Comprehensive Brand Identity Design for ADDLAB, Helsinki, Finland. Prior to our involvement, Aalto Digital Design Lab was referred to, in speech and writing, as the acronym ‘A. D. D.’ Our recommendation was to move the name away from ‘A. D. D.’, which points towards ‘Attention Deficit Disorder’ and to adopt the new positioning of ‘ADD’ as in ‘addition, additional’ focusing on the ‘Added Value’ design offers. As a tangible result, a new name: ADDLAB, selected ‘ADD’ words, and a positioning text which became the essence of the capabilities brochure copy.
The mission of the A+D is to expose the public to architecture and design, to encourage innovative thinking in these disciplines, and stimulate an awareness of contemporary issues in architecture and design, whether it is to the general public, school children or the educated design professionals.
From 1989 to 1996 I was design director of the design office at Art Center College of Design. In 1989, when I arrived at the design office, Stuart Frolick, then creative director of the ‘d.o.’ handed me a rapidograph and a t-square. I laughed out loud, as he was serious. My studio, since 1985, ran in Machintosh systems. So my task from then on, was to create a contemporary design studio for Art Center and to institute a student internship program to aid with the design of the publications. This catalogue was created with the help of two then recent grads, from the undergrad program at Art Center—Darin Beaman and Chris Haaga.
Rebeca Méndez is the creative director and designer of the visual identity for BANANAS!, and in particular responsible for the asterisk behind the title.
BANANAS! is a documentary film about the disturbing global politics of the banana, the incredible gap between our world and what we call the third world, scientific choices, corporate behaviour, and about the very food we eat.
Collaboration with Ben Frost and photographers Trevor Tweeten and Richard Mosse in the design for AURORA, Ben Frost’s latest release. The design comprises a CD, CD booklet, standard edition LP, and limited edition LP.
BILL VIOLA was published in 1998 on the occasion of the exhibition with the same name, organized by the Whitney Museum of American Art. Whitney/Flammarion Publishers. The book received a bronze medal in the Leipzig International Book Art Fair for “Best Book Design from all over the World.” In the acknowledgements for the book, Bill Viola wrote: ‘Rebeca Méndez, our designer, deserves a special mention. When I saw her initial designs for the Selected Works section of this book, I felt that I was seeing my work brought to life on the page for the first time. She was able to capture the movement and flow in the work in a way no one has done before…’
Architecture and urban design firm Cooper, Robertson & Partners (CRP) was retained by Caltech to develop a series of Master Planning recommendations for the campus that included landscape, systemic sustainability, campus lighting, and graphics and way-finding. Rebeca Méndez Design (RMD) was commissioned to design and develop the way-finding and signage master plan.
The Getty Center for the History of Art and the Humanities is dedicated to advanced research in the history of art. Their scholars ‘reexamine the meaning of art and artifacts within past and present cultures and reassess their importance within the full scope of the humanities and social sciences.’ To represent the notion of reassessment, I chose a piece from the Getty’s collection by Fluxus artist George Brecht that states This sentence is weightless in negative letterforms cut from aluminum sheets.
This book was published in 2002 on the occasion of the exhibition ‘Bill Viola: Going Forth By Day,’ organized by the Deutsche Guggenheim Berlin.
While working as creative director at Ogilvy & Mather, New York, Chris Wall and I created this national print and outdoor advertising campaign for IBM. We had two months to have the entire campaign out in the streets and in magazines, so I ‘curated’ the images of the campaign from fine artists working in photography such as Wolfgang Tilmans and Seaward.
The IBM Brand Book was originally conceived to give IBM-ers internally a better understanding of the role and the value of the IBM brand, and how the employees are stewards of the brand’s continued growth and vitality. It is a personal message – a passport for each of IBM’s 200,000 plus employees – one that is carefully designed to express, in a combination of words, pictures and design, what the IBM brand can be if managed properly.
While I was head and creative director for Ogilvy & Mather’s Brand Integration Group in Los Angeles, Chris Wall and I led the 360° branding for IBM Partnerworld 2002 including visual identity, print and outdoor advertising campaign, event experience design, publications and brand guidelines for all third party vendors.
The International Design Conference in Aspen was established in 1951 as an opportunity to bring together designers, artists, engineers, business and industry leaders for a four day conference in the Rocky Mountains, to feed mind, body and soul. For the 54th Annual Conference in 2004 chairs Christian Moeller and Benjamin Bratton engaged me to design their promotional and event material.
Ogilvy & Mather’s Brand Integration Group (BIG), Los Angeles was hired in 2003 to develop four archetype segments for Barbie brand. My responsibility as lead and creative director of BIG_LA was to direct the design of these ‘all girl archetypes’ visual vocabulary—a lexicon of graphic elements and strategies—to utilize in the creation of an articulate, resonant, and vibrant Barbie brand, one which celebrate each of the four girl archetypes as ‘the girl at the center of her world.’
Book design for artist and theorist Susan Kozel for MIT Press (A Leonardo Book). Susan Kozel is Principal Researcher at The SMARTlab, University of East London, U.K. and Director of Mesh Performance Practices. The book will be out by December 2007. Size: 7 × 9 inches, hard cover, 400 pages.
This publication accompanies the exhibition Suprasensorial: Experiments in Light, Color, and Space, organized by Alma Ruiz and presented at The Museum of Contemporary Art, Los Angeles, The Geffen Contemporary at MOCA, 12 December 2010–27 February 2011.
I designed the CD and LP for Icelandic composer Ben Frost’s new album ‘By The Throat.’
Visual identity design and mural and video installations for the Tsunami Asian Grill Restaurant in the Venetian Casino in Las Vegas
For the second commission at the new Rec Center, Thom Mayne of Morphosis commissioned Rebeca Méndez to create an art installation on four cone-like structures, two of them reaching over 50 feet high and piercing through the roof …
Thom Mayne and his firm Morphosis designed a 353,000 sq. ft. student recreation center on the campus at the University of Cincinnati, which opened on May, 2006. Rebeca Méndez was commissioned to create six murals measuring 9 by 20 feet each to be suspended from the ceiling at the convenience store of the Rec Center…
When I was creative director of Brand Integration Group (BIG) at Ogilvy & Mather, Los Angeles, my team was tasked to evolve Motorola’s brand visual language for global implementation and to launch it through the design of Motorola’s booths for three trade exhibitions: “3GSM” in Cannes, France, “CeBIT” in Hannover, Germany, “CTIA” in New Orleans, USA. CeBIT is Europe’s largest information technology trade show, held every year in Hannover, Germany. It is the premier event for manufacturers to introduce products, showcase innovations and unveil the marketing strategy employed to conquer the market.
360 brand for Motorola’s Motocoder global event in Shanghai, where all their technology partners meet annually to mutually reinforce the business relationship. The project included experience and environmental design, publications, print and web advertising, and motion design.
In 2004, my studio made a heartfelt decision to donate our creative services to ‘Los Angeles Commission on Assaults Against Women.’ We became the agency’s brand stewards and continue to lead them through their re-branding process. The work that follows is what we have accomplished with extremely limited funds, yet with tireless dedication of great men and women who believe that violence is preventable and peace achievable. See Peace Over Violence website.
Joshua Berger of Plazm Magazine invited me to contribute to his next issue, where he asked several artists and writers to interpret the theme “The End of War.” Adam and I sadly realized that there is no such thing as the end of war. Plato himself figured that one out 2500 years ago when he wrote: “Only the dead have seen the end of war.”
The 11th edition of the International Biennial of the Poster in Mexico invited Rebeca Méndez to be one of 100 designers and artists participating in the collection ‘Voices in Freedom.’ Méndez’s artwork, created in collaboration with her life partner and writer Adam Eeuwens, moves beyond political and national boundaries and focuses on the circumpolar flight of the arctic tern, who travels from the North Pole to the South Pole and back again, from Boreal Summer to Austral Summer, traversing 520 kilometers a day, 70,900 kilometers total. The arctic tern lives the most daylight of
any creature in the world.
Méndez recipient of the 2012 National Design Award / Communication Design. The National Design Awards were conceived in 1997 by the Smithsonian’s Cooper-Hewitt, National Design Museum to honor lasting achievement in American design. The Awards are bestowed in recognition of excellence, innovation, and enhancement of the quality of life.
This is a love letter sent to Adam seven years ago when he was living in Amsterdam and I in California. We communicated via email, yet the disembodied language of e-mail and a double distance, not only physically but most importantly a distance in time, woke a desperate and silent attempt of making the writing machine into a sensual machine…
Short film (3 minutes) based on the myth of Orpheus. Shot primarily underwater. Recipient of the RES FEST 1999 award and premiered in Tokyo, NY, Chicago, and Los Angeles.
Curator Amos Klausner commissioned Rebeca to create one letter of an experimental alphabet to be exhibited in Getting Upper at the Pasadena Museum of California Art.exhibition in May 2011. The exhibition shows a collection of 26 silkscreen prints printed at Bloom Press in Oakland. The 26 artists include Lisa Anne Auerbach, Katie Hanburger, Gail Swanlund, and Michael Worthington. Méndez’s artwork for the letter ‘R’ is titled: … … R … R R, 2011. 4 ink silk screen print. 18 × 24 inches. Edition of 100.
With Aaron Betsky and Adam Eeuwens
Identity design for design and architecture firm Standard. Established in1992 as an art and architecture gallery in Venice,California, Standard evolved into an informal collaboration of a small group of architects, artists and writers with shared interests in contemporary art, architecture, and the urban environment. Today, Standard has grown into a multidisciplinary architecture and design practice with offices in Los Angeles and New York City. See Standard website.
While the One Club ‘Pencil’ has been a symbol of the organization for many years, the logo was developed 20 years ago and was designed to represent the most recognizable tool of the trade as well as to symbolize the creative process of art and copy employed by its practitioners.
In 2001, while I was creative director leading the Brand Integration Group at Ogilvy & Mather in Los Angeles, the Taiwanese security software firm Trend Micro came looking for a global brand campaign. I led the creation of the Brand concept, visual language, global advertising campaign, website, and collateral materials.
From 1997 to 2002 my studio RMCD developed a visual identity and publications for the UCLA Department of Architecture and Urban Design. The design solution stemmed from the preoccupations of chair Sylvia Lavin and those of late twentieth-century architectural theory and design, revolving around the issue of time and architecture.
Poster design for UCLA Regents’ Lecturer Nicholas Negroponte 2007. Recipient of a Merit Award from the American Institute of Graphic Arts.
The second I learned that I was going to design a poster for Negroponte, I had the solution in mind—a large black dot. Simple and minimal. The posters printed 44 x 56 inches, on uncoated smooth paper. The black dot was so dark and velvety that seemed like a black hole. The best moment was when artist and UCLA professor Barbara Kruger walking towards the elevators at the Broad Art Center, glanced at the poster, turned around, slowly apporached the poster, reached to the black dot and softly touched it, letting her elevator ride leave without her. The poster was Remixed by artist Gil Kuno (see image 2).
The UCLA extension catalogue for Spring 2005 was spread throughout Los Angeles and beyond in a print run of 270,000. These covers have been designed for the last fifteen years by prominent designers like Paul Rand, Saul Bass, Milton Glaser, David Carson, Paula Scher, April Greiman, etc. We are not only happy to be part of that series, but especially proud of the statement we were able and allowed to make with the cover (Thank you, InJu Sturgeon, creative director UCLA Extension, and the Dean’s office).
Poster for the Hannover World Expo, 2000.