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Christie Technology Weaves a Holographic Image of Tribal Storytelling at Tillicum Village

Joe Kleiman
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Cypress, CA, USA (December 10, 2012) — Christie® is bringing the past to life at Tillicum Village, a Native American cultural experience, with holographic images powered by two Christie HD10K-M Series 3-chip DLP® projectors. Using built-in Christie AutoStack™ and Christie Twist™, the projectors cast holographic images onto a Musion screen of a storyteller interacting with live actors and drummers throughout the performance on stage, helping capture unique tribal traditions. Located on Blake Island in Puget Sound, Washington, Tillicum Village and its Long House Theater present the history, tradition and culture of the Coast Salish tribes located along the state’s western border.

The 50-year-old, 450-person wooden theater – complete with dirt stage and 18-year-old soundtrack – needed a complete makeover that included the installation of a new Christie projection system.

According to Maureen Black, marketing director at Tillicum Village, “The theater is magical because of its age and rustic setting, but we needed to bring it up to modern standards. Part of this meant revamping the entire live performance to better showcase the traditions and culture of the Salish community in a way that is more relevant to today’s more tech-savvy generation. We wanted to bring the vibrant and ever-changing nature of native culture to life on stage, and technology would help us do that – but the show had to remain authentic.”

Integration partner Tempest Technologies chose Christie HD digital projectors as part of its 3D hologram system to deliver Tillicum Village’s vision.

“Tillicum Village really wanted to get that ‘wow’ factor in there, rather than just have people performing. When they decided they wanted 3D holographic technology, we didn’t hesitate to steer them toward Christie and its Christie Twist technology,” said Bart Black, audiovisual technology consultant, Tempest Technologies.

“The only way we could achieve the right contrast and align the images perfectly was to utilize Christie Twist. It allowed us to adjust where the images hit on the bounce surface to create a perfect, seamless image. Another important aspect was the tech operators having an easy mechanism to realign the images before each show. With one button, Christie AutoStack allows them to realign everything in 90 seconds without calling a projectionist to the island.”

Christie AutoStack is a camera-based solution and intuitive user interface that achieves accurate blending of multiple projectors. Used in conjunction with the Christie Twist™ warping and blending solution, AutoStack supports various screen sizes and aspect ratios, utilizing screen points for quick geometric calibration. In addition, it supports horizontal and vertical blending, with a live camera preview to aid in quick setup.

“The Christie HD projectors have become part of the magic. Audiences often want to know why the storyteller won’t come out and take a bow after the show! That’s how real he seems on stage,” said Kevin Clark, CEO of Tillicum Village. “By blending the live actors with holographic technology, we get better, richer performances, with great quality and consistency. And the technology allows us to easily update and modify the projected content.”

“The technology Tillicum used before was out of focus and dark and the images weren’t aligned. Tillicum Village is not only excited to promote the venue, but to stand behind the Christie product line,” Black concluded. “There hasn’t been one service call since the show started, and during high season it runs twice a day, seven days a week – we are extremely pleased.”

About Tempest Technologies, LLC
Tempest Technologies, LLC, is a Pacific Northwest based design, engineering and integration firm specializing in presentation, control and unified communication technologies. Since formation in 2003, Tempest has leveraged the extensive industry experience of their team to become a leading integration solutions provider in the Puget Sound region, and across the nation. Tempest provides consulting, design, custom programming, installation and post-installation services for systems found in a wide variety of environments such as boardrooms, classrooms, auditoriums, conference and training facilities, video teleconferencing , network operations and command and control centers. Tempest’s commitment to excellence and their ability to offer clients innovative and cost effective solutions has resulted in successful collaborations with the region’s top corporate, healthcare, technology, government, and educational clients, and has allowed them to become a trusted partner who makes a positive and lasting impact on how these businesses communicate and conduct their day to day operations. Tempest Technologies, LLC places the highest value on developing and maintaining strong customer relationships, and is committed to providing quality products and services that result in complete customer satisfaction and strategic and lasting partnerships. Tempest Technologies is headquartered in Issaquah, Washington. For more information, visit www.tempest-av.com.

About Christie
Christie is a global visual technologies company and is a wholly-owned subsidiary of Ushio, Inc., Japan, (JP:6925). Consistently setting the standards by being the first to market some of the world’s most advanced projectors and complete system displays, Christie is recognized as one of the most innovative visual technology companies in the world. From retail displays to Hollywood, mission critical command centers to classrooms and training simulators, Christie display solutions and projectors capture the attention of audiences around the world with dynamic and stunning images. For more information, visit www.christiedigital.com.

Blackpool Zoo to Invest £600,000 in Updated Home for Orangutans

Joe Kleiman
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Blackpool, UK (December 10, 2012) /PRWEB UK/ — Blackpool Zoo, a Parques Reunidos property, has announced that it will update its popular orangutan exhibit.  Vicky and her daughters, Cherie and Summer, along with resident male Ramon, will move to Chester Zoo whilst the extensive work is being carried out and will return for the grand unveiling of their new living quarters in spring next year.

The ape house, which was originally built in the 1970’s, will initially be tripled in size to make it wider and higher with an upstairs viewing area and extended keeper facilities.

A new, wider external walkway will be developed which will lead upstairs to an open plan viewing area, the ceiling will be much higher and the new house will feature more efficient heating and improved lighting.

The kitchen area, which will now be located on the first floor, will also be larger and include state of the art appliances.

Working in conjunction with zoo animal environment experts Zootech, keepers and management have designed the new layout based around the needs of the orang-utans, with enhanced visitor experience in mind.

The refurbishment is part of a three phase development which will be carried out over the course of the next few years. The next two stages will include the orangutan’s outside area be extended and made higher, a new play area for little visitors being developed across from the enclosure and the gorilla house will also be renovated and expanded.

Darren Webster, Blackpool Zoo’s Managing Director, said: “We are delighted that the planning and funding has been approved for this development and the new facility will be fantastic for our apes.

“Visitors will also benefit from improved views of the animals, which are firm favourites here in Blackpool.

“This is just the first of three exciting stages that will truly change the landscape of Blackpool Zoo and by working very closely with our keepers and Zootech we are confident that everyone, especially our orang-utans, will be delighted with the changes.”

Vicky, Cherie, Summer and Ramon will move to Chester Zoo in January and work will commence soon after. Keepers will have weekly contact with their counterparts at Chester and make regular visits to the orang-utans to ensure complete continuity in their care.

Jude Rothwell, Marketing and PR Co-ordinator at Blackpool Zoo, added: “Our family of orangutans is very popular with our visitors and staff alike and they will be missed whilst they are on their extended holiday!

“I am sure there will be lots of people coming over the Christmas period to bid them farewell and I am sure we will see them receive a hero’s welcome when they return in Spring.”

Blackpool Zoo is open at 10.00am every day of the year except Christmas Day. From Monday 5th November 2012 to February 2013 closing time is 3.45 and last admission is 3.00pm. Visitors can save on admission prices by booking online at http://www.blackpoolzoo.org.uk.

More information about Blackpool Zoo:
Blackpool Zoo celebrated its 40th anniversary on Friday 6th July 2012. It was in 1972 when 3543 visitors attended the launch, which saw TV’s Johnny Morris ride in front of the Mayor’s car on Tower Circus elephant Katsula.

Blackpool Zoo is owned by Parques Reunidos, the second largest European leisure parks operator and a leading world-wide player. The zoo is home to over 1,500 mammals, birds, reptiles and invertebrates set amidst thirty-two acres of mature woodland and lakes.

The zoo’s signature animals include elephants, giraffes, big cats, gorillas, orangutans, sea lions, primates, zebras and kangaroos. It is open every day of the year, apart from Christmas Day, from 10am.

WET Design Headquarters Erupts in Flames

Joe Kleiman
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Burbank, CA, USA (December 10, 2012) — Los Angeles television station KTLA reports on a fire that broke out at WET Design’s Burbank headquarters early morning on Saturday, December 8.  WET Design’s latest projects include the Big-O at EXPO 2012 in Yeosu, South Korea and Aquanura at Efteling Park in the Netherlands.  Both projects were recently named recipients of 2013 Thea Awards by the Themed Entertainment Association:

“According to Los Angeles Fire Department spokesman David Ortiz, the fire was first reported around 3:18 a.m. at the WET Design building in the 10800 block of Sherman Way.

“Firefighters arrived at the scene to find the single-story, 15,000 square foot building fully up in smoke.

“Over 100 firefighters were able to extinguish the blaze after nearly an hour and a half . . .

“Witnesses told KTLA that the fire may have been caused by a car that crashed into a power transformer, sending live wires into the building.

“‘Neighbors who saw it said a car came by careening down the street and hit one of these power poles and knocked the transformer off and it exploded,’ WET Design CEO and Presiden Mark Fuller said.

“‘It was an extremely loud explosion,’ said Charles Brown, who lives nearby and was among those who called 911 when they saw the flames. Other witnesses said they could see, and smell the fire for miles.

According to Fuller, the company’s former headquarters at Universal Studios also succumbed to a fire over a decade ago, causing them to move to their current location across the street from Bob Hope Airport.

“‘My first reaction,’ Fuller said, ‘was thank goodness nobody was in there and nobody was hurt.'”

Newest LEGOLAND Discovery Center Names Management Team

Joe Kleiman
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Yonkers, NY, USA (December 6, 2012) Coming on the heels of one of the metropolitan area’s more unusual job interviews with its recent “Brick Factor” competition, LEGOLAND® Discovery Center Westchester, which opens at Ridge Hill in Yonkers March 2013, today announced the trio of executives leading the tri-area’s newest destination for children and families: General Manager Chris Mines, Marketing Manager Monique Perretti and Finance Manager Charles Graytok.

“Whether it’s a four-year-old building their first fort out of LEGO® DUPLO® bricks or an engineering-minded nine-year-old testing the strength of his or her just-built LEGO skyscraper on our Earthquake Tables, LEGOLAND Discovery Center Westchester will provide children and families with a unique and enriching experience that cultivates creativity in an exciting and safe environment,” said Mines.

Further details on the executive team follow:

  • Chris Mines, General Manager – In the six years prior to joining LEGOLAND Discovery Center Westchester, Mines served as Head of Operations at Madame Tussauds Las Vegas and as Commercial Manager for Madame Tussauds New York. Before crossing the pond, earlier in his career Chris was the Business Manager for all retail at the then known, British Airways London Eye in London. He graduated from Bradford University with a Bachelor of Science degree in History and Politics, and earned his Master’s in Heritage Management from Birmingham University.
  • Monique Perretti, Marketing Manager – A Westchester native, Perretti comes to LEGOLAND Discovery Center Westchester following positions as Marketing and Entertainment Manager at the Empire City Casino at Yonkers Raceway and Marketing Coordinator for Wusthof-Trident of America Inc. She has also worked for several media companies, including VH1 and Track Entertainment. Perretti graduated from Manhattanville College with a Bachelor’s degree in Arts Management and Communications, and is currently pursuing her MBA in Communications & Media Management and Marketing from Fordham University.
  • Charles Graytok, Finance Manager – Charles Graytok started his career with Merlin Entertainments in January 2011 at Madame Tussauds New York before coming on board at LEGOLAND Discovery Center Westchester. Before Merlin Entertainments, Charles worked for various companies in the entertainment industry, including Blue Man Group and Manhattan Theatre Club. He graduated from Wheeling Jesuit University with a Bachelor’s in Business Management and is currently pursuing a Master’s degree in Accounting.

“LEGOLAND Discovery Center Westchester will offer guests a unique experience, providing a fertile environment for creativity and discovery, where family fun and learning go hand in hand,” said Perretti. “I feel privileged to be part of providing a new interactive and educational destination as an option for children and families in the tri-state area.”

“It is a pleasure to be working with a brand that is dedicated to encouraging and providing a platform for children to explore and discover their creativity,” said Graytok. “We are working hard to ensure we provide an experience that families and children will cherish long after their initial visit.”

Recently, the attraction held a two-day competition called “Brick Factor,” pitting metro-area LEGO enthusiasts against one another in exciting and fast-paced building challenges against the backdrop of cheering spectators. The hands-on interview/competition resulted in Putnam County’s Michael Tocidlowski being named and hired as the LEGOLAND Discovery Center Westchester’s Master Model Builder, a full-time salaried position. In the position, Tocidlowski will be responsible for developing new features and exhibitions, building new models, as well as working with thousands of children and families expected to visit the attraction.

For more information about LEGOLAND Discovery Center Westchester, visit www.legolanddiscoverycenter.com/westchester.

LEGOLAND Discovery Center Westchester is a $12 million, 32,300 square-foot indoor attraction featuring more than 3 million LEGO bricks, geared towards children ages 3-10 and their families. Its range of interactive attractions will include hands-on play areas, a 4D cinema, master classes led by Master Model Builders, two LEGO rides, special party rooms and MINILAND — the venue’s signature re-creation of landmark locations and buildings throughout Westchester County and New York City, made entirely out of LEGO bricks.  Follow us at www.facebook.com/LDCWestchester and www.twitter.com/LDCWestchester. LEGOLAND Discovery Center is part of the Merlin Entertainments Group.

Marty Shindler talks about the maturing of 3D cinema

Judith Rubin
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“Stand by as we monitor the maturation of 3D. And when we get there, we’ll look back and say it grew too fast.”
Marty Shindler, The Shindler Perspective

At several industry conferences, including CES, Digital Hollywood and Variety’s 3D Summit, where I have moderated panels on 3D, I have been asked how I would characterize the maturity level of the modern era of 3D. The short answer: It is maturing, but how that is arrived at requires a review of what has transpired in the past several years.

Modern 3D began in November 2005 with the release of Chicken Little. It was a bold move at the time by Disney, Dolby and RealD, but most innovations tend to be that way.

All three companies fared well with the risk they took. The two projection companies, RealD and Dolby, have staked out competitive shares in the industry with their respective technologies. Disney has a significant presence in both the number and quality of 3D movies. Their ESPN sister company has been a leader in bringing sporting events to the market, even before there was much of a market in terms of the installed base of 3D TVs.

Many others have joined the fiercely competitive industry since. Some have won, some have not, and there are many whose success is still to be determined. They range from the other major studios and independents to other 3D broadcast networks, exclusively or on an existing net, and a full complement of equipment providers at all points on the value chain.

Many industries go through various types of growth curves, from start up and nascent to growing and on to maturing and to mature. It is no different for modern stereoscopic cinema.

There are many analogies to be drawn between CGI and stereoscopic 3D, as well as from the introduction of color, sound and other new technologies that have impacted the movie and TV production, distribution (including home entertainment) and exhibition industry segments. (See my article Frenzy in the Third Dimension).

During the various cycles, different companies and technologies enter the picture, so to speak. The supply chain and its related sophistication, or lack thereof at times, involves a wide range of companies, each attempting to eke out a slice of the market for its product or service.
At different times and for different companies or combinations, there are different business models in place at the earliest stages, sometimes to seed the market in order to promote faster growth.

So, what constitutes maturing or maturity? Are we there yet? How will we know when we arrive? Is the answer market penetration, technology sophistication, content ubiquity or even market acceptance?

Market acceptance seems to be a given at this time. 3D movies have achieved enormous success, certainly on a macro basis, with some movies doing very well and others, not so well, but no matter what, the public is generally aware of the product.

Newspaper ads for 3D movies used to include “also available in 2D.” Apparently that was too confusing for some as we recently saw an ad in the LA Times that indicated “available in non 3D.” If 3D has become the default, that is an indication of its progress along the industry’s maturity continuum.

The theatrical exhibition industry is still the driver for all other release windows. Digital cinema is inextricably tied to the growth of 3D stereoscopic cinema. By some accounts, 3D is and has been the primary reason for theaters to convert. At this writing, 3D comprises some 65%++ of total digital cinema deployments. By this standard, on a global basis, we have not yet reached a saturation point. There are still times when there are not enough 3D theater screens available for all of the 3D releases to get sufficient time at the theaters before being relegated to a 2D screen when new 3D releases force the rotation. That is diminishing as studios are better able to gauge the competition and their respective release schedules.

This year’s CES and NAB showcased, once again, the sophistication level of equipment, of various industry companies from the very large and most compelling demonstration of 3ality Technica, as well as others, in various industry segments, from hardware to software and, of course, production services.

We are seeing more and more content being created and the industry has for the last 9 – 12 months spawned several start ups and the continued growth of made for TV content by the established players, all hoping that in due time there will be a sufficient installed base of 3D TVs. From the early days of TV, movies and sporting events were primary drivers. The same held true when color was introduced and again when HD came into the market. Prices for the 3D TVs have been dropping, so before too long the non-early adopter will enter and help to grow the market. It will signal a part of the replacement cycle for TVs, much the way that it occurred in the prior introductions of color and HD.

The cycle will speed up when the general public becomes more aware of 3D TV events. The Superbowl in 3D will help, when/if that occurs. However, just as “also available in HD” was inserted at the bottom of the screen at the start of TV shows, a similar “available in 3D” will push the process along, even if it is subliminal at first. But first, more 3D TV content must be produced for prime time.As the maturation process continues, we will see a bigger and more sophisticated industry. There will also be changing business models as traditional industry economics take hold, e.g. most movies lose money and most TV shows only last for a few years. Companies that seeded the marketplace amidst lower pricing, sometimes at or below cost, will find that not sustainable. In fact, that is a very clear lesson learned from the CGI rollout in the 90s.

So, that raises the question again, where are we on the growth curve for 3D? The industry is well on the way to maturity. It is not in its adolescent phase generally speaking and is well into maturing.

Stand by as we monitor the maturation. And when we get there, we’ll look back and say it grew too fast.

 

Marty Shindler wearing RealD glasses

Marty Shindler is CEO of The Shindler Perspective, Inc. a husband and wife consulting practice with a pedigree that includes a Big 4 firm and a top 5 business school, with additional experience at 20th Century Fox, MGM, Lucasfilm/Industrial Light & Magic and Kodak’s Cinesite. 

Marty may be reached at [email protected]. 

 
Related stories from InPark & partner blogs:


VIDEO: Stephen Colbert at Madame Tussauds

Joe Kleiman
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Washington, DC, USA (December 7, 2012): In this two part video that aired on Comedy Central’s late night show The Colbert Report on December 6, 2012, host Stephen Colbert sits down to be modeled for his wax figure and tours the Washington, DC Madame Tussauds location.

The Colbert Report Mon – Thurs 11:30pm / 10:30c
Stephen Colbert Wax On & Wax Off at Madame Tussauds Pt. 1
www.colbertnation.com
Colbert Report Full Episodes Political Humor & Satire Blog Video Archive

The Colbert Report Mon – Thurs 11:30pm / 10:30c
Stephen Colbert Wax On & Wax Off at Madame Tussauds Pt. 2
www.colbertnation.com
Colbert Report Full Episodes Political Humor & Satire Blog Video Archive

Silver Dollar City In Midst of An Old Time Christmas Festival

Joe Kleiman
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Branson, MO, USA (December 6, 2012) — Silver Dollar City’s An Old Time Christmas festival in Branson, Missouri, continues to gather top accolades, recently being named to USA Today’s “10 Great Places to Put a Spin on Christmas Spirit” and Yahoo Travel’s “America’s Best Places for Holiday Lights.”

USA Today states “Christmas gets a razzle-dazzle makeover at this theme park with 4 million lights and 1,000 decorated trees, including one that’s five stories tall and wired for special effects.” Silver Dollar City was spotlighted on the popular travel sites along with other top travel destinations such as Callaway Gardens in Pine Mountain, Georgia and the Magnificent Mile Lights Festival in Chicago, Illinois. Since its debut more than two decades ago, Silver Dollar City’s An Old Time Christmas has become one of the country’s most recognized events for spectacular lighting and world-class entertainment, profiled as one of the nation’s top holiday celebrations by CNN Travel, The Travel Channel, Good Morning America, AOL Travel, and MSN.com.

Silver Dollar City is open Thursdays through Sundays through December 23, closed Christmas Eve and Christmas Day, and open daily December 26-30. Hours are 1:00 p.m. to 9:00 p.m. most days, with extended hours on Saturdays, including 11 a.m. – 10:30 p.m. on Saturday, December 8 – check the website for exact schedules. Information: visit www.silverdollarcity.com.

It’s "Jingle Bugs" All the Way at the Audubon Butterfly Garden and Insectarium

Joe Kleiman
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New Orleans, LA, USA — On December 8, 2012 Audubon Butterfly Garden and Insectarium will celebrate the holidays with activities and treats for the entire family with its annual “Jingle Bugs” festival.  Admission is FREE for Audubon members.

Highlights include:

  • Guests can test their knowledge of “winter bugs” with the GUMDROP HUNT.  They’ll look high and low for the gumdrops to answer the questions. Guests can pick up game cards in the lobby and turn them in at the Metamorphosis Lab to enter for a prize
  • Visitors can join Santa Claus for a Buggy reading of a local favorite book,Night Before Christmas, in BUG APPETIT.
  • Guests have the opportunity to ample HOLIDAY TREATS all day— such as Peppermint Cricket Bark, Bug Nog and Fruit Fly Cake in BUG APPETIT.
  • Meet SANTA CLAUS. Take your own photo or purchase from Amazing Photos.
  • Meet PUPA NOEL in METAMORPHOSIS LAB–check out his sleigh and 8 tiny “Beetle-deer.”  He’ll be ‘hanging around’ all day.
  • Help trim the tree. Kids, visit the craft table between Hall of Fame and METAMORPHOSIS LAB to make your very own holiday ornament.
Visit http://www.auduboninstitute.org/jingle-bugs for more information.

"The Hobbit" Release Marks Widest Number of Formats in Digital Age in Both Conventional and Giant Screen Cinema

Joe Kleiman
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Production photo courtesy Peter Jackson

Barad-dûr, Middle Earth (December 7, 2012) — December 14th’s release of Peter Jackson’s Lord of the Rings prequel The Hobbit marks the first time during the digital cinema age that a movie will be shown in such a wide range of formats.  In addition to screening at 24 frames per second (fps) in 35mm and digital 2D, the film will also screen in digital 3D at 24fps in both REALD and Dolby 3D formats, IMAX digital, and IMAX 15 performation/70mm (15/70) film.  There will also be a limited number of 3D screenings in both digital HFR and IMAX digital HFR, at 48fps.

Because most giant screen digital cinema technology is based on DCI-compliant conventional cinema tech, this will mark the first time since Disney’s Treasure Planet that a major studio film has played day and date with both conventional cinema releases and the IMAX run of the film (Treasure Planet was released in 2002 in both the 8/70 and 15/70 film formats), on both dome and flat screens.  InPark Magazine has confirmed that in addition to both IMAX digital and 15/70 runs, The Hobbit will play at a number of non-IMAX institutional giant screen theaters using the same projectors used for giant screen films.  These include, but are not limited to, the E&E single 4K projection system at the Kansas Cosmosphere’s Carey Digital Dome Theater, Hutchinson, KS, USA; the Global Immersion dual 4K projection system at the Peoria Riverfront Museum Giant Screen Theater, Peoria, IL, USA; and the D3D Cinema dual 4K projection system at the Putnam Museum’s National Geographic Giant Screen Theater, Davenport, IA, USA.  However, no institutional theaters are listed as screening the film in the HFR format.
Digital IMAX theaters will also show an exclusive nine minute preview of the upcoming film Star Trek: Into Darkness prior to each screening of The Hobbit.

Clive Roux Appointed New CEO of SEGD

Joe Kleiman
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Washington, DC, USA (December 6, 2012) — Clive Roux, an industrial designer and former CEO of the Industrial Designers Society of America, is SEGD’s new CEO effective December 3.

Roux brings significant experience in building and running global multi-disciplinary creative and business groups. Prior to serving as IDSA CEO from 2009 to 2012, he spent 15 years leading creative units for Philips Design, the product design arm of Royal Philips Electronics, The Netherlands.

As CEO of IDSA, Roux led the world’s largest industrial design association from a shrinking membership and financial position to a strong growth track and reinvention for the 21st century. His approach focused on setting clear operational and financial goals, redesigning the budget and strategic planning process to create realistic targets and focus on member needs, adding new and strengthening existing educational programs, and redesigning IDSA’s digital presence, resulting in more than 50% growth in traffic and added member promotion platforms.

“Clive brings an amazing skill set to SEGD,” says Amy Lukas, SEGD President and Partner with Infinite Scale. “We’re thrilled to welcome him to our community and look forward to seeing SEGD benefit from his broad experience in managing business, creative, and marketing functions across the spectrum from a design association to a large multinational corporation.”

A native of South Africa, Roux graduated with a bachelor of technology in industrial design from the University of Johannesburg. He started his industrial design career at Philips’ Eindhoven headquarters as senior designer, large screen television. In 1993, he relocated to Hong Kong as part of a turnaround team tasked with bringing Philips’ portable audio business back to profitability. From 1993 to 1999, as Branch Manager and then Senior Design Manager for Philips Global Audio, Roux developed multidisciplinary design studios in Hong Kong, Singapore, and Vienna, and a satellite studio in India. During this time, he introduced a research-based, consumer-focused, analytical approach to design that gained the trust of the business and trade alike. He was instrumental in defining the visual design language of Philips audio products and packaging and achieving global market-share leadership in four of the seven audio market categories for Philips.

In 2000, Roux became Senior Design Director for Philips Consumer Electronics in the U.S. In this role he supported the development of the Philips brand in the U.S., and was responsible for creating visual communications and websites supporting the introduction of new products and technologies. From 2003 to 2007, he was Senior Director of new business and design research in the U.S., creating a successful sales and marketing function to drive the development of design consulting with companies outside of the Philips group. He also developed thought leadership in the area of retail and a U.S. voice for the global design research team. In this role, he achieved new business growth of more than 100% a year for four years. Roux developed relationships with Fortune 500 companies including Procter & Gamble, Coca-Cola, and General Motors, delivering one of the biggest projects for GM in 2006, when he and a team of 50 completed a demonstration of the potential for future in-car consumer experiences in a fully working car prototype.

From 2007 to 2009, Roux was Chief Marketing Officer for Baumgartens, an Atlanta-based family-owned office products supplier. There, he applied his product management, design, and branding expertise to helping transform the company from a wholesale suppler to a consumer-driven, environmentally friendly brand-led supplier.

Roux will be based in SEGD’s Washington, D.C., headquarters.

“I’m excited to be able to contribute to the growth of SEGD,” says Roux. “ The intersection of communication and the built environment will become even more important in the near future. In the 1990s I did a lot of design research into the future of technology with Philips Design. We predicted smart handheld devices —and smart phones and pads delivered that promise in the early 2000s. It was predicted that these devices would then give way to intelligent environments as we continued to dematerialize our culture. This is one part of the intersection that SEGD represents as the world moves from devices to smart environments.”

“Exciting times lie ahead for SEGD and its members!” he continues. “We have to ensure that we have a stable, effective platform for SEGD to operate on. That is our first order of business for 2013.”

For more information, visit www.segd.org

SEGD is the global community of people working at the intersection of communication design and the built environment.

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