DEBORAH SUSSMAN

A 2004 AIGA medalist and a trailblazer in environmental graphics, Sussman founded her firm in 1968. Her husband Paul Prejza, an urban planner and architect, joined the practice in 1980. Sussman/Prejza has nurtured a generation of talent in environmental design—without any system, but with great affection.

Figure 2.CLOCKWISE, FROM TOP LEFT: Paul Prejza, Deborah Sussman, Scott Cuyler, Debra Valencia, Fernando Vazquez

BUILD IT AND THEY WILL COME
Each of the three found out about us in different ways: We were well known; we networked with design schools; and we collaborated with other creative firms.

Debra Valencia came to us from the graphic design program at Philadelphia College of the Arts. A colleague said hers was the best student portfolio he’d ever seen. She now manages to juggle teaching at Otis, consulting with us, and maintaining her own agency for branding, marketing, and packaging. She’s the most focused, efficient person we’ve ever known, and has tackled many different roles in her career.

Scott Cuyler found us through our work on Peter’s Landing, a retail complex built by a sophisticated developer we worked for. Scott designed a few things after we’d finished, and had the decency to show them to us. His design showed sensitivity to our intent, and when we saw how knowledgeable he was, we offered him a job. (At the time, few people had any experience or interest in environmental design.) Scott now runs Square Peg with a partner, doing environmental graphic design for a variety of clients. He’s a very imaginative dimensional designer, and his solutions are beautifully executed.

Fernando Vazquez was working for a small but notable architectural firm in our building that we often collaborated with. He saw our work, got to know us, and thought he had a natural predilection for architectural graphics. We liked him, so we hired him. The years with us have influenced his architectural design, which has a lot of “graphitecture” even now that he is in his own firm.

THE MARKS OF EMERGING TALENT
There is a lot more to talent than the portfolio. Debra’s portfolio was thoughtful and beautiful, but her bearing and the way she presented herself were just as impressive. We had the feeling she was extremely capable, and she is—analytical, organized, detail-oriented, and goal-oriented.

Scott, in addition to being a talented designer, proved that he was a very good, very ethical person. He knows himself well—he knows his skills, and how to use them.

Fernando’s talent was obvious. But he also had an enchanting personality. Everything is in motion, all the time. He is an intuitive, fluid thinker, who delivers highly conceptual solutions—fast! I think it was the mix that made us strong.

MANAGING TALENT
I’m not much of a manager. We run the business more like a family, without much hierarchy, and find that the cream rises to the top. The office is all open space, so we see, listen, and talk to each other all day. Before all the work went on the computer, everyone’s drawings and models were around for us to see and discuss.

Then as now, we gave out projects based on our designers’ habits, interests, and availability. We’d start by pulling together a team for brainstorming. However, although the work was developed with input from everyone, we didn’t have the designers compete for projects.

We’re not so wide open that we don’t criticize or contribute. When I don’t like something, I try to explain why. I’m not always right—but it works itself out in the long run because we do a lot of iterations. Usually it’s a question of context, which is the greatest challenge in environmental design. You have to go to the site, photograph in the right light, and make mockups to visualize the end result. If I have an inspiration, I share it right away. For instance, when I travel, I gather things along the way, and then have show-and- tell when I come back to the office.

OWNING THE WORK
Our designers have full control of their projects. There’s no gap between client and designer, because we don’t have creative directors and worker bees. I often step in when it’s a new business development piece, especially if it’s a project I’m running personally. I also get involved in work sessions that bring all the players together—exhibit people, architects, lighting consultants, landscape architects, and so on.

LETTING GO
Debra, Scott, and Fernando each had their own need for leaving, and each of them took a different route. I sympathize: You get the feeling that you want to do something else, and you go. We stay in touch, and get together when we can. Sometimes we even collaborate. I’m very impressed with what they’re doing now.

Though I didn’t consciously mentor them, I’m more aware of the need to mentor people now. I realize the value of history, understand that I have a voice, and am more willing to spend the time it takes to bring young people along. When you have a legacy, you have to pass it on—and I love doing it.