Computer Science
Scientific paper
Jan 2002
adsabs.harvard.edu/cgi-bin/nph-data_query?bibcode=2002iaf..confe.353z&link_type=abstract
IAF abstracts, 34th COSPAR Scientific Assembly, The Second World Space Congress, held 10-19 October, 2002 in Houston, TX, USA.,
Computer Science
Scientific paper
When most people think of design for space travel they think immediately of engineers and scientists, not architects or industrial designers. Yet, one of those arts professionals has been at the center of creating "space" in space for almost four decades. John Frassanito (born 1941) is an industrial designer who trained at the Art Center (now the famous Art Center College of Design in Pasadena) in the mid 1960s. After graduation in 1968, he began his design career by working with Raymond Loewy and William Snaith at the same time that Loewy's office was designing the interiors of Skylab, America's first space station (launched 1973). Frassanito worked on Skylab while at the Loewy firm until the early 1970s, when he was hired as a designer within the Computer Terminal Corporation where, in 1972, he designed the Datapoint 2000 -- the computer that the journal Invention and Technology (Fall 1994) called the "direct ancestor of today's PC." Frassanito started his own firm in 1983, where he continued to design computers as well as products for companies such as Sani-Fresh and Scott Paper. But he has made his mark on design for space travel since the mid-1980s, where he has been an outside contractor who has worked on a variety of NASA projects through today. These include 1980s works such as interior configuration and design for Space Station Freedom, as well as concepts for inflatable TransHab structures, through 1990s computer- generated animations for NASA missions, real and conceptual. In fact, Frassanito's high quality of design and animated imaging has been consistently utilized by NASA over the past decade to present mission realities and future concepts to scientists, engineers, lawmakers, and the general public alike. A survey of his work will be the subject of this paper in an effort to document the essential role that visual arts professionals play in designing "space" for space.
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