Tag Archives: Shiro Nakamura

Art Center’s Alumni Awards span the Nissan Cube, Airbnb and camel convoys

Nissan's senior vice president and chief creative officer Shiro Nakamura (BS 81). Photo: Nissan

Nissan’s senior vice president and chief creative officer Shiro Nakamura (BS 81). Photo: Nissan

“As much as this recognition sits well with me, it’s also a reflection of this institution,” said Banza Ltd. founder and Product Design alumnus Patrick Kiruki (BS 05) at the Fall 2014 graduation ceremony on December 13, as he accepted Art Center’s Alumni Award in the category of Outstanding Service. “Art Center embodies the true meaning of an education by allowing each and every student to excel in what fires them up every morning.”

Each year, Art Center presents a select group of alumni with the Art Center Alumni Award in a number of categories. This year the College awarded the Lifetime Achievement award to Transportation Design alumnus Shiro Nakamura (BS 81); the Young Alumni Innovator award to Product Design alumna Katie Dill (BS 07); and the Outstanding Service award to Kiruki.

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Art Center in Asia: It Began in Japan

Product Design alumnus Kenji Ekuan (BS 57), second from right, arrives in the United States in the 1950s.

Product Design alumnus Kenji Ekuan (BS 57), second from right, arrives in the United States in the 1950s.

In the latest issue of Dot magazine, we take a look at Art Center College of Design’s long history—nearly 60 years—of connections to Asia. Take a trip with us through time and across the Pacific as we look back in history and forward to the future. Today, we explore the College’s historic relationship with Japan.

In 1956, Edward A. “Tink” Adams, Art Center’s first president, traveled to Japan with Advertising alumnus George Jergenson (BFA 35)—then the director of the College’s Industrial Design (ID) Department—and ID faculty member John Coleman. They had been invited by the Japanese government to tour the country and to share their thoughts on how industrial design could provide a competitive advantage for a nation still early in its post-war recovery.

After returning to the U.S., they filed a formal report containing several recommendations for Japan, including instilling a sense of national pride in products being “Made in Japan”—they cited Nikon’s confidence in placing its name on its camera, “one of the finest cameras anywhere”—and making sure Japanese students fully grasp their country’s rich cultural history. The future designer, it stated, “will learn more…from studying Japanese masters of painting and design than he will from Western art.”

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