after we realized how difficult and expensive it was to publish a magazine… it needed to grow to mature. Being involved in the magazine made me aware of issues facing the world today, and it played a huge part in getting me to vote for the first time.”

“Culture creator”—words that comes to mind when Roberts describes EnSight. “The magazine is a vehicle towards developing a culture of ideas through the design process—a small look into the mindset of students from the twenty-first century. The group had the freedom and support from both AIGA and the grant to express their ideas.”

Process: A Collaborative Approach

EnSight is developed via a mentorship process, driven by upper level undergrads paired with freshmen and sophomores. Roberts describes the mentorship process as “organic,” stating  “we didn’t really plan it that way… it just came together and it seemed to make perfect sense.”

Gould describes the EnSight collaboration: “We all gravitate to what we enjoy, get into groups and just go from there. I feel our relaxed atmosphere and flexibility are what makes us strong… everyone has a say and the younger students learn from the upperclassmen. I try to pair every group working on a spread with a junior or senior to get things going.”

Each group presents a spread for the magazine during weekly critiques. Recently, the group invited their first guest critic, creating an opportunity to view their work through a professional designer’s eyes. Additionally, the student group has doubled in size and the print run for the magazine has increased.

“The students are proud to build something that reflects their sense of creativity merged with social responsibility. This process helps the students realize the possibilities of their relationship to AIGA and to the world… and how that relationship extends beyond the walls of the classroom.”

About the School

The School of Art and Design at Endicott College offers the Bachelor of Fine Arts degree, giving students the opportunity to study Creative Arts Therapy, Graphic Design, Photography, and Studio Art; and the Bachelor of Science degree in Interior Design with an option for a concentration is Sustainable Design. The School also offers Minors in Art History, Music, Photography, and Studio Art. For further information regarding the AIGA Student Group and EnSight Magazine at Endicott College please call Kathleen Moore at (978) 232-2655.

Posted by boston in Profiles | February 1, 2008

The White Rhino core "herd" includes (L-R): Kristen Cooper, Senior Art Director; Richard Ballantyne, Production Director; Amy Forni, Account Manager; Kimberly Cloutier, Senior Art Director; Dan Greenwald, Founder/Creative Director; Pat Elsea, Controller; Jim Call, Vice President/General Manager; Anne Piessens, Director of Client Services; and Amy West, Account Coordinator. Additional Rhino Teri Barrows, Senior Account Manager, heads up the West Coast office. White Rhino also partners with a network of superb freelancers including web developers, designers, photographers, and writers.

In the technology hub of Burlington, Massachusetts, amidst the jungle of office parks, malls, and chain restaurants, the last thing you would expect to see is a creative agency. Situated within the concrete corridor known as "Northwest Park," you will find an unusually bright and shiny metallic sign, a welcome addition on the one-floor modernist building at 42nd Avenue – home to White Rhino Productions.

The location isn't the only thing unique to this studio. Founder and Creative Director Dan Greenwald has managed and cultivated a versatile and experienced studio of forward-thinking creatives for nearly 17 years. Since its inception in 1990 (then called "Daniels & Lord"), the studio boasts recognition for its print, direct, television, and interactive communications by earning Clio, Telly, BoNE, Hatch, and NEDMA awards.

Although White Rhino's clientele is a mix of B2B and some B2C companies, Dan says the agency has a uniquely creative focus on B2B clients. "We do not settle for the typical work that most B2B agencies do, but thrive on marketing complex B2B products and services," says Dan. According to him, White Rhino's team "has the experience and knowledge to understand the most intricate ideas and products."

White Rhino won its first AIGA BoNE Best of Show award in 2001 for their Tru-Fit television spot "Trophomotion" – which also won the agency a gold Clio and a silver Telly. Two more BoNEs were thrown their way in 2005 and 2007 for their HistoryShots graphical prints.

White Rhino's 2007 BoNE award for Best of Show: US Army Divisions in World War II

Further accolades include two gold Hatch awards for their Tru-Fit interactive CD and interactive invitation, and a gold from NEDMA in 2006 for their SAP event promotion "Pizza Box." The SAP "Pizza Box" also went on to become a finalist in the DMA Echo Awards.

White Rhino has been published in Grafik Magazine (2006), Information Design Workbook: Graphic Approaches, Solutions, and Inspiration Plus 20 Case Studies, by Rockport Publishers (2008), and The Information Design Handbook by RotoVision Publishers (2008), for their HistoryShots work. Their "Survival of the Fittest" print advertising campaign for DealerTrack is currently featured on Adsoftheworld.com, an advertising archive and community showcasing the best and most interesting work worldwide.

White Rhino's awards and published work speak to the agency's unique and effective spin on communicating their client's objectives. Their clients include high-tech, healthcare, natural foods, financial services, media and publishing, music and entertainment, and professional services industries.

View White Rhino's 2007 BoNE Show awards:
Best of Show: US Army Divisions in World War II
Rest of Show: Conquest of Mt. Everest

To see more work: www.whiterhino.com
For more information: info@whiterhino.com

Posted by boston in Profiles | December 15, 2007

AIGA Boston is pleased to announce that Elizabeth Resnick has been named the 2007 AIGA Boston Fellow.

Elizabeth Resnick is an Associate Professor in the Communication Design Department at the Massachusetts College of Art, Boston. She holds both a BFA and MFA in Graphic Design from the Rhode Island School of Design, Providence.

Elizabeth is the principal in Elizabeth Resnick Design, specializing in publication design and design for artists and non-profit organizations. She served on the Board of Directors of the AIGA Boston chapter, organizing numerous graphic design lectures and events from 1989-2005, and on the AIGA National Design Education Steering Committee from 2003-2005.

She is a design curator and has organized four large design exhibitions with faculty partners: “Russell Mills: Within/Without” (1991) with Teresa Flavin; “Dutch Graphic Design: 1918-1945” (1994) with Alston W. Purvis; “Makoto Saito: Art of the Poster” (1999) with Jan Kubasiewicz, and “The Graphic Imperative: International Posters for Peace, Social Justice and The Environment 1965-2005” with Chaz Maviyane-Davies and Frank Baseman.

Her publications include “Design for Communication: Conceptual Graphic Design Basics” for John Wiley & Sons Publishers (2003) and “Graphic Design: A Problem-Solving Approach to Visual Communication”, Prentice-Hall Publications (1984). Elizabeth also writes short critical commentaries and event reviews, and has published interviews with prominent designers and design educators in EYE (UK), AIGA Journal of Graphic Design (USA), Graphis (USA), Graphics International (UK), TipoGrafica (Argentina), and IDEA (Japan).

AIGA Boston bases the selection of the AIGA Fellow on a number of criteria, including involvement with the local AIGA chapter and dedication to the graphic design industry not only as a practitioner, but also as a leader and mentor to the community. Ms. Resnick certainly fills all of those criteria and more and she is in good company with past AIGA Boston Fellows, who include Michael McPherson, Nancy Skolos, Clif Stoltze, and Chris Pullman.

Ms. Resnick was recognized as AIGA Boston’s 2007 Fellow at a celebration held at the Massachusetts College of Art in November.

Posted by boston in News | September 18, 2007