The Harlem office of former President Bill Clinton. The Freddie Mac headquarters in Washington, D.C. The halls of Hollywood’s Kodak Theatre. The Chrysler 300C. What do all of these have in common? They bear the signature of African American designers. Associated primarily with the fashion industry, African American designers have made significant inroads in interior, architectural, automotive, and industrial design.
There are nearly 500,000 designers employed in the U. S. Of that pool, African Americans number an estimated 18,000. A select group has ascended to stardom such as industrial designer David Rice, founder and chairman of Washington, D.C.-based Organization of
Black Designers; interior designer Sheila Bridges, who has created spaces for notables such as Clinton and P. Diddy; and architect Jack Travis, recently named an American Institute of Architects Fellow. But the vast majority of black craftspeople goes unnoticed.
The editors of BLACK ENTERPRISE decided to acknowledge the African American design community as a growing force in America. We surveyed the overall landscape, drawing on the resources of industry insiders, design schools, and associations. The goal: to identify those who best represent both style and substance.
STEVE MCLEOD, EAST LANSING, MI: PRINCIPAL SCM DESIGNS: In a game where every stroke counts, all elements—trees, grass, water, sand—affect playability. When it comes to African American visibility in golf, Tiger Woods may be a rare breed but Steve McLeod belongs to a more exclusive club—that of landscape architects. The 38-year-old draftsman has more than 12 years experience. Previously, he was a design associate at the Matthews Group, headed by third-generation golf course architect W. Bruce Matthews III. While there, McLeod worked on Angels Crossing, a heralded golf course in southwest Michigan. Over the years, the master planner has mapped out 150- to 200-plus acre, 18-hole sites with budgets ranging from $2 million to $10 million. “You may have a site that is flat, has no contours on it. So you have to build features into it.” Golf course architecture is divergent in that it offers aesthetic appeal for spectators and golfers but it’s beset with grueling conditions to test each player. McLeod was in junior high school when his father introduced him to the game. So how’s this architect’s form? He jests: “That’s why I design for handicappers and not just the better golfers.” —CMB
ED WELBURN, DETROIT, VP OF GLOBAL DESIGN, GENERAL MOTORS: Ed Welburn’s crew is receiving rave reviews for its latest creation, the Buick Vélite. The finely tailored, four-seat convertible with its gleaming, shield-shaped grille, will roll out in 2008. A lot is riding on the Vélite as part of Buick’s $3 billion makeover. The company’s goal is to create its own luxury models; comparable to Lexus. Welburn, 54, oversees 600 designers at 11 studios worldwide. As design chief, Welburn is the sixth person in GM’s 95-year history to hold the position and the first African American. He is best remembered for giving birth to GM’s
Pontiac Solstice, Hummer H3, and its Cadillac Escalade. As the world becomes more global and the marketplace more crowded, Welburn focuses on two important aspects: “No. 1 is building strong, well-differentiated brands. No. 2 is having a clear vision of each brand’s character.” —CMB
CHERYL R. RILEY, NEW YORK, ARTIST | DESIGNER, CHERYL R. RILEY: Robin Williams, Denzel Washington, and Morgan Freeman are among the private collectors who can boast about having a one-of-a-kind Riley. Following her mother’s lead, Cheryl Riley, 52, started designing for her personal space after coming across furniture that was aesthetically interesting but poorly constructed or fairly expensive. “When I was a little girl, my mother couldn’t find a sofa that she liked, so she designed one and had it made.” The former advertising executive knew she had discovered her niche once friends and business associates started renting her furniture for photo shoots and stage sets. Today, her custom work, including large-scale murals, can be found in offices, hotels, galleries, and museums, including the Smithsonian and San Francisco Museum of Modern Art. Commissioned pieces have sold from $5,000 to $35,000. Of her design style, Riley notes, “I am very much about quality craftsmanship. I may have eight different craftspeople work on one piece of furniture.” —CMB
J. MAX BOND JR., NEW YORK PARTNER, DAVIS BRODY BOND L.L.P.: Sept. 11, 2001, is etched into the minds of many as one of the most significant days in the U.S. history. As the country moves forward, many of the victims’ families have only the expected World Trade Center Memorial to look to for hope, and in some cases, closure. Enter J. Max Bond Jr., whose firm, Davis Brody Bond, is the associate architect for the 4.5 acre memorial that has an estimated construction cost of $250 million. Bond’s design team
will flesh out and complete the overall plans of chief architect Michael Arad and landscape architect Peter Walker. “We will be implementing their design, solving the problems.” When Bond reflects on the lives lost on 9-11, he says one thing is obvious: its impact is international. “I think it’s important to have some sense that the memorial won’t just be about what happened that day in lower Manhattan, but for people of the world. … How you interpret this in architecture, it’s an ongoing quest.” Bond, 69, is the legendary designer of the Birmingham Civil Rights Institute and the Martin Luther King Jr. Center for Nonviolent Social Change in Atlanta. Bond has linked his design work with an all-encompassing belief in the aesthetic relationship between architecture and culture.
—Anthony Calypso
JAMES MCLURKIN, CAMBRIDGE, MA, ROBOTIC ENGINEER, M.I.T.: Can 2,000 microbots communicate through infrared light the way a remote control talks to a TV set? Yes, thanks to James McLurkin, a 33-year-old engineer who programmed 4.5-inch microbots to emulate the behavior of bees. These microbots have the ability to cluster, disperse, and orbit. The microbots can also allocate into groups, search unexplored space, and synchronize to each other. The key was to implement distributed control, (robot-to-robot), and centralized control, (user-to-robot). Each microbot is able to charge itself and work independently as well as interact collectively. McLurkin, who hopes the robots or at least the technology will travel to the Red Planet someday, served as lead research scientist on the Swarm project for the Boston-based robotics firm iRo
bot. He focused primarily on systems-level design and software engineering, but he also had a say in the industrial design, particularly in human-swarm interaction. For example, the bumpskirt on the side of each microbot resembles the hood line of the Honda Prelude. Another striking feature is three large, spherical lights on top of the microbots that blink. “I was inspired by the Macintosh laptop, when they pulse their LAP power light, to go to sleep. … Information is encoded in the blinking pattern so you know what each robot is doing.” His design philosophy is to elevate engineering to a high art, providing the perfect blend of form and function. “I care very much how things look and the feelings that they engender.” —CMB
MICHAEL J. BLYDEN, LONG BEACH, CA, ENGINEERING INTEGRATION SPECIALIST
THE BOEING CO.: When you talk to Michael Blyden, you get the feeling he’s sitting in his office with a pair of flight goggles dangling off his neck. The 48-year-old recipient of the 2005 Black Engineer of the Year award recalls a childhood trip to the airport where he got to sit in the cockpit of a DC-8 freighter airplane. The experience left his mind soaring. With his feet on the ground these days, Blyden is logging hours as an engineering design integration specialist for Boeing, the world’s top aerospace firm. Blyden’s work focuses on the Boeing C-17 Globemaste
r, a massive aircraft currently used by the military for airlifting operations around the globe. C-17 transport planes can house more than 100 U.S. military paratroopers, large tactical vehicles, missiles, and other military weapons. With an estimated 200 projects going simultaneously, the C-17’s design office operates like a direction clearinghouse, reviewing designs to ensure quality and help solve any technical problems that need tweaking. —AC
COURTNEY SLOANE, NEW YORK PRINCIPAL, ALTERNATIVE DESIGN: Creating environments that tell stories is Courtney Sloane’s design philosophy. This concept is exhibited in the 2,000-square-foot Manhattan high-rise office of former Roc-A-Fella Records CEO, Damon Dash. Dash is known for his big persona and his office follows suit. “It is overpowering for anyone who comes into the space. It is about volume. The scale of the furniture, the seating arrangement, everything was made to make you feel
dwarfed. But there also is a subtle elegance about it.” Blending art deco with modern styles, all elements were custom-designed for the suite, which includes a conference center, showroom, waiting area, and full bathroom. An aluminum “Dash” crest is part of the motif of an 8-foot aluminum and walnut desk with leather pulls. A 13-year veteran, Sloane, 43, has designed and created interiors for BET, Sony Music, the Rock and Roll Hall of Fame, and Queen Latifah. Set design is a recent foray. Sloane created the living quarters for the first two seasons of UPN’s America’s Next Top Model. She recently teamed up with Brooklyn-based retail outlet Carol’s Daughter to design a new home for its bath and body products. “We created a space where you just don’t view the products but experience them as you would in your home.” —CMB
ARQUE DICKERSON, ST. PETERSBURG, FL: ENGINEER, ARQUE DICKERSON INDUSTRIAL DESIGN: Anyone who’s afraid of flying might not notice that a plane’s decor can ease inner turbulence. But indeed, patterns, shapes, and lighting can have a calming effect. Though he’s no Dr. Phil, Arque Dickerson’s work with airplane interiors has a psychological underpinning. His job is to make passengers feel good about their surroundings. “The worst thing you can do is do a design and let things fly apart color and texture-wise.” The 81-year-old Tuskegee Airman and fighter pilot with the Army Air Corp. has been designing custom aircraft interiors since the 1960s. As
a pilot, he also has worked with engineers to redesign instrument control panels. Dickerson’s handiwork is known internationally and includes helicopters, private jet planes, and 747s for Northwest Airlines, Canadair, Boeing, Raytheon, and British Aerospace. —CMB
WILSON W. SMITH III, BEAVERTON, OR, CREATIVE DIRECTOR, NIKE TENNIS & COURT DIVISION: When Serena Williams introduced her infamous “sneakerboot” at the 2004 U.S. Open, Wilson Smith, the shoe’s designer was the talk of the industry. The Nike Shox Glamour SW is
the tennis champion’s first signature shoe from Nike, which Smith, 47, says was about more than a sexy image. “We created a shield … a detachable piece that became a boot that went all over Serena’s leg. I realized the kind of support a boot can give to the calf muscles and prevent injuries during warm ups.” The former architect began his career at Nike in 1983 designing interiors. He rose to stardom at the Jordan Brand, where he created the Air Jordan XVI and XVII. The Jordan Brand represents about 4% of Nike’s $12 billion in annual sales. Smith has infused art and architecture with athletic footwear. “It’s really form follows function, which is the way it is in architecture,” says Smith. As he sees it, each design is expressive—its own masterpiece. —CMBmay 2005 : BLACK ENTERPRISE : blackenterprise.com : top Photograph BY robert hughie
form & function
LAMONT MORRIS, PAWTUCKET, RI, PRODUCT DESIGN MGR, ADVANCED CONCEPTS GROUP HASBRO: It’s not uncommon to find LaMont Morris on the floor of his office, tinkering with the latest Hasbro toys. But his work isn’t limited to child’s play. It also involves sketching ideas, preparing mechanical designs, creating 3-D programs, and building models. The 46-year-old, highly trained industrial designer is credited with the Real Meal Oven from Easy Bake, an upgraded version of the original model that has enchanted young gourmets for
30 years. Morris’ design features a toaster-type unit, rather than the light-bulb heating method of the earlier oven. The design artist also created the Travel Lite Brite picture maker. A renaissance man in his own right, Morris was first inspired by a biography he read as a boy on artist and inventor Leonardo DaVinci: “It totally opened up my whole world.” Charged with coming up with the next lot of innovative toys and games, including electronic gadgets, Morris’ design philosophy is straightforward: “Keep it fun, simple, and safe.” —Sonya A. Donaldson
ALLISON G. WILLIAMS, SAN FRANCISCO, PRINCIPAL | DESIGN DIRECTOR,: Ai: Allison Williams is one of a handful of African American women who have been named an American Institute of Architects fellow. Her latest accolade, awarded in association with Leddy Maytum Stacy of San Francisco, is as lead designer of the $120 million International Museum of Women, a 120,000-square-foot facility that will make its home
on one of San Francisco’s piers. Says Williams, “Defining a museum in a building that had once functioned as a warehouse pier … the potential for how that building’s previous grandeur can be retained and incorporated … is really our challenge.” Williams, 54, distinguished herself in the industry with design leadership work on several large-scale commissions. At present, she is the lead designer of the $33 million African American Cultural Center, an 80,000-square-foot performing arts center in downtown Pittsburgh. Williams says, “Architecture should be an outgrowth of the needs and aspirations of those it serves, and ideally engages in a dialogue with the context of its specific place or site.” —AC
IVAN YAEGER, MIAMI, CEO, THE YAEGER COS.: Remember the classic ’70s series, The Six Million Dollar Man? Amazing what a TV show and a few old-school toys can do. They lit the spark for Ivan Yaeger, inspiring the then-seventh grader to create his first working bionic arm for a science fair in 1979. Today, Yaeger’s prosthetic arm has come a long way from the initial merger of the Erector set, remote control cars, and old appliances. But one thing has not changed:
Yaeger is still working on ways to make it better, stronger, faster. And he has the technology to do it. The arm is unique in that it features an electrically powered wrist that rotates to the same degree as a natural hand. “We wanted to make a limb that could be used in sections so that if someone just needed the hand and wrist section, they could adopt other manufacturers’ products to our design.” Thousands of products based on the Yaeger arm patent have been sold. Still, the 37-year-old scientist hopes to capture a larger piece of the multibillion-dollar prosthetic market. With his Bionic/Robotic Hand Kit now being sold to schools nationwide, Yaeger has the chance to ignite the next generation of inventors and engineers. —SADRALPH GILLES, DETROIT, DESIGN DIRECTOR, CHRYSLER GROUP: Ralph Gilles is the design whiz who is breathing new life into Chrysler’s premium brand. His innovative work on the Chrysler 300C has captured more than 30 awards. Worldwide sales totaled 120,857 units last year for the flagship vehicle, that commands a 33% market share. What’s so alluring about the 300C is its long hood, prominent grille, and low roofline. Its shape is based on the automaker’s new rear-drive architecture. Premium details are the 20-inch wheels and tires, unique chrome appearance, and patented tortoise shell accents. Gilles notes that even the windows are daring. “You see that kind of glass-dividing ratio on a sports vehicle all the time bu
t not on a mass-produced sedan.” Gilles has
served as design director for Chrysler since 2001. He first came to the company in 1992, doing interior work on concept and production cars. The Jeep Liberty, Dodge Viper, and Dodge Magnum bear his signature. Gilles, 35, follows three simple rules: Take risks, keep it timeless, and provide added value. “It is more challenging to do a $30,000 car that looks and feels like a $70,000 one,” he says. What’s next? The Chrysler Town & Country and Dodge Caravans. “Cars are such a fabric of American culture that as a designer, you can literally sculpt the future, and make history that’s very appealing.” —CMB
CHRIS AIRE, LOS ANGELES, OWNER | LEAD DESIGNER, 2 AWESOME INTERNATIONAL: After watching his high-profile clientele sport a Rolex, International Watch Co., or Franck Muller timepiece, Chris Aire established his own upscale line. Designed with jetsetters in mind, his Traveler’s wristwatches feature five time zones and a unique, patented large-face design called the “bouclier” shape. His signature ladies’ and men’s line starts at $5,300 and soars to $125,000 for a chronograph embossed with platinum and diamonds. Celebrity entertainers and athletes are also hot for Aire’s trademarked Red Gold, which the metallurgist invented by blending several alloys to create an autumn rose hue. Dubbed the “Ice Man” by Cedric the Entertainer, Aire has always shown artistic flair. Yet, growing up in Benin, West Africa, he dreamed of becoming an actor or musician. Unable to find steady, paying gigs in Hollywood, Aire went to work at an acquaintance’s jewelry store. He launched 2 Awesome International in 1996 and designs everything from bridal jewelry to custom-made pieces, including diamond dog tags. But make no mistake, Aire, who in his 30s, is about craftsmanship and not just the bling- bling. “I take a lot of pride in my work … making merchandise not just for the famous but for connoisseurs seeking the quality, elegance, and timeless style of fine jewelry.” —CMB