mauk design brochure

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M I T C H E L L M A U K

Mitchell Mauk is Principal of Mauk Design, which he

founded in 1986. His philosophy is that ultimately, an

environment or exhibit needs to tell a story.

The space and its architectural features, as well as audio

visual interactivity, etc. create a dimensional narrative

that should express a client’s mission and vision and

the attributes of its innovative products. Our job is to

create a vibrant sensory experience that makes that

story clear, compelling and meaningful.

To this assignment, Mauk Design brings its expertise

in both two- and three-dimensional design to deliver a

design program that realizes our dictum: “Fill the mind;

not the space.”

Mauk Design is guided by the conviction that design

is a powerful tool of communication and influence; a

strategic asset that directly serves the objectives of our

clients. We also believe that effective design rests upon

an in-depth understanding of our clients’ business

needs. Our most important task is to communicate to

your customers who you are, what you do and what

makes you unique.

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M c D O N A L D ’ S W O R L D W I D E

C O N V E N T I O N

As Mauk Design’s largest project yet, the McDonald’s World Wide Convention brought on

a major opportunity to assist with multiple aspects of the franchisee show. Beginning with

the 750.000 sq.ft. floor plan layout, the designers were also responsible for all the common

areas, including the branding of two main lobbies, eating areas, a large center stage, meeting

places and bus signs, along with many large corporate exhibits.

Restaurant facades from three areas of the world.

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M c D O N A L D ’ S W O R L D W I D E

C O N V E N T I O N

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Final floor plan design for Orlando Convention Center.

Preliminary floor plan designs.

F L O O R P L A N D E S I G N

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Fundamental to the McDonald’s brand is the concept of building your restaurant employees,

an idea that becomes the central inspiration to the People exhibit. Attendees first encounter

the wall of spinning employee photographs, and then enter into a theater presentation through

the people portal. Two branches of display cases curve around a central space to create a

glowing ring of information. At the center of this area sits a crew lounge prototype, as well as

meeting places and portals for additional presentations.

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The Future’s exhibit symbolically marked the end of the shows’ major axis, as its vdominating

presence attracted Owners and Operators to learn about the future of the brand. Mauk Design

took advantage of the prime location with an 18’ project screen lens framed by three silver

ovals, a very dramatic statement about the vision of future. Contents of the exhibit include a

full size restaurant and kitchen, physical models of restaurant layouts and renovation options,

as well as an array of recently released equipment.

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The Place and Promotion exhibit is comprised of five

distinct areas that function together to tell a story. A

layered cut-out letter wall reveals glimpses of the booths’

contents to attendees, while dramatic walls divide the rest

of the spaces inside.

Areas include an entrance theatre with a sound

and light show, Areas of the World studios for selection

of new restaurant designs designated by region, a retail

experience quiz game, an area to promote digital use of

modern social networking media, and the family experience

area to familiarize franchisees with all McDonald’s has to

offer families and children.

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The Operations Excellence exhibit was inspired by the use of

fluorescent yellow highlighters to mark up documents. The

arrow also becomes symbolic in measuring changes of company

operations. Printed graph paper carpet is used under the

restaurant portion of the exhibit to show the future planning of

the kitchens in McDonald’s restaurants.

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M c D O N A L D ’ S I N N O V A T I O N

P O R T A L

The challenge of the Innovation Exhibit was to excite and entice McDonald’s franchise owners

to see the McDonald’s Innovation Exhibit.

The mandate was to create a portal wall that would only hint at the future to come,

without use of the golden arches or McDonald’s name. Inspired by mylar skins of high altitude

balloons, the 95’ portal wall consisted of 1,500 feet of mylar film, which came in a box the size

of a large suitcase. As a result of the intriguing design, the exhibit was attended by 85% of the

attendees and was ranked as the most memorable in the show.

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At The American Academy of Neurology, Acorda Therapeutics showcased this exhibit for the

introduction of the Multiple Sclerosis drug Ampyra to the neurological community. Ampyra is

shown to improve walking speed in MS patients. A game area on the corner served to draw

attendees in, while 5’ square multi-touch screens provided complete drug information.

While participating in the timed 25’ Walk through the center of the exhibit, health care

professionals matched the moving video footprints to experience the significant improvement

in walking made by a slight improvement in walking speed. Motion graphics for the walk

appeared on seamless plasma screens.

A C O R D A T H E R A P E U T I C S

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E X H I B I T F O R B I O T E C H N O L O G Y

C O M P A N Y

Designed for a company that discovers, develops and delivers innovative human therapeutics,

this exhibit was intended to educate health care professionals on the roles of specific receptors

in chronic disease. As a disease state exhibit, its purpose was to communicate the process of

the disease for educational purposes. Attendees entered into a clinical looking cube, and were

transported into an infinite body occupied by floating cells, molecules and receptors. This

provided an experience of entering the human body to view the ongoing cellular processes

that characterize the disease. Inspired by state of the art science museums, the cube shape

utilized every square inch of the 400 square-foot space.

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E X H I B I T F O R B I O T E C H N O L O G Y

C O M P A N Y

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H E I D E L B E R G E N G I N E E R I N G

Heidelberg Engineering asked Mauk Design to capture the attention of neurologists from

all over the show floor by gathering inspiration from the primary subject of their corporate

research, the human eye. To contrast with the majority of white healthcare exhibits, black is

used as a background for the bright color projections.

Heidelberg Engineering is a company based in Germany that makes optical products

to track the development of Multiple Sclerosis. The exhibit includes eight floating lenses made

of inflated vinyl. Six projectors focus on the lenses to create moving images that reveal disease

progression on the back of the retina. Glowing frosted plexiglass fences guard the product

displays while grounding the rest of the booth. The lenses are constructed with an extruded

aluminum frame which holds three disparate layers of materials; vinyl, rear projection material,

and another layer of vinyl.

The exhibit effectively communicated the core messaging in a unique and visually

impactful way, which helped to nearly double the prior year’s number of leads.

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A P P L E C O M P U T E R

Apple Computer’s indestructible corporate exhibit had racked

up high setup and high tear-down costs as well as expensive,

cumbersome freight and drayage logistics. After six years of

nonstop use, the exhibit had become over messaged and the

company needed to reduce costs. It also sought an updated

image to reflect the company’s changing objectives and to

achieve a more commanding show presence.

Apple engaged Mauk Design to reinvent the exhibit,

taking an tired exhibit and transforming it. By using most of

the primary system components, Apple recycled existing

parts in its redesigned booth while adding an additional five

years of booth life.

After

before

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S O L A O P T I C A L

When eyeglass lens manufacturers Sola launched a new optical coating for lenses using Teflon

at the vision Expo West trade fair, Mauk Design was asked to create a striking exhibit to attract

attendees. An 18 meter long vinyl model of the Teflon molecule drew attention from across the

show floor to celebrate Teflon’s contribution to the optical industry.

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N A S A E X H I B I T

Celebrating 50 years of peaceful space exploration at the 62nd International Astronomical

Congress in Capetown, the NASA theater revealed specific glimpses into the extraordinary

accomplishments of space flight.

Two major voids sliced through the white NASA cubes and were filled with large

space images. The general form was inspired by the standard aerospace buildings, which are

where these space craft are created. Graphics emphasized the scale of discovery, and cut-

outs featured NASA’s greatest hits: Mars rover, Hubble Telescope, Saturn, International Space

Station and more. Space mission posters were displayed inside, and a massive close-up of the

moon on the outside wall called attention to an actual moon rock sample.

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N A S A E X H I B I T

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V O L K S W A G E N E X H I B I T

Our idea was to go beyond kicking the tires by adding another level of fun and intelligence to

the exhibit without adding more dollars. The exhibit used low tech interactive displays, simple

video, clean shapes and straight forward finishes to accomplish an elegant yet fun experience.

The exhibit reused a great deal of existing material, emphasized the engineering

quality of the German company, while also keeping the cost low. Using a more restrained color

palette for the exhibit allowed the color of the cars to shine.

To highlight the variety of car color options, bowling balls were painted and mounted

on bearings which allowed them to be spun. These hung above the selection of fabrics, where

attendees were invited to slide fabric samples along the rail to match the exterior paint colors.

A wall covered in personalized rear-view mirrors brings humor to the show floor. lifestyle

hardware filled the exhibit with hopes to appeal to a youth market, a key example being the

displays of factory wheels which sit on blue skateboard wheels.

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D U N C A N A V I A T I O N

Corporate jets are precious objects in many senses: what they carry is valuable, and they are

complex and costly to service and operate. Employees at Duncan Aviation are specialists in

maintaining business aircraft, work that must be done skillfully by very rigid deadlines.

As a company that has worked with Mauk Design from the very beginning 25 years

ago, Duncan Aviation has provided the design team opportunities to create exhibits, branding,

collateral and packaging. Mauk’s success with Duncan is very much about making simple ideas

work: ideas like confidence, people skills, and time management. The depth of understanding

between client and designer has made it possible to express these ideas in a highly original

formal language, one which communicates well in it’s context.

The first exhibit done by Mauk Design for Duncan Aviation contained a photo gallery

of hand-tinted black and white photographs of Duncan employees. Each employee signed the

dominating black airfoil pylon, which created a sense of verticality in the exhibit.

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As the second exhibit designed by Mauk Design, it became very important

that the booth highlighted the talents of the staff and their expertise in

time management. The design consisted of an entrance portal, shaped like

a vertical aerofoil, and a conference enclosure behind.

The entrance portal was covered in portrait photographs of every

Duncan employee, and the conference enclosure with a series of clocks.

The employee portraits were a great success. For the first time some

aircraft owners and managers could see who their Duncan contact was,

which succeeded in making the company human to its clients.

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In an effort to design an exhibit that would stand out amongst multi-million dollar jets while

also emphasizing the people of Duncan Aviation, Mauk Design rose to the challenge and

created something dramatically different than the rest of the show.

Aircraft service is by and large a function of many hours of work by highly skilled

employees. The third Duncan Aviation exhibit by Mauk Design sits under a dramatic canopy

of 5” x 7” portraits, each a different photograph of Duncan’s 2,200 employees. This reflects

the values of Duncan, as it is all about putting the people who work on the aircraft front and

center. A glass and stainless sculpture in the middle of the exhibit drew attention to the logo,

which has become instantly identifiable in their industry.

The main desk was crafted by Duncan’s cabinet shop and speaks to their level of

fabrication excellence used in the jet interiors. The wall standing behind the desk uses a

pattern from the actual map of aircraft flight corridors over the US.


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A T & T E X H I B I T P R O G R A M

The challenge of the AT&T Exhibit was to create a functional and flexible system to last a

minimum of five years in the constantly evolving field of technology. Without appearing

modular, the design had to work well in multiple configurations while successfully adapting to

upcoming products and future uses.

The main focus became the “Super Kiosk” which could be arranged to be used as a

demo station, a presentation area or a video wall. Both the client and design team wanted to

occupy a minimal carbon footprint with the exhibit. Aspects that contribute to lowering the

carbon footprint include the use of lED lighting, recycled steel, partially recycled fabric, and

environmental laminate.

All signage is video screen based which eliminates use of printed signs to be discarded

after each show. Overhead space is defined by a bright “Network of Possibilities” sphere,

which contains internal animated lED lights that attract attendees from across the hall.

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O . C . T A N N E R

A company known for their employee recognition programs, O.C. Tanner needed an exhibit

that would simply delight.

The entire booth was a series of moving icons that rocked back and forth, spun, popped

up and down, and rotated. This movement was a metaphor for the way a well motivated

workforce works together. During the presentation, the speaker described what happens if

your employees are not motivated, throwing a large blade switch (think Frankenstein creation),

causing the entire moving exhibit to stop dead. Over the course of the few days of exhibiting,

the company collected 2,200 leads, which was a 37-percent jump from previous counts.

“I have had so many positive comments about the

design since we unveiled our new brand in Chicago.

When I traveled to other Human Resource shows this fall

I heard fond remembrances of those HR folks who were

in Chicago and came to our booth. They consistently

said it was a remarkable design. So Mitchell you have a

lot to be proud of with your design efforts.”

Cordell Clinger

Convention Manager

O.C.Tanner

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Sunbursts spin...

people grow...

hands clap.

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A D O B E H E A D Q U A R T E R S

Adobe is one of the world’s largest software companies, and although its headquarters

building is architecturally distinguished, it had little of Adobe’s visual DNA. Mauk was

asked to bring Adobe’s brand to life in the main entrance space. The mural is simply

the color swatch palette from Adobe Illustrator, enlarged to 20 by 25 feet. like a

stained glass window in a cathedral to technology, the mural spreads a pattern of

coloured light over the entrance hall interior by day, and is illuminated from behind at

night. It becomes a gentle and elegant reminder that the company’s products bring

creativity into people’s lives.

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I N T E L R U N N I N G M A N E X H I B I T

Siggraph is all about speed and performance, and Intel needed a highly visible presence in this

highly visual event. One of the teams first tasks was to do away with ‘the neutral image Intel

had presented in the past,’ Mauk says, ‘instead, speed became a marketing objective.’

The ten 20-foot high ‘polygon people,’ five male and five female, shown accelerating

around the exhibit were based on studies by Eadweard Muybridge, who is known as the

pioneer in using photography to study motion.


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One-hundred-two polygon person accelerating to sprint.

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P L AY S T A T I O N E X H I B I T

For the PlayStation exhibit at the E3 electronic games show, the original concept model (right)

is made from a single piece of cardboard. Appearing as a fantasy structure that attendees

would imagine to find in a video game, the final construction of the exhibit reflects the same

simplicity and ideas of the first conceptual model.

Conference rooms promise something more than a meeting.

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The faceted design of this Playstation exhibit is based on Japanese origami and robots. The

triangular fabric planes interconnect with the inflated spherical theatre, which was the first of

it’s kind to be used in an exhibit. It had an inner balloon of rear projection screen, and a clear

vinyl outer balloon. Inside were five massive rear projectors cooled by liquid nitrogen.


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C E R A M I C T I L E S O F I T A LY

For a small display with the AIA in Denver, red fabric banners hung like tapering pyramids.

Underneath these, red boxes highlighted individual tile collections and helped to frame a

video screen presentation area. Because tiles are very small objects by themselves, Mauk

Design realized the importance of focusing the attendee’s attention to each tile. The formal

architectural language of the exhibit was inspired by dramatic roman architecture, and the

bright red embodies the color of Italy.


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M A R B L E R E G I O N S O F

I T A LY E X H I B I T

The challenge for the Italian Trade Commission Marble Center

was to attract the attention of architects, ensuring that they

would fall in love with the material. Attention was focused on

the marble by laying out 80 distinct samples in the shape of a

nautilus shell, following the Fibonacci spiral. Samples floated

on a nearly-invisible steel frame that rose slowly from knee

level to eye-level.

The spiral path led architects to the center of the

spiral, stopping to gaze at the beautiful marbles and then

retraced their steps back out, reinforcing the experience.

Because the marble was treated in a jewel-like manner, the

30’ x 40’ exhibit weighed less than 2,500 pounds.

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H E R M A N M I L L E R

N e o C O N S H O W R O O M

Herman Miller asked Mauk Design to create a showroom for their new BE collection of personal

office accessories. The challenge was to ensure architects and designers would notice these

small accessories, and understand their stories. Shear white fabric walls were rear illuminated

to contrast with the rectilinear forms used in most furniture systems.

One of the main displays of the exhibit are the C2 Personal Climate Control units,

which are placed in front of a thermochromic film that visually shows the temperature changes

by the products. After the show, most of the showroom was shipped to be reused in other

showrooms.

Color, material and Fabric Display

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H E R M A N M I L L E R

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thermochromic Film

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1 0 1 S U R F S P O R T S

Mauk Design has a history of branding many companies from their origination, but the

101 Surfsports Shop in San rafael presented an opportunity to design all aspects of

the store, from logo to interior, to vehicles.

Taking an environmentally friendly stance for a store that is all about enjoying

nature through water sports, the use of cardboard tubes became a metaphor for the

ocean. A wall of circles with different diameters represents bubbles, and walls of long

horizontal tubes to support boards that symbolize waves. The store is designed to

show off the bold colors of the products, keeping to a gray scale scheme for everything

except the cardboard tubes, which are painted in four bold colors across the store.

101 Surfsports logo is a simplified version of the highway sign that leads

customers from the store to the best surf spots of Northern California. The top of the

logo forms a scene of waves.

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R O C K S H O X

In the exhibit for Interbike, the product is placed in a metaphorical mountain valley, where

bike fork shocks run over rocks (mounted on a conveyer belt) using real motion to attract

the crowds. Elsewhere, transparent bikes were used so that the forks and seatposts would be

simply but clearly emphasized. Each of the four corner pyramids holds conference spaces and

storage for the booth.


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R E Y N O L D S C O M P O S I T E S

reynolds Composites manufactures carbon fiber bicycle wheels, tubing and bike components.

To stand out at the Interbike show, Mauk design made an exhibit that was as simple as possible.

To save money, the client built the back wall frame out of leftover carbon fiber tubing. One

person could lift this 38’ x 16’ wall.

Wheel sets were the only products displayed and they all rotated on their displays,

bringing an element of motion to a product that is all about motion. The result was a display

that spoke to the soul of a bicyclist as well as bringing a certain amount of poetry to a macho

product.

“A clear powerful statement of our product and its

application that changed the perception of Reynold’s

Cycling in the eyes of our competitors, our customers and

even our employees forever. Mauk’s vision is genius.”

Cort Larned

CEO, Reynold Composites

the carbon fiber backwall frame.Wheels rotated in their display, while being easily removable.

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M A G N E T O B A C K W A L L

Designed as a prototype to replace typical pop-up back walls of 10’x10’ exhibits, Mauk Design

worked through a series of physical models to discover the most elegant and functional

composition possible. Inspired by the internal lattice of the human bone, the design has

maximum strength with minimum mass. It is produced out of 1/4” milled polypropylene

sheets with live hinges and embedded Neodymiun magnets to allow for assembly of the

modular parts.

The Magneto wall is extremely durable, as the material is made from recycled milk

bottles. At the end of it’s service life, the wall becomes 100% recyclable. Easy enough to be

assembled by a single person, the photographs below show how lightweight each piece is, as

well as how simple it is to construct.

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I want you to know that the team did another exceptional job in the

execution of the exhibit. The new property was a hit…and was fresh

representation for Apple, standout at the show, and a hit with the

audience. I heard positive comments from every turn.

Thanks to the entire team. This was a big one, with many new

wrinkles and twists. Well staged, and well done at a time when the

spotlight was “ on” Apple for #1.

marva Whalen

Apple

Event Marketing Department

Congratulations again on another fantastic exhibit for Duncan

Aviation! I am very pleased with the results.

Robert Duncan

Chairman of the Board

Duncan Aviation

Just wanted to drop you a quick note to again commend Duncan

Aviation on one of the best booth designs at National Business

Aircraft Association show.

Warren E. boin, Jr.

Senior Vice President

Signature Flight Support

The booth is AWESOME! I’d say it’s the best/most original one on

the floor. The white just stands out. Great job, marketing, design,

and Mauk!

Samir Arora

CEO

Netobjects

Just a small note of my appreciation of you and your team’s efforts

on SIGGRAPH. The show was a fabulous success for Intel! I hope to

work with Mauk Design again. Thank you!

victor torregroza

Intel

Event Program Manager

On behalf of the Sony Corporation, I’d like to extend our great

appreciation and sincere thanks to you and the members of the Mauk

Design team for helping make the show such a success for Sony.

This project was undertaken on very short notice and was

complicated by the requirement to work with various Sony divisions

spread across two continents. You rose to the occasion brilliantly and

demonstrated fast turnaround on our requirements. The attendees’

positive response to our exhibit was evidenced by the fact that the

exhibit was always packed with enthusiastic crowds.

My team greatly enjoyed working with you. Once again, thank you

for your hard work, dedication, and creativity. You demonstrated the

spirit of Sony.

Dick komiyama

President

Information Technologies of America

Sony Electronics

WOW!!!!! You guys did a phenomenal job on CES. In terms of our

goals, you met and exceeded all three of them. The amount of

broadcast coverage for this CES was the most we have ever had at

this event and much more positive than anything before. Our booth

did such good job of pulling it together that we made it easy for

reporters to understand, so it was the focus of a lot of coverage.

…In terms of bringing it all together, you only had to walk the floor

to see no one else came close. All the MS people that stopped by,

including execs that haven’t been part of this process, were truly

impressed.

…in all my years at MS, I’ve never worked with a team that did so

much in such a short time with good cooperation and outstanding

results. I’m honored to have been part of this. Thank you!

Amy Fritsche

Microsoft

Thank you so much for all your wonderful support on the PlayStation

E3 exhibit. I honestly would have perished or been placed in jail

without your help…

Peggy Noonan

Marketing Manager

Sony Computer Entertainment America

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C L I E N T S Acorda Therapeutics

Adobe Systems

AIGA

American President Lines

Apple

Artemide

Assopiastrelle

AT&T

Boulder Associates

Carl Zeiss Vision

Charles Schwab

Cisco Systems

Delta Radiology

De Puy Spine

Duncan Aviation

Evans & Sutherland

Fair Isaac

Foote, Cone & Belding

Giro Sport Design

Heidelberg Engineering

Herman Miller

HP

HOK

Intel

Italian Trade Commission

Kenwood Group

Koei/Tecmo

Lam Research

Levi Strauss & Co.

Lucas Arts

McDonald’s

Metropolis Magazine

Meyer Sound

Microsoft

M.I.T.

Moss Structures

NASA

Nellcor

NHS

O.C. Tanner

Oracle

OralB

PG&E

PhonicEar

Pixar

Rainbow Media

Reynolds Composites

Rock Shox

SOLA Optical

Sony Electronics

Sony Computer Entertainment

Sun Microsystems

Taubman Companies

Texas Instruments

Trimble Navigation

Viking Office Products

Volkswagen of America

Walt Disney World

101 Surfsports

24 Hour Fitness

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Instructor- Advanced Typography

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Event Design Magazine Conf.

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Exhibitor Magazine, Exhibit

Designer of the Year 1987

Exhibitor Magazine Design Awards:

1998, 1989, 1990, 1992, 1993, 1994,

1995 (2 Gold), 1996, 1997 (Gold),

Best of Show 1998, 2001, 2002,

2003, 2004, 2005, 2006, 2007,

2008, 2010

Industrial Design Society of

America: IDEA Gold Award & Silver

Award 1995, 1996, IDEA Silver 1997

Society of Environmental Graphics:

SEGD Award 1992,

1995, 2004

Business Marketing Association:

2004 Pro-Comm Best of Division

N.Y. Art Directors Club: Silver Medal

1995

Society of Typographic Arts:

STA 100 1984, 1986, 1987, 1988

Art Directors Club of Los Angeles:

1985, 1987 (Gold), 1988, 1989

American Institute of Graphic Arts:

1983, 1987, 1990, 1992, 2004

Typography 6, 7, 9, 11, 14, 16

ID Magazine Design Review:

1986, 1987, 1988 (Best of Category),

1989, 1996

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Graphics Packaging Annual: 1988,

1995

American Corporate Identity: 5, 6, 7

Permanent Collection of the Library

of Congress

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1990, 1997, 1998, 1999, 2000, 2001

R E C O G N I T I O N

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