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Q+A with Cassi Ritchie, NCIDQ

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WMU Dunbar Hall’s ASU Gold Citation award celebrates its innovative redesign; lead interior designer Cassi Ritchie shares the vision behind it.

How did the team approach wayfinding in the redesign of Dunbar Hall?

Wayfinding in Dunbar Hall was about more than signs; it was about creating a clear, empowering experience from the moment you walk in. To do this, we layered multiple intuitive cues throughout the building. Each floor features a unique accent color, providing visitors with visual context as they move between levels. Oversized wall numbers and bold directional graphics make it easy to get your bearings quickly. The prominent elevator tower acts as both a visual landmark and a functional core that orients you spatially. Accessibility was another core design driver, particularly in ensuring the space would support a wide range of users, including those who are neurodiverse or have visual impairments. We selected high-contrast finishes and simple floor patterns to minimize disorientation. Ultimately, we wanted students and staff to feel confident, supported, and independent as they navigate the space. A good wayfinding system should work almost invisibly.

How did you balance creating a warm, welcoming space while respecting the building’s original design language?

We started by listening to what the building was already saying. Built in 1971, Dunbar’s concrete exterior was a distinctive element defined by subtle patterns, vertical textures, and an exposed architectural finish unique to its era. Rather than overlooking these prominent exterior elements, we embraced them as a foundation to create cohesion and continuity. The vertical gestures became a key inspiration, echoed by the new stair tower, interior detailing, and even the large-scale hanging light fixtures that visually tie the upper floors together. To balance the raw materiality of concrete, we introduced warmth in the form of wood tones, acoustic finishes, and natural daylight. We also focused on creating soft, inviting zones where students could study, recharge, or connect. Every element was selected to make the building feel like a home for students — not just a place to attend class — while still honoring its legacy as a campus landmark.

“Putting learning on display” was a goal of the project. How did that shape your interior design decisions?

Putting learning on display meant removing the barriers between education and architecture — literally and symbolically. We used alcoves and glass walls in active learning spaces, including the media suite and dance studio, to make the activity visible and easily attainable from common circulation spaces. This transparency celebrates what students are doing and turns every hallway into a front row seat for learning. It’s also about fostering curiosity. When you walk past a collaborative workspace or see someone presenting in a glass-walled studio, it prompts questions, ideas, and maybe even future participation. We also located informal gathering spaces just outside academic zones where spontaneous collaboration can happen. These spaces were intentionally placed to act as bridges between instruction and student life. At Dunbar, learning doesn’t just happen in classrooms; it’s woven throughout the building, on full display, as part of a vibrant campus experience.