LOS ANGELES, CALIFORNIA.- April Greiman Made In Space announces the completed design of a new web site for SCI-Arc, http://www.sciarc.edu. Los Angeles-based SCI-Arc, the Southern California Institute of Architecture established in 1972, one of the foremost private architecture institutions in the world commissioned April Greiman Made In Space, http://www.madeinspace.la, to work on its re-identification and branding via Transmedia. Transmedia, the integration of media and space to create and express visual messages and experience, is an approach that April Greiman applies in the development of design for her commissioned work. In the simple, unique and compelling design of the SCI-Arc web site April Greiman has integrated identity, image, text and function to allow us to see the present, past and purpose of SCI-Arc. The SCI-Arc web site is the product of collaboration between graphic designers, web designers, programmers and the SCI-Arc community.

April Greiman Made In Space, http://www.madeinspace.la, is a collaborative design consultancy that researches and explores unique client issues and discovers with them ways to determine and apply their identity using images and text. Made in Space is a visual, verbal think tank, a design laboratory that also applies its findings to functions. At the helm of groundbreaking design for over 20 years, Greiman is internationally recognized as one of the world’s most innovative and influential designers. Her bold, kinetic exploration of typography and colors as objects in time and space are grounded in the brilliant fusion of technology and graphics. Greiman’s Transmedia approach considers a successful solution to be capable of _expression in any format from web site to stationary, textiles, surfaces, interactive display, video and three dimensional design, among other media.

In the forward to April Greiman’s recent publication, Something From Nothing, Lewis Blackwell ideally describes her in the following way. “I’ve been looking and reading, like you, and also pulling out some reference and thinking. And there comes the question, what is the subject of this book? It is a woman I have met. A woman who is a reference point in graphic design history. She could also be labeled a prophet, a teacher, a hotelier, an environmental artist, a businesswoman, a technophile and a technophobe. The list could run on. Her work has been filed under many tags in the shifting library of design theory: see the empty space left on the shelves of Basel school, New Wave, post-modern, LA-style, techno-futurism, post-structuralism to deconstruction, and over there an ism I can’t yet read. So many influential contributions and suggestions of association-it would be easy to open a new section, set aside another shelf, another label. But this would be an inadequate response, one at odds with the connecting lines drawn through the work.”