Design Division

MFA Exhibition 2010

university of texas at austin

April 17 - May 1, 2010

Creative Research Laboratory
2832 East MLK Jr. Blvd, Austin, Texas

Department of Art + Art History

College of Fine Arts
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The MFA Design program encourages thinking through making or

practice as research*. Based on the idea that knowledge is derived first
through the senses, by handling materials, the MFA curriculum allows
students to develop hypotheses in a studio environment, informed by
both design research and interdisciplinary elective study. A methodology
emerges through a body of work, shaped by structured dialogue among
peers and faculty. 

The work produced by this year’s MFA Design students reveals a broad
variety of cross-disciplinary thinking and research-practice: Cecilia
Riosvelasco de Peña explores, through industrial design, the limitations
of current life cycle assessment methods and tools. Lisa Willman tests
the ability of handicrafts to communicate the stages of trauma and to
help trauma victims process their experiences and interact with the
world. Jacqueline Abreo develops an exhibition design methodology
for critiquing and reinventing museum displays of art. Jessica Mullen’s
hypothesis is that lifestreaming can open up possibilities for community
empowerment. And Jeanne Lambert is investigating the capacity of
book design to draw our attention to the often-overlooked magic in the
mundane.   

As individuals, these designers have set out to communicate messages

of healing, provocation, sustainability, memory and revelation. It is their
hope with this exhibition that each perspective comes together in a
network, pooling strength to break down the barriers between people.

design faculty  design mfa candidates, 2010

Kate Catterall Jacqueline Abreo
Peter Hall Jeanne Lambert
Gloria Lee Jessica Mullen
Daniel M. Olsen Cecilia Riosvelasco de Peña
David Shields Lisa Willman
Riley Triggs

*Barrett, 2007
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jacqueline abreo ₃
cecilia riosvelasco de peña 7
lisa willman 15
jeanne lambert 19
jessica mullen 24
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jacqueline abreo
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jacqueline abreo
Art museums are educational environments where artworks should be
not only displayed but also experienced. By experienced I mean that the
components of an exhibition articulate a clear message to the visitor and
promote a critical discourse about issues relevant to the work. Thus, the
design of an exhibition becomes more about the visitors than the objects
on display.

After studying the work of Francisco Matto in a recent exhibition at

the Blanton Museum of Art, I proposed to redesign the exhibit space
to enhance my philosophies regarding museum experiences. In order to
develop an overarching concept for the exhibition, I carefully analyzed
the artist and his work by reading what others have theorized and
drawing my own conclusions. I was interested in the tension between a
Euro-centric view of art history and Matto’s collection of Pre-Columbian
art. By translating this main idea into architectural, graphic, and spatial
forms, I intended to design an exhibition that is informative yet raises
questions about the artwork and its relationship to broader issues in life.

In the final proposed design I highlighted the dualisms I found in

Matto’s work by categorizing the artwork and dividing the space
accordingly. The exhibition is set up for visitors to make connections
between the pieces and be able to discuss what they see with other
visitors in the dialogue zone provided.
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1
3 everyday
2 mystic

Blanton
Entrance

FLOOR PLAN

local
universal

jacqueline abreo
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jacqueline abreo
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cecilia riosvelasco de peña

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cecilia riosvelasco de peña

The global issue of environmental degradation has initiated a new
discourse within the fields of product design and engineering. It
challenges designers to search for methodologies that recognize the
environmental impact of a product throughout its life cycle. My research
focuses on defining methods that prioritize eco-effectiveness in the
design process, in order to develop a viable and measurable design
practice that is environmentally conscious and sustainable.

One of the main issues in the practice of eco-effectiveness is that of

estimating and evaluating the environmental performance of a product.
To date, most of the available Life Cycle Assessment (LCA) software
is operated by engineers, focuses on a post-production analysis, and
difficult to integrate from the beginning of the design process. This
makes it more complicated and costly to implement design changes
that limit the ecological impact of a product before it is mass-produced.
For these reasons, designers find themselves getting frustrated with
an ineffective, time-consuming method of evaluation. They are apt to
abandon their efforts and simply select a renewable or recyclable material,
hope it is greener than the alternatives and hope that it can be marketed
effectively as a green product, a process that has come to be known as
“green-washing”.

However, even with all its interaction challenges, LCA is still the most
comprehensive and objective tool to measuring the environmental
performance of products. Therefore, rather than reinvent a measuring
method, designers need to integrate LCA into their process, from
conceptualization through production – and use this information
to evaluate a product’s potential ecological impact and inform design
decisions along the way.

My project “Inclusion of Eco-effective Practices” proposes a series of

steps for the seamless integration of eco-effectiveness into the
design process. At each stage the designer can follow this flexible
procedure, which works in conjunction with individual creative
methods while prioritizing eco-effectiveness. The goal is to develop
a system that is simple for designers to use everyday and which could
at the same time provide a means of verification. Demand for certifiable
eco-effective products and design strategies is only likely to increase
in the coming years.

Graphics (pp. 9-14) designed by Emily Sawtelle

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HOW TO ECO - DESIGN

GENERATE
Identify project requirements
given by client, teacher, self, etc. MEASURE
Model in 3D software to determine
Select eco-effective strategies the volume of each component TEST
for each stage of the project’s life
Make a scale model to test the design
Research and calculate product’s SELECT
Combine eco-effective strategies
weight, densities, cost, availability, etc.
with project requirements to
determine design coordinates Select one specific concept based on:

Test and compare the concept in + Initial project’s coordinates

different scenarios: various materials, + Environmental performance
Forecast the product’s life cycle, + Cultural background and the constituents
processes, transportation, etc. using
taking into consideration the you are designing the product for
LCA software
culture you are designing for

PRODUCTION

MOVE FORWARD IN DESIGN PROCESS

REVISIONS IN DESIGN PROCESS

cecilia riosvelasco de peña

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cecilia riosvelasco de peña

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REPAIR/
DONATION

EXTRACTION OF PARTS
MATERIAL LANDFILL:
NATURAL MANUFACTURING SALES USE DISPOSAL RECOLLECTION SORTING SHREDDING
MANUFACTURING BIODEGRADE
RESOURCES & ASSEMBLY

TRANSPORTATION

CULTURAL BEHAVIOR

cecilia riosvelasco de peña

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CASE STUDY > MEASURE

3D MODEL 12

Color�-�coding or labeling each component can help to organize

the bill of materials (BOM) while using the LCA software

RESEARCH & CALCULATIONS

The weight can be calculated with the volume of each component and the material’s density

cecilia riosvelasco de peña

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CASE STUDY > MEASURE

COMPARE DIFFERENT CONCEPTS USING THE LCA SOFTWARE:

Data input to the LCA software Environmental performance concept comparison List of all concepts and comparison

LCA software used: Sustainable Minds

cecilia riosvelasco de peña

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CASE STUDY > CHOOSE 14

CULTURAL BACKGROUND & 1. Mexico has a good cardboard recycling system

CONSTITUENTS’ BEHAVIOR 2. Foraneos (college students coming from other cities) cannot afford expensive desks which are usually heavier and more durable
3. Foraneos move a lot, therefore, a lightweight material would be easier to move along

DESIGN COORDINATES

1. It’s under 1000 pesos
2. It’s easy to transport and move
3. It simplifies the assembly process
4. Do not use materials that damage human health,
ecological health or deplete resources
5. Uses minimal impact materials
6. Uses renewable and sustainable resources
7. Minimizes manufacturing waste
8. Minimizes number of components/materials
9. Reduces the product and packaging waste
10. Provides for ease of disassembly
11. Uses recycled or reused materials
12. Minimizes number of production methods and operations
13. Can be repaired easily
14. Provides for recycling and upcycling
15. Provides ability to biodegrade
16. Provides for safe disposal
17. Uses domestic production and assembly

BEST ENVIRONMENTAL PERFORMANCE: CARDBOARD DESK

cecilia riosvelasco de peña

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lisa willman
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lisa willman
My work explores the use of handicrafts in the expression of trauma.
Practitioners of handicrafts strive for perfection by taking control over
their creations, whereas trauma victims often find themselves feeling a
lack of control and seeking mere survival in the wake of their experience.
This intrinsic dichotomy creates a new platform from which to
investigate both categories.

In the wake of traumatic experiences, the human mind and body are
often faced with seemingly insurmountable hurdles. These extraordinary
physical and psychological pressures can change the way trauma victims
perceive their periphery. To see people, events, and objects through
the eyes of a trauma survivor necessitates a shift in how you process the
world around you. As a user group, trauma victims have a unique set
of needs for maintaining their physical and emotional health as they
attempt to regain control over their lives.

Handicrafts come with their own set of stereotypes and associated

imagery. They are generally associated with the solitary creation of finely
crafted items— objects perceived as being antiquated in nature, that take
a long time to produce, and that are more valuable than mass-produced
items. In undertaking a craft project, one assumes total control over the
materials and design of the piece at hand.

This work delves into the underbelly of trauma and communicates the
distinct views and experiences of victims through handicrafts. The
handicrafts are used to provide a medium with which to probe the unique
complexities of trauma and trauma victims. When a traumatic event
occurs, the level of quality in a person’s life often comes crashing down.
My work is what takes place amongst the broken shards of perfection.
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lisa willman
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lisa willman
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jeanne lambert
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jeanne lambert
“To pay attention is our endless and proper work.”
— mary oliver

All of my MFA Design work—image-making studies, books, and land

art installations—stem from my desire to call attention to the beautiful
and thought-provoking qualities in ordinary things. Through my work,
I strive to provide a place of discovery for others; my methods rely on
play, observation and exploration during the design process itself.

Disrupting preconceptions about objects and images has become an

essential part of my process. For example, my daily practice for one year
involved choosing any object that caught my attention and creating an
image of it using a flatbed scanner or regular camera. After reflecting on
the results of these images, I made another. One image of an object leads
to another, to another… (pg. 21).

While books as everyday objects have served my intentions to expose

the magical in the everyday, they have also become the delivery method
for sharing my work. The book Scan is designed to invite the viewers to
make their own discoveries about how text and image relate. With the
split pages (text on bottom, images on top) the changeable format invites
the viewer to create a playful voice instead of a didactic tone, and to re-
discover possibilities in the mundane (pg. 22, 23).
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jeanne lambert
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jeanne lambert
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jeanne lambert
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jessica mullen
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jessica mullen
My research investigates the potential of lifestreaming as a subversive act,
and proposes commercial applications using the “Subversive Lifestream”
as a method. Lifestreaming is creating a reverse-chronological archive of
the things you do or share online. Subversive lifestreaming is deliberately
sharing aspects of your life online to help you reach your goals. 

Many systems exist in modern society that control portions of your life:
the government, the economy, large corporations, school systems, the
food industry, healthcare. Media, advertising, and political biases make
it hard to know when these systems are manipulating or misleading you.
Choosing a specific life goal to document, measuring your progress, and
talking about it publicly online can make these barriers and systems overt,
enabling you to pinpoint ways in which you can regain control of your
life in an increasingly complex world.

“Subversive Lifestreaming” is one part rigorous self-awareness, one

part community help network and one part regaining control through
behavioral change. The “Subversive Lifestream” gives purpose to what
you do online, allows you to utilize the wisdom of the crowd in a focused
manner, and helps you critically assess issues in order that you might
make well-informed decisions. 


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jessica mullen
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The Design Division / MFA Exhibition 2010 is made possible by funding from the Department
of Art + Art History in the College of Fine Arts at the University of Texas at Austin. A special
thanks to the Dean and Senior Associate Dean at the College of Fine Arts; Doug Dempster and
Ken Hale as well as Department Chair for Art + Art History, John Yancey. In addition, I would
like to thank kt shorb, Graduate Coordinator, for all of her support and Graduate Advisor Daniel
M. Olsen. I sincerely welcome all of the graduating MFA students to our creative community
and wish you the best of luck in all your future endeavors.

- Xochi Solis, Creative Research Laboratory, Assistant Director

published on the occasion of:

Design Division / MFA Exhibition 2010 / April 17 - May 1, 2010
creative research laboratory y university of texas at austin

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Images and text provided by the MFA Design candidates/designers.

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copyright 2010. all rights reserved.

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Spacing Around Wordmark

No part of this publication may be reproduced in any form or by any electronic means, including
information storage and retrieval systems, without permission in writing from the Department of
Art + Art History, except by a reviewer who may quote brief passages in review.

Creative Research Laboratory is a site for contemporary art and design, providing a year-round schedule
of exhibitions and community programming by students and faculty in the Department of Art + Art History
at the University of Texas at Austin.

Located at 2832 East Martin Luther King, Jr. in Austin, Texas, the Creative Research Laboratory fosters
collaboration among students, faculty, visiting artists, alumni, and the broader community to provide
innovative educational experiences.

design by kelly cree