DIRECTOR'S LETTER

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MAY 2016 We are proud to be the recipients of the Landmarks Conservancy’s prestigious Lucy G. Moses Award for historical DEAR COOPER HEWITT preservation in recognition of our thoughtful renovation and restoration of the mansion. To toast our fortieth anniversary FRIENDS, in the mansion and to celebrate the visionary leadership and support of Cooper Hewitt board members, an elegant garden party is planned for June 8. Details for the event are on page Since our doors opened in 1976 at the Carnegie 20 and I do hope you can join us. I am also very pleased to Mansion, there has been no shortage of beautiful welcome Bart Friedman, Partner, Cahill Gordon & Reindel, and Alain Bernard, President and CEO, Americas, Van Cleef & Arpels, design in Cooper Hewitt’s galleries, and this to Cooper Hewitt’s Board of Trustees—a constant source of spring is no exception. From Beauty, our fifth inspiration and support. Design Triennial, to stunning and iconic works Taking full advantage of summer’s longer days, the museum of modern design from the George R. Kravis II will offer a slew of public programming in the garden for visitors collection, to the iridescent Tiffany glass this season. June 16, we kick off Cocktails at Cooper Hewitt, displayed in our Teak Room, the museum is which this year will include performances by some of New York’s most exciting dance companies and music ensembles. Three showcasing design in all its glory. Outside, of these evenings will feature the famed Juilliard School and, the Arthur Ross Terrace and Garden is bursting in conjunction with our neighbor, The Jewish Museum, and its with new blooms, colors, and textures. It’s our exhibition devoted to the great Brazilian Modernist Roberto Burle Marx, we will offer two nights celebrating Brazilian music and first summer in the garden since its redesign dance. The garden will be further enlivened with the presence of and there is now a lush green lawn, new seating Copabananas—wavy benches inspired by Burle Marx’s abstract and lighting, tables for dining, and table tennis. geometries. Designed for us by Hood Design studio, which is led Best of all, the garden is free for all to enjoy all by National Design Award–winner Walter Hood, the benches in the garden will combine with the energies of live performance day! to surround visitors with exciting music, arresting choreography, and breathtaking design.

01 02 Longtime friends and collaborators, the preeminent collector of design George R. On March 12, Valerie Jarrett, Senior Advisor to President Obama, paid a visit Kravis II and Curator Sarah Coffin celebrate the opening of our newest exhibition to Cooper Hewitt for Museum Day Live! Five hundred United States museums highlighting iconic works from the Kravis collection gifted to the museum. participated in this Smithsonian magazine initiative that offered free admission and special programming to engage women and girls of color in the museum experience. 3 5 5

Critical to that ambition is having a ambition is having Critical to that Toni L. Griffin is Founder, Urban Planning Urban Planning is Founder, L. Griffin Toni and Professor American City, the for School Graduate Harvard in Practice, Stoss Chris Reed is Principal, Design. of Associate Landscape Urbanism, and Landscape of in Practice Professor School Graduate Harvard Architecture, E. Smith is Curator Cynthia Design. of Responsible Design, Socially of Cooper Hewitt. Cooper your been asking have you Toni, Cynthia: do How city. a just makes what students question? this important answer you been I’ve This has been a question Toni: How years. five the last thinking about for been marginalized who have do people in urban neighborhoods and cities gain access and the equitable, inclusive in safe, lives productive opportunity to live beautiful, and flexible environments? inclusion and belonging. sense of strong in public civil unrest of seeing a lot are We and peoples’ fears is surfacing space that PLANNING AND AND PLANNING BEYOND DESIGNING IN CITIES EQUITY AMERICA ACROSS INTERVIEW Cynthia E. Smith talks with Toni L. Griffin and Chris Reed about their recent projects and how and how projects recent L. Griffin and Chris Reed about their Toni with E. Smith talks Cynthia the Detroit on Reed collaborated Griffin and injustices. and spatial to social design can respond urban planning model for twenty-first-century innovative, Framework—an City Strategic Future Designing Smith has included in By the People: sixty that is one of The project revitalization. opening this fall. exhibition Hewitt America, a Cooper a Better 01 05

Design Cynthia E. Smith and the designers of the Detroit the Detroit of E. Smith and the designers Design Cynthia design’s in the exhibition—on City project—featured Future equitable society. a more to creating contributions expansive—and to a more commitment Hewitt’s Cooper the to raise design continues of inclusive—understanding a design museum can do and be. I am honored what for bar the United has been chosen to represent Hewitt Cooper in Design Biennale. Opening ever first London’s at States by curated installations will present the Biennale September, nations. thirty-five from museums and design organizations the of winners the please join me in congratulating Finally, on pages 16–18. introduced Awards Design 2016 National recognition international well-deserved bring These awards to American design, and I look forward of to the best high to DC-area designers these remarkable introducing Design Summit on May Teen annual our at school students at achievements winners’ on the will shine a spotlight We 13. 20. gala on October Awards Design National seventeenth our and enjoying in the galleries to see everyone wait I cannot let table tennis, a game of up for are you And if garden. our forehand. a mean I have me know! Sincerely, Baumann, Caroline Director @baumtweet @baumstagram @cooperhewitt facebook.com/cooperhewitt cooperhewitt.org 04 / 05 A warm welcome to our new Trustees Bart Friedman and Alain Bernard. 04

Energizing the Everyday: Gifts from the George R. the George Gifts from the Everyday: Energizing

03 I’m so proud of our super-talented designer Ann Sunwoo, who was invited to exhibit her ethereal Memory of Skin at this year’s Milan Design Week. Ann designs all of Cooper Hewitt’s communications materials, including Design Journal. 03 A major gift to Cooper Hewitt from the preeminent collector collector the preeminent from Hewitt gift to Cooper A major newest our II inspired R. Kravis design George industrial of exhibition. vision and collecting Kravis’s celebrates II Collection Kravis the from dating this collection from highlights showcases and Its breadth day. up to the present century early twentieth the as one of collection Hewitt’s Cooper will bolster richness insight For in the United States. modern collections foremost turn to pages design treasures, for eye keen George’s into Coffin. Sarah with Curator 12–13, and see his interview , an exhibition of Beasts Fragile open we June 8 On ornamental of collection our from imaginary creatures For centuries. and seventeenth the sixteenth of prints beings the otherworldly of perspective an extraordinary the ultra inhabit these sinuous designs, check out that on our the exhibition available images from high-resolution Barbara the Morton and gift from A transformative website. made possible the digitization Foundation Mandel Family Cooper that proud very and I am collection, entire our of months— eighteen accomplished this goal in just Hewitt On world. in the museum achievement an unprecedented McQuaid Matilda Director pages 14–15, Deputy Curatorial the for Officer Program Rahaim, Mass Digitization and Ken “see” we on how impact Smithsonian, explain the dramatic thanks Hewitt’s as Cooper as rich and diverse collections this through developed to the technologies and processes venture. significant collaborative for calendars your to mark be sure Looking ahead to fall, America Designing a Better By the People: the opening of to series devoted our The third of 30. on September will be an ambitious humanitarian design, the exhibition the United communities throughout of and inspiring survey to come together have that borders and across States challenges social, economic, and environmental solve discussion design. Don’t miss the thought-provoking through Socially Responsible of Curator on pages 5–7 among our 4 SPRING 2016 DIRECTOR’S LETTER 4 77

04 Work from the Just City Lab can be found at designforthejustcity.org. By the People: Designing a Better America is By the People: Designing a Better America (September 30, 2016–February 26, 2017) made possible by the generous support of Additional support provided by New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and The Horace W. Goldsmith Foundation. 01 Part of the Detroit Future City citywide planning effort, the Detroit 24/7 online Community PlanIt game was designed to engage a younger demographic—42% of players were in their teens—over 1,000 players registered generating more than 8,000 comments about their own experience with Detroit and its future. Community leader Denise Kennedy and her grandson register for the game. 02 Community garden and farmer's market at the West Louisville Food Port, Louisville, KY. 03 Wyoming Street Playground, part of the Movement on Main initiative in Syracuse New York's Near Westside. 04 The broad-based Detroit Future City civic engagement was designed to let the community have a say in Detroit’s future. Twenty-six interactive tactics were devised to engage a diverse range of participants, including posters that were hung throughout the city exposing assets and startling statistics about the area. have been created not by one discipline, one discipline, by not been created have disciplines, different of a layering but by Thinking about conditions, and policies. issues, for and social justice spatial both to the urban is critically important example, today. planning student design or

Yellow Bamboo Raised Play Net Permeable Rubber Kinetic Energy Surface The other essential point is not to to is not point essential The other a project, including climate environmental, environmental, including climate a project, urban, and ecological issues, and the the past. of social injustices historical even that, with all of agree would I Toni: urban planning. of the perspective from students I think our The challenges that go to as they will face—particularly cross- urban environments—are in work that problems interconnected disciplinary, take to do that up front always yield more yield more always up front that to do take end. in the results productive Certain standard. a universal design to traditions, practices, have communities to begin have we that and aesthetics informant. as a legitimate validate to place-based, authentic, Understanding to more can lead elements and contextual ownership and more work in our innovation a project. of and sustainability do we that The engagement Chris: deep has to be individually and collectively venues, try to find We and interactive. engage we where and techniques forums, them to interact allow that ways people in way. interpersonal relaxed, with us in a more break that up environments try to set We How trust. establish and differences down people? younger and engage kids you do them to allow that exercises Games or concerns—those preferences, express to just way is a great things. Food sorts of the table talking about people around get possible in the environment. what’s and practitioners both are You Cynthia: important the most are What teachers. during should acquire designers young skills studies? their it’s Chris: In landscape architecture, wide range the to understand important in play come into might issues that of Lincoln Apartments 301 Wyoming St The collaboration with Stoss was with was Stoss The collaboration engage- designed an elaborate We 03 essential for looking at landscape in landscape looking at for essential described. as Chris ways, multifunctional to key was intervention active Design as could so they neighborhoods reimagining life. qualities of higher produce all across inclusive was that process ment - identify community, the Detroit of sectors going were aspirations actual their what ing engaged nearly a we As a result, forward. our through population Detroit’s fifth of a diverse that, of and as a result efforts, business, civic, com- across actors of set sectors and government nonprofit, munity, the in implementing active playing are proposed. we change that with work begin to you do How Cynthia: of set their communities to determine planning and can make so they values the neighborhood design decisions at about go you do And how and city scale? to either with communities directly working design? your inform or changes facilitate as a both practiced me, having For Toni: and as a public consultant private-sector to actually in thinking about how it’s official, a plan. of implementation the table for set the agree, would Chris and I I think both design to do is just want we thing last executed. get won’t that something correct. Chris: That’s that in mind, it is imperative With that Toni: and be involved multiple community actors in designing and implementing participate doesn’t execute the change. Government Government itself. neighborhood change by it can put on the tools that of has a set and community table, as do the private work all that important it’s sectors—and you that The time and effort collaboratively.

Second, a midsize project of of project Second, a midsize involved we’re The third project I think it can play roles in different in different roles it can play I think Chris: examples, project with start we If ways. bigger be able to extrapolate might we come to that projects Three principles. on working has been Stoss mind that on Main, a design Movement first, are, in a neighborhood organized competition suffered that’s York, New in Syracuse, incomes, and loss, lower population the questions: It asked unemployment. the street of the role rethink you do How What the neighborhood? of in the life only in the not can landscape play role the image and the function of reshaping contribute the place, but also in helping of overall the neighborhood’s to improving declining public health? in the kind based a much different Atlanta— neighborhood of Pittsburgh site next to the industrial a former at looked This project Beltline. Atlanta that’s way the site in a to develop how neighborhood the current for relevant and future in new as bringing well as the economic opportunities fostering term. longer FoodPort Louisville West in is called the Kentucky—an Louisville, West in the of area economically depressed through suffered historically city that of a lot polluting industries—where we’re On the one hand, minorities live. a kind providing we’re doing cleanup, so - service. But the proj environmental of and food is all about healthy itself ect that’s a facility eating—building healthy and grow, distribute, going to process, opportunities, entrepreneurial provide and demonstrations. education, the an urban planner, as work In my Toni: center confront I constantly injustices conditions of poverty, on concentrated and and abandonment, disinvestment socioeconomic division. Embedded in both is the need for these injustices So my and social applications. spatial the urban planning and the in work to reconcile spaces looks design of completely are that elements both The cautionary tale is interconnected. conditions of many that to acknowledge at been created actually have injustice design and policy practices, the hand of policies and urban highway federal like black once obliterated that renewal inner-city communities. We’re confronting fairly seri- fairly confronting We’re ous issues stemming from climate climate from ous issues stemming and shortages, drought, change—food seeing heightened are we flooding—and people that ways among the differences postindustrial in older, it’s Whether live. see a we cities, emerging newer cities or - social and envi of forms different of lot and landscapes of injustices, ronmental these types can help to address many challenges. in worked each have You Cynthia: and the country cities around different Future on the Detroit together recently each From Framework. City Strategic can role what points, vantage your of systemic in addressing design play any have you in U.S. cities? Do injustices cautionary tales? urbanism takes on the idea of urban and urban and on the idea of urbanism takes landscapes as multifunc- metropolitan can they that tional and productive, - infra traditional of absorb the roles flood collection, (stormwater structure remediation) environmental control, urban nineteenth-century many like America. Second, think in park systems about landscape urbanism as a bigger landscape systems idea about how or urban districts entire can structure these whether regions, metropolitan have expanding or rapidly places are And third, Detroit. like shrunk in size landscape urbanism as a more think of the oper- into investigation theoretical can landscape: how of aspects ational in role a bigger landscape begin to play remade, made, or cities are that way the time? over better and function

Ownership is becoming very very is becoming Ownership developing are we Second, anxieties around being included and around anxieties belonging in cities. a sense of feeling continue we As well. to me as important neigh- and cons of the pros to debate the borhood change and gentrification, in decision making ownership sense of making, as decision of processes or goods like material of as ownership well important very and income, are property inclusion and equity in ensuring more for neighborhoods. in addition to And these are Cynthia: put you’ve that metrics of set whole a City Just to this, the prior together Metrics? Indicator is a couple City project Just The Toni: a platform it has created First, things. of social media and published through and discussing the defining for essays and is beginning to suggest city, just in addressing plays design role the that in cities and neigh- injustice issues of only go beyond must borhoods actually equity. seeking to achieve with aligned metrics of a framework to under- values social justice different do as designers we work the how stand on impact has a positive and planners from Work making changes to injustice. at City Lab can be found Just the designforthejustcity.org. work Chris, Stoss describes its Cynthia: is this How as “landscape urbanism.” landscape from different area emerging now? why and architecture, landscape look at can Chris: You landscape First, ways. urbanism in three 02 6 SPRING 2016 PLANNING AND DESIGNING BEYOND EQUITY IN CITIES ACROSS AMERICA 6 9

Other Parables of Design: Other Parables of Design:

and

04 01 In , Patton wrote about Prada's shoes which featured collection, 2012 Summer / Spring sporting automobile tailfins. 02 Phil Patton (1952–2015) in the late 1970s. 03 In "Home of the 'Potato Chip,'" Patton discussed the Dorton Arena in Raleigh, North Carolina, as a bold but colloquial statement of modernist architecture. 04 Patton's scores of notebooks that span decades of writing contain notes, quips, schedules, and doodles demonstrating his thought processes and ever- engaged curiosities. 05 Cover of Top This Selected Writings by Phil Patton, published by Cooper Hewitt, Smithsonian Design Museum, 2016. 05 among among

, and Slate

where I was managing editor managing editor was I where

, Esquire As a journalist and mentor, Phil wasn’t wasn’t Phil and mentor, As a journalist Phil regularly finessed these feats finessed these feats Phil regularly other publications, and authored multiple multiple and authored publications, other the topics over on design-related books tragically was which his career, of course September. cut short last also generous—passing was only curious; he time to he didn’t have leads that along story writers young proposing himself or pursue spots coveted for as alternates and editors This he couldn’t make. trip that on a press in his also evident was spirit of generosity in the game wasn’t writing about design. Phil a performing was He brand. to build his own hon- intelligence, by public service informed consumers especially for and empathy, esty, with a few sun, of a ray Like and readers. see you and no fuss, Phil could make words way. whole new in a the familiar the of is the cochair Molly F. Heintz in Design Research, program graduate Visual the School of & Criticism at Writing the editorial of Arts and the cofounder currently Heintz consultancy Superscript. Fast at editor as a contributing serves magazine and The Architect’s Company . Newspaper about the modernist movement in Raleigh movement about the modernist for magazine, Phil managed to include Dwell Italian to the mid-century references Nervi and Bigfoot Paolo engineer-architect in the same paragraph. trucks was and criticism, and it writing design of and style analysis of combination that led me that as his accent as distinctive write exhibition to commission Phil to The Architect’s for and book reviews , Newspaper and student as Phil’s tenure my following for wrote Phil also teaching assistant. , Departures Phil reveled in the design of the in the design of Phil reveled the enmeshed layers He dissected 03 does us? How all around culture the material these The import of society?” design reflect the even could render which questions, mute, students graduate of voluble most subject preferred Phil’s diffused by was chairs, folding investigations: our for matter lids. coffee-cup and plastic peelers, potato too insignificant was object No everyday. the new design of to escape scrutiny—the you fruit labels, catalog, the Sears Euro, Cup Lids” This: Coffee name it. (His “Top was in I.D. Magazine in 1996.) He appeared of in the history particularly interested Phil no surprise that American design, so it’s the the Renaissance man of invoked often Jefferson. Thomas Colonial United States, culture, material of But as an archaeologist observations to put his own failed Phil never in his book Made example, For context. into (1992), Phil describes some of in the USA but also household inventions, Jefferson’s dumb- the gadgetry—the “Some of notes, for serving facility, and the revolving waiter slavery of to hide the fact instance—served while much of his consciousness, even from fabricated was and equipment this furniture From Thomas Hemming.” slave Jefferson’s by a universe. Phil could unfold a single object, to its systems its materials from design, of fields on other drawing production, mass of and engineering sociology, statistics, like from degree With a graduate to do so. and literature Columbia in comparative writing on logged hours of hundreds this wove Phil a newspaper, deadline for engaging, accessible prose into knowledge to nod at the reader prompts often that chuckle rings true or that an observation comparison. In but unexpected an apt at a 2001 article Chip,’” the ‘Potato “Home of - look. In the classroom, Phil was not not was Phil In the classroom,

and what is different in classes of in classes of different is what and all, Above syllabus. the stated objects,” Phil made you debate of but an instigator a lecturer and in true Socratic and conversation, ques a student’s he usually met style, Each class with a counterquestion. tion more yet with foregrounded was meeting can design learn from “What questions: 02

I had already known of Phil the of known I had already rhetorical— Hypothetical—not had both graduated from Needham B. from graduated had both in Raleigh. High School Broughton in the New his byline from journalist he , where and I.D. Magazine Times York cars, written about the designs for had watches, and sets, presidential-debate the next few topics. Over among other Phil as a teacher, to know I got years, and colleague. Southern gent thinker, to a fault, modest was Phil was, he that joke. a good-natured quick to make and stratagem, a favored were questions as a provocation he used them deftly writing about his teaching and in both answers design. Phil genuinely sought philosophical from inquiry, to all types of graduate the pushed he and scientific, to “Typologies”seminar in his SVA students The concept too. to seek those answers, Aristotelian on riffed course his of “ . . . insight systems: classification is the same what analyzing comes from

EXTRAORDINARY THE ORDINARY ORDINARY THE RENDERING RENDERING PHIL PATTON: PHIL When you walk into a room of strangers strangers of a room into walk you When face, and then suddenly see a familiar behind the sun coming out from like it’s of in the fall I felt how That’s clouds. new for a reception when, at 2009, in the Design Criticism candidates MFA Arts Visual the School of at program of drawl the distinctive I overheard (SVA), to be from don’t happen “You Phil Patton. having I asked, you?” do North Carolina, while he finished his con- nearby loitered he said, and in was, Indeed he versation. not that found we followed, that the chat basketball the requisite have we only did we and barbeque in common, but also Celebrated design writer design writer Celebrated passed away Phil Patton age 2015 at in September Molly F. Heintz sixty-four. colleague her remembers and mentor. 01 8 SPRING 2016 PHIL PATTON: RENDERING THE ORDINARY EXTRAORDINARY 8 SPRING 2016 SARAH & ELEANOR: THE HEWITT SISTERS SARAH & ELEANOR: THE HEWITT SISTERS SISTERS HEWITT THE & ELEANOR: SARAH This spring, the Victorian Society in America honored Cooper Hewitt’s Hewitt Sisters Collect exhibition with an award for Outstanding Museum Exhibit in the category of Decorative Arts. Curators from the departments of Textiles; Wallcoverings; Drawings, Prints, and Graphic Design; and Product Design and Decorative Arts assembled the exhibition with contributions from the Digital and Emerging media department and a few exceptional researchers. Three rooms exhibit a compelling selection of birdcages, centuries-old textile fragments, a cast-iron stove in the form of a Greek goddess, art-moderne wallcoverings, and an intricately carved marquetry cabinet. The objects on display, both in the galleries and digitally, were originally collected by the two passionate, creative, and intelligent sisters for whom the exhibition is named: Sarah and Eleanor Hewitt. What follows is a brief look at these two women and their relationship to Cooper

Hewitt, Smithsonian Design Museum. 05 06

two sisters formed a productive alchemy: and other donors, receiving important gifts tion of more than 210,000 objects makes Eleanor was reserved, observant, and of textiles, drawings from the twentieth Sarah and Eleanor’s collection accessible diligent, while Sarah was bold, enterprising, century, prints, furniture, and wallcoverings. to all inquiring design minds. and—as she described herself to Sue Bliss Cooper Hewitt has built a digital interac- in a letter from 1920—a “babbling brook!” tive exhibit exploring the social network Sarah & Eleanor: The Hewitt Sisters, of Gilded-Age and turn-of-the-century Founders of the Nation’s Design Museum, GUESTBOOKS New York that embraced and enriched an in-gallery brochure chronicling the 01 02 Sarah and Eleanor grew up in two large the sisters’ vision of the museum. lives of the sisters and their creation of homes—9 Lexington Avenue in New York the nation’s first design museum, will be City and in Ringwood, New Jersey. Ringwood A TEACHING MUSEUM available at Cooper Hewitt in May. The Manor—the Victorian great house with Sarah and Eleanor’s collecting philosophy Meet the Hewitts blog (cooperhewitt.org/ twenty-six bedrooms—was a hub for Hewitt was ambitious. They viewed a museum’s category/meet-the-hewitts) created by country entertaining. Four Ringwood guest collection as a tool for artistic education Margery Masinter, Trustee, Cooper Hewitt books are filled with testimonials, poems, and were inspired by a similar institution— and Sue Schutte, Historian, Ringwood anecdotes, and artwork from houseguests. the Musée des Arts Décoratifs in Paris. Manor will continue to share new and The owl is a decorative element throughout According to Elizabeth Bisland’s Proposed untold stories relating to the history of Ringwood, and is on the family stationery Plan of the Museum for the Cooper Hewitt’s collection. Arts of Decoration (1896), the museum’s 03 04 and crest. Below is a poem and opposite a drawing from artist, poet, and Vogue mission was to be “an educator of public WHY “COOPER,” AND within his school. It was Sarah and education, a cultivated aesthetic, and, taste,” with an emphasis on “collecting 01 writer Caroline King Duer—a dear friend and Watercolor design for a mandala by Sarah or WHO IS “HEWITT?” Eleanor, two of the six children born as Eleanor wrote in The Making of a frequent guest at Ringwood—that captured beautiful specimens of art applied to Eleanor Hewitt. Sarah (1859–1930) and Eleanor to Sarah Amelia Cooper (1830–1912), Modern Museum (1919), a “love of the spirit of Sarah and Eleanor. industry” in order to encourage and inspire 02 (1864–1924) inaugurated the Museum Peter’s daughter, and her husband beautiful and exquisite workmanship.” American manufacturers to “elevate the Birdcage, Netherlands, 1750–1800; Tin-glazed for the Arts of Decoration at Cooper Abram Hewitt (1822–1903), who made The Hewitt owls character of their products.” earthenware, metal wire, and metal; H x W x D: Union in 1897. The museum’s opening Those excellent fowls 26.7 x 22.3 x 14.6 cm (10 1/2 x 8 3/4 x 5 3/4 in.); this dream a reality. A GILDED AGE EDUCATION Gift of Eleanor and Sarah Hewitt, 1916-19-60-a,b And birds of great renown and continued development over the Sarah (Sallie) and Eleanor (Nellie) com- Archival photographs from the years following decades was the result of an Now Autumn is done 03 Influenced by their dynamic and piled scrapbooks with their sketches following the museum’s opening show Illustration and poem in guest book from Ringwood And winter’s begun upbringing immersed in a world of art, worldly parents—an enterprising and from trips abroad and drawings evidenc- women studying historical drawings and Manor, by Caroline King Duer, 1899. books, and travel, and the fulfillment intellectual father who was elected Are ready to go to town. textiles. Similarly, today Cooper Hewitt ing their keen interest in architecture 04 of a lifelong wish of their grandfather. mayor of in 1887 and and design. Enthusiastic pursuits in visitors equipped with the museum’s Pen Students in the Decloux Room, Cooper Union Museum, 1920. (1791–1883)—who a mother who loved the arts, travel, WHO BUILT THE COLLECTION? can interact with in-gallery digital tables to the decorative arts and design, fashion, 05 In addition to receiving support from their founded the Cooper Union for the and garden design—Sarah and music, and theater filled their time engage with the museum’s collection. While Sarah in day suit (tailleur) and boater hat, ca. 1890–92. Advancement of Science and Art in Eleanor became pioneers in their own and their social schedules. Dubbed friends, Sarah and Eleanor benefited from physical handling of the museum objects is 1859—hoped to house a museum the connections of their well-known family 06 10 right. Each developed a passion for “Swelldom’s Belles” by the press, the rarely encouraged, Cooper Hewitt’s digitiza- Eleanor in evening gown, ca. 1888. 11 SPRING 2016 FINDING ENERGY IN DESIGN: FINDING ENERGY IN DESIGN: AN INTERVIEW WITH GEORGE R. KRAVIS II KRAVIS R. GEORGE WITH INTERVIEW AN DESIGN: IN ENERGY FINDING AN INTERVIEW WITH GEORGE R. KRAVIS II

George R. Kravis II has built an extraordinary collection of industrial and domestic design objects, with a focus on American design between 1930 and 1960. Kravis’s interest in 02 03 collecting grew out of a childhood appreciation of items ranging from his family’s mid-century modern Russel Wright dinnerware to records, radios, signage, and advertising. His four- Coates, Ekco radio AD65 in green—from of a sign, or, in someone’s house, I look at my collection or would like to have in my 1932. There are only four that are known the art, but I also look at the design of the collection. I continued to buy from museum thousand-object collection—built over a fifty-year period—took flight when Kravis was able to to exist. And I’ve seen pictures of some of burglar alarm. shops as well, but wouldn’t store them flat. connect online with collectors and dealers around the world. Kravis Design Center—in Kravis's the others. But this is the best example. SC: How did your connection to I framed them and hung them. hometown of Tulsa, Oklahoma—has been established as a collection facility and gallery for I liked it because it was well designed. Cooper Hewitt begin? I’ve also been collecting magazines Beautiful. Functional. GK: My aunt and uncle lived at 46 East 91st from the forties and fifties that show educational use, fulfilling his mission to share design with everyone of every age. SC: So you didn’t go out to buy every radio, Street, and my aunt had a key to the garden homes, how people lived, a whole history but you bought the ones that you found at the building. They sold keys to the people of advertising that marketed new products Energizing the Everyday: Gifts from the George R. Kravis II Collection, now on exhibition at beautiful? in the neighborhood. In the fifties and sixties, from that era. Cooper Hewitt, features treasures from Kravis’s many gifts to the museum. His generosity— GK: Yes. It’s mine, and it’s going to be at I think it cost twenty-five dollars a year. And SC: What is on your wish list? along with his passion and keen eye for collecting—has bolstered Cooper Hewitt’s collection Cooper Hewitt. you could just come and sit in the garden. GK: Everything! But at this point, I am also SC: When you travel, go online, or to a fair, SC: Did you grow up in a home surrounded very interested in leading people through as one of the foremost in industrial design in the United States. do you set out to look for specific objects? by collections and interesting design? Cooper Hewitt’s galleries to talk about the Do you have a wish list of sorts? GK: We had art and nice furniture. It objects. I’ve done that before when some GK: I do have a wish list, but I see things, wasn’t precious, but it was good. We had of my pieces were in an exhibition. It wasn’t Sarah D. Coffin—Curator and Head of Sarah Coffin: What sparked your SC: How did you get into broadcasting? you know, going many places. One of the a glassed-in porch that had a lot of mid- something that was announced. A woman the Product Design and Decorative interest in collecting industrial design GK: Interesting story. One of my fraternity things that’s so overlooked by many people century modern furniture, and I kept all came up to me and asked me a question Arts Department at Cooper Hewitt, objects, and how old were you when you brothers at the University of Oklahoma is what’s in museum shops. Very often there of that—Tommi Parzinger, T. H. Robsjohn- so I began explaining an object, how it Smithsonian Design Museum—talked made your first acquisition? was into broadcasting sports, and he said, is a really great product, and it doesn’t cost Gibbings. Our everyday china was Russel worked, details, and she said, “Oh, are you with George about his collection. George Kravis: I liked anything that had “Why don’t you come to the radio station a lot of money. At some point you won’t Wright's American Modern in chartreuse. here every day?” I said, “No, I’m just the a motor, a plug, a cord, a battery—that with me?” I was interested in the music be able to find it so easily anymore. That’s SC: What’s your hope for your collection collector. I just happen to be here today.” moved and made noise. I was maybe and all of the aspects of the broadcasting when it becomes valuable. coming to Cooper Hewitt? ten or twelve years old when RCA Victor systems and equipment. The next thing SC: Has traveling helped you make connec- GK: I hope it starts a discussion and gets Energizing the Everyday: Gifts from the came out with the 45-rpm record along I knew, I had a jazz program three nights tions to objects or types of design? people thinking about good design. I have George R. Kravis II Collection is on exhibition with the changer that you could then a week using my own record collection. GK: Yes, travel is extremely important. a friend—an architect—who came to my April 28, 2016, through March 12, 2017. hook up to a jack on the back of your SC: What was it that spoke to you about It’s good for the soul. We all learn by house and was looking at some of my television or another amplifier. I bought broadcasting that led you to building your 01 looking and seeing. I went on a trip to China electric irons. I pointed out how each of AD-65 Radio, designed 1932, manufactured 1934; the changer only because I thought it business, later acquiring several radio with a group of American broadcasters. the cords were textiles of all different Designed by Wells Wintemute Coates (Canadian, looked better, and I have kept it through stations? Is there any connection to your 1895–1958); Manufactured by E.K. Cole, Ltd. Afterward, we had a reunion and shared colors. She thought that was an interesting the years. I had it in my office in radio collection? (Southend, Essex, ); Compression molded what we had recorded. I brought two design detail and told her sons about Bakelite, chromium-plated metal, woven textile; H x stations, and it’s just one of those GK: The way the stations functioned and Diam.: 38.1 × 35.6 cm (15 × 14 in.); Promised gift of carousels of slides, others brought photo it. One of them responded, “You mean things that was very appealing to me communicated. The utility, efficiency, and George R. Kravis II albums, and there was even a tape from a somebody designed that?” and she said, and cute because of the size of it. effectiveness are like the building blocks 02 very early Betamax recorder. When people “Well, it didn’t fall out of the sky.” SC: Did you have a fair number of of a well-designed object, like a radio or Model 4658 Desk, 1946; Designed by George looked at my images, they said, “Were we SC: Can you tell us about your poster Nelson (American, 1907–1986); Manufactured by records? an iron. Herman Miller Furniture Company (Zeeland, Michigan, on the same trip? We didn’t see any of collection? GK: I had some 45-rpm records, and SC: At what point did you move from USA); Walnut veneer on pine, tubular steel, leather, that.” The point being that everyone sees GK: I have a large poster collection, which perforated sheet aluminum; H x W x D: 102.9 × 137.2 × I had an enormous collection of LPs. buying things you liked to considering 71.1 cm (40 1/2 in. × 54 in. × 28 in.); Promised gift his or her surroundings differently. originally started when I was buying I have always liked music, but it was the your holdings as a collection? of George R. Kravis II SC: That’s great. decoration for the walls of my radio station. cover art that made a real impression. GK: I bought a shortwave radio when 03 GK: So, it’s all about looking and seeing, I purchased them at Posters Original. Later on, the record collection grew very I was thirteen or fourteen. Well, as I kept Trade Catalog, American Modern, Hand-made by observing. I think I have always been They had this wonderful shop that was Steubenville Pottery, Designed by Russel Wright, large after I started my FM radio station adding to it—my radio collection—I began observant. I notice little things when I walk on Madison Avenue. These are posters between 1939 and 1959; Published by Steubenville 12 in 1962 in Tulsa, Oklahoma, which was looking for other models, most recently, Pottery Company (Steubenville, Ohio, USA); Printed 13 down the street. It might be the graphics by well-known artists that I either had in paper; Smithsonian Libraries; Gift of George R. Kravis II 01 called KRAV. for instance, the radio designed by Wells 15

02 Mass digitization pilot project at National Air and Space Museum (NASM). Seven views of process— each shot of 900 Aircraft Instruments in one week. 03 Drawing in position for digital capture. 01 Conservator setting up ceramic object for digital capture. Matilda McQuaid is Deputy Curatorial McQuaid is Deputy Curatorial Matilda Cooper at Textiles and Head of Director Smithsonian Design Museum. Hewitt, Officer, Program Rahaim is Senior Ken Program Digitization Mass Digitization, the Smithsonian Institution. Office at the museum’s of The mass digitization is made possible collection permanent Mandel Family the Morton and Barbara by Foundation.

The success of the DPO and Cooper and Cooper the DPO The success of themselves would never have considered. considered. have never would themselves via collections entire capture you When them as can treat you mass digitization, whole new opens up a and that sets, data the collections. “seeing” of way led to has directly collaboration Hewitt’s to com- ambitious project: more an even an additional eight of digitization the plete Smithsonian museums in one concerted - The participat 2016. in late starting effort Community Anacostia the ing museums are Museum and Museum, the Hirshhorn Museum of the National Garden, Sculpture the and Culture, American History African Art, the National African Museum of National American Smithsonian the Gallery, Portrait Art Museum, the Smithsonian Gardens, and (Castle). the Smithsonian Institution completion for estimate A conservative years, additional museums is four the of is any Hewitt Cooper but if the success at will be digitization that likely it’s indication, thirty months. to in twenty-four complete 02 03 Mass digitization also fuels Cooper also fuels Cooper Mass digitization at efforts The mass digitization (multiple views of some objects increase increase some objects of views (multiple added daily being more with the number), to photograph continues as the museum holdings and significant acquisitions new In the books. and sample sketchbooks of museum’s the following months fourteen explored in 2014, 347,000 users reopening and in 486,000 sessions the collection The session. per minutes four over averaged as the objects—casual as diverse are users educators, curators, designers, browsers, and serious researchers—but students, the of time in the history the first for can view visitors Smithsonian Institution, collection Hewitt Cooper the entire almost in the museum. into stepping without ever in-gallery experiences and capa- Hewitt’s bilities. Digital-table access to objects transparency, collection creates offsite agency visitor comes new that with and to be fully yet only ways in and engagement The Victoria and Albert explored. Museum the Rijksmuseum, Amsterdam’s in London, Art, the Museum of of Minneapolis Institute Museum—this Art, and the Modern the art and comprises a small portion of list are that world the around design institutions collec- to digitizing their way on their well and science history natural tions. Globally, being also rapidly are museum collections content prioritize as institutions digitized museums to Goals for resources. and allot include making content collections digitize with audiences, open, engaging digitally object of data (meta open data using linked images in one museum can be connected museum), in another data meta with similar publishing online, and using technology to - and conserva conservation help advance others. among many tion studies, a real museums represent Smithsonian’s digitization, shift in institutional paradigm “random by which has been characterized when digitization or digitization,” of acts warrant circumstances or specific projects collections entire of it. Mass digitization of digitization sporadic uses that allows the appli- cannot—specifically, collections - visualiza tools like analytical new of cation analysis, statistical analysis, tion, network of Many to collections. and image analysis taking place in the area are these studies the humanities, but increasingly digital of and interested is being used by information mining who are individuals knowledgeable museums that information for collections

This new, comprehensive approach approach comprehensive This new, commenced, the project Before zation approaches used at Smithsonian’s Smithsonian’s used at approaches zation which 45,000 museum in Freer|Sackler, a fifteen-year over digitized were objects 2000 to 2015, and the period, from Cooper at efforts digitization success of is a game changer. Hewitt (2D or object a physical transforms virtual object the shelf to a 3D) from process, in one continuous web on the possible. manner efficient in the most the reducing attacked, are Inefficiencies the shelf to public time from turnaround naming a file using example, access. For than typing rather scanner a barcode of an average name saves an object is a total file—that seconds per fourteen of the course over days working 103 of the project! collection Hewitt’s Cooper of little very had been available objects 210,000 of public. Now, the general seen by to or 220,000 images online over are there - digitiza entire-museum The first of those pilot projects led to a series of led to a series of projects those pilot of which of the first Projects, Production paper-based Bureau included the entire collection and Printing Engraving of American Museum of National the at which was (273,000 History objects), in early 2015, and the Fern completed Museum of the National of collection specimens botany History’s Natural to work with ongoing 260,000), (totaling the all 3.5 million specimens of digitize Herbarium collection. U.S. National in collaboration initiated was tion effort With 2014. in late Hewitt with Cooper completed the project part of the major in early later months eighteen a mere 180,000 museum objects 2016, over from digitized been successfully have collecting major four Hewitt’s Cooper Design and Product departments: Textiles; Arts; Wallcoverings; Decorative Design. and Graphic Prints, and Drawings, digiti- with the traditional that Contrast

Ken Rahaim Ken

An ongoing series of Mass An ongoing series of Matilda McQuaid and Matilda THE SMITHSONIAN SMITHSONIAN THE SEEING: DIGITIZING SEEING: NEW WAYS OF WAYS NEW With 138 million objects and specimens, With 138 million objects materials, archival of 153,000 cubic feet of volumes—all million library and two facilities housed in forty-one which are museums and nineteen by operated scale and centers—the nine research Smithsonian collections of diversity challenge. a unique digitization present Office (DPO) Program The Digitization pan- in 2009 to provide created was institutional leadership and coordination and coordination leadership institutional of the quality and quantity to increase collections, digitized the Smithsonian’s the Smithsonian’s and to implement a Digital “Creating plan of strategic Smithsonian.” to date) (seven Projects Pilot Digitization and cost-efficient, a safe, has created to can be tailored that scalable process The success collections. of wide range a By 01

SPRING 2016 NEW WAYS OF SEEING: DIGITIZING THE SMITHSONIAN 14

MARLON BLACKWELL BLACKWELL MARLON ARCHITECTS ARCHITECTURE DESIGN ARCHITECTURE Chrome Web Lab, the first museum exhibition dedicated museum exhibition dedicated Lab, the first Web Chrome visitors as fully as in-person visitors to serving online 2012–2013). (London, United Kingdom, Tellart is an international design studio that that design studio is an international Tellart immersive objects, interactive creates brands, for spaces, and digital experiences companies. museums, and multinational (above Cottam Matt in 2000 by Founded created Tellart and Nick Scappaticci, left) museum web-accessible fully the first the Chrome Google through exhibition for future and prototyped Lab, imagined Web with the governments world services for and encouraged the Future, Museum of gaming mixed-reality living through healthy with Humana. Marlon Blackwell is an architect and the and the is an architect Marlon Blackwell at Professor Jones Distinguished E. Fay and Architecture Jones School of the Fay His Arkansas. of the University Design at Marlon Blackwell practice, Arkansas-based traditions vernacular combines Architects, - archi to create formalism with rigorous and to the physical responds that tecture a place. Blackwell of eccentricities cultural American the 2012 of the recipient was Architecture Arts and Letters of Academy named a United States was and Prize in 2014. Fellow Ford Artists 1998) North Carolina, (Cashiers, Honeyhouse Moore

TELLART OPENING CEREMONY INTERACTION DESIGN INTERACTION Spring/summer 2016 campaign (New York, New York, 2016) York, New York, 2016 campaign (New Spring/summer Carol Lim and Humberto Leon founded Lim and Humberto Leon founded Carol The company in 2002. Opening Ceremony the Opening to encompass has grown accessories, and ready-to-wear, Ceremony whole- a outlets; retail collections; footwear an online platform. and sale showroom; its inno- for is also known Opening Ceremony and events, nightlife shows, fashion vative with Chloë Sevigny, including collaborations, Spike Pendleton, City Ballet, York New Intel, Ono. In 2012, Leon and Lim Yoko and Jonze, the of directors creative appointed were house Kenzo. fashion French - art designer, is a graphic McFetridge Geoff Angeles–based Los the of founder and ist, which Graphics, Champion design studio brands, international for works has created shops. and local bike films, Hollywood installation, design, to graphic In addition are and printmaking drawing, painting, Dedicatedly practice. to his studio integral to expand has sought McFetridge inventive, design and a design practice both what on in his time. look like the store transforming a mural mural, Parker Warby 2015). California, (Venice, facade DESIGN FASHION T GH RI IT KE GEOFF MCFETRIDGE MAKE IT RIGHT MAKE IT COMMUNICATION DESIGN COMMUNICATION Exterior of Make It Right’s first home (New Orleans, Orleans, home (New first It Right’s Make of Exterior Gehry and Frank Architects: Louisiana, 2012). Gehry Partners. DIRECTOR'S AWARD DIRECTOR'S MA It Pitt in 2007, Make Brad by Founded that organization is a nonprofit Right builds homes, buildings, and communi- are All projects people in need. ties for to certified and Cradle LEED Platinum began as It Right Make Cradle–inspired. and sustainable safe to rebuild an effort Ninth Lower Orleans’s homes in New working Hurricane Katrina, after Ward Gehry, including Frank with architects Since Adjaye. and David Thom Mayne, in worked has then, the organization and the country neighborhoods across way to change the others educated designed and built. buildings are

THE CENTER FOR URBAN URBAN THE CENTER FOR PEDAGOGY The Center for Urban Pedagogy (CUP) Pedagogy Urban for The Center City–based nonprofit York is a New of uses the power that organization meaningful design and art to increase particularly among civic engagement, communi- underrepresented historically in 2001, CUP collaborates ties. Founded to create with communities directly visual tools for simple, accessible, and rights, individuals to use to claim their for needs, and fight their for advocate social justice. York New model of working in a Suitcase—a Sewer the system—demystifies combined sewer City’s infrastructure. water the city’s of workings CORPORATE & INSTITUTIONAL ACHIEVEMENT & INSTITUTIONAL CORPORATE

BRUCE MAU DESIGN MIND , installation of 200 books books 200 of , installation Books Bruce Mau Loves on Work Mau—part of designed by or authored Design Bruce Mau Rethinking Love: You What Art, 2014). ( Museum of Evanston, Illinois–based Bruce Mau Illinois–based Evanston, inno- visionary, world-renowned is a In 2010, and designer. author, vator, his consulting firm he established he where Change Network, Massive applies his design thinking methodology governmental, to economic, cultural, change for and social environmental, designers, celebrated internationally around leading companies, and countries In addition to leading Massive world. the Mau became Chief Change Network, the Freeman, in 2016 for Design Officer shows trade of producer largest world’s and exhibits.

MOSHE SAFDIE John Christakos, Jeff Han, Back row (left to right) John Christakos, Jeff Han, Caroline Baumann, Matthew Carter, Dan Pitera, and Uri Minkoff. Front row (left to right) Mariana Amatullo, Marisa Gardini, Julia Czerniak, and Chad Oppenheim. MEET THE JURY Jury Awards Design The 2016 National of group a diverse composed of was around from and educators designers Cooper at Jury convened The the nation. the in the early spring to select Hewitt winners. Award Habitat ’67, an urban housing experiment built for built for ’67, an urban housing experiment Habitat includes 158 Exposition in Montreal, World the units factory 354 prefabricated from residences 1967). Canada, (Montreal, Moshe Safdie is a leading architect, is a leading architect, Moshe Safdie and theorist, educator, urban planner, con- and work of whose catalog author tributions to the dialogue on sustainable - unsurpassed in contempo urbanism are projects Architects Safdie practice. rary Jerusalem, in include the Mamilla Center Sands in Singapore; Marina Bay Israel; India; in Punjab, Khalsa Heritage Centre of Institute and the United States DC. Washington, in headquarters Peace the theory to inspire continues Safdie ideas about housing, of and application use, and high density in cities mixed the world. around

AWARD WINNERS AWARD LIFETIME ACHIEVEMENT 2016 NATIONAL DESIGN DESIGN NATIONAL 2016

SPRING 2016 2016 NATIONAL DESIGN AWARD WINNERS 16 SPRING 2016 INTERIOR DESIGN LANDSCAPE ARCHITECTURE PRODUCT DESIGN STUDIO O+A HARGREAVES ASSOCIATES AMMUNITION STUDENT DESIGN COMPETITION

2016 NATIONAL AWARD DESIGN WINNERS #THINKOUTSIDE

Founded in 1991, Studio O+A is a San Led by George Hargreaves (above Founded in 2007, Ammunition is a Francisco–based design firm with left), Mary Margaret Jones, and Gavin bicoastal studio dedicated to putting clients that are some of the most McMillan, Hargreaves Associates is design talent at the center of imagining, dynamic companies in American busi- globally renowned for the transformation creating, and operating new product ness, including Facebook, Uber, Cisco of neglected urban sites, waterfronts, and service ventures. Led by partners Systems, and Yelp. Led by principals and campuses into memorable places Robert Brunner, Matt Rolandson, and Primo Orpilla, Verda Alexander, and Perry that have become icons for their cities. Brett Wickens, Ammunition’s projects Stephney, O+A built its reputation on Projects include the 274-acre parklands include Beats by Dr. Dre, June Intelligent understanding how the next generation for London’s 2012 Olympics, Crissy Oven, Lyft Glowstache, Polaroid Cube, of entrepreneurs is changing the work Field in San Francisco, and Louisville’s Square Stand, and UNICEF’s Kid Power environment and how those changes Waterfront Park, as well as 555 Mission Band. are abetted by design. Street in San Francisco and Caruthers Park in Portland, Oregon. June Intelligent Oven, the first truly intelligent Yelp offices (San Francisco, California, 2015) countertop oven (2015). Louisville Waterfront Park (Louisville, Kentucky, 2003).

National Design Awards programming is made possible by major support from 01 Additional funding is provided by Design Within Reach. National Design Award trophies are created by In partnership with Target, Cooper Hewitt Minnesota, will continue her design experi- The Corning Museum of Glass. launched its first youth national design ence this spring at Target’s headquarters in ndagallery.cooperhewitt.org is powered by challenge in January 2016, with the aim of Minneapolis. Claire will consult with Target’s Behance, part of the Adobe Family. engaging and inspiring the next generation design team to further refine her design to Media sponsorship is provided by of designers and introducing them to Cooper meet production standards. With Target’s

OCTOBER 20, 2016 Hewitt. We challenged our nation’s youth to support, five chairs will be produced and National Design Awards and National Design be inspired by one of a selection of museum installed in Cooper Hewitt’s garden, and two CELEBRATE THE 2016 Week professional supporters include AIGA, the collection objects and to design an outdoor chairs will be produced for the winner to professional association for design, American chair for Cooper Hewitt's newly redesigned utilize in her community. NATIONAL DESIGN AWARDS Institute of Architects New York Chapter, 02 Arthur Ross Terrace and Garden. One of the A gala benefit to support Cooper Hewitt in American Society of Interior Designers, American 01 (Back row from left to right) Chad Bogdan, Manager Society of Landscape Architects, Council of goals of the competition was to offer a real the spectacular setting of the Arthur Ross Design, Target; Ryan Thompson, finalist; Jillian Lustig, Fashion Designers of America, Decorative design experience for teens interested in Senior Designer, Target; Katie Larson, Designer, Target; Terrace and Garden. Furnishings Association, Industrial Designers entering the field of design. After receiving Tanner Wall, finalist; Tim Martell, Designer, Target. Society of America, Interaction Design Association, (Front row left to right) Claire Christianson, finalist; SECURE YOUR PLACE TODAY! and International Interior Design Association. hundreds of submissions from students Lauren Schrempp, finalist; Justin Williamson, across the nation, five finalists were Product Engineer, Target; Valerie Taranto, finalist.

ONLINE COOPERHEWITT.ORG/NDATICKETS selected and matched with Target product 02 Winner Claire Christianson presenting her chair CALL 212.849.8340 designers, who mentored the students in design process to the panel of judges. EMAIL [email protected] their design iterations and presentations. 03 Winner Claire Christianson’s chair prototype. All five finalists were then flown to 03 New York City for a Finalists Weekend. The Student Design Competition was organized The winning student designer, sixteen- by Cooper Hewitt, Smithsonian Design Museum, in 18 year-old Claire Christianson of Wayzata, collaboration with 19 SPRING 2016 COOPER HEWITT JOIN COOPER LEGACY SOCIETY HEWITT TODAY AND EMBARK ON A JOURNEY OF DESIGN!

COOPER HEWITT LEGACY SOCIETY SOCIETY LEGACY HEWITT COOPER LET US HELP YOU DESIGN YOUR LEGACY The museum is pleased to announce the establishment of the Cooper Hewitt Legacy Society in recognition and appreciation An estate gift such as a bequest is a simple method of providing future support to Cooper provide invitations to exclusive cooperhewitt.org/membership of those donors who have included a gift to Cooper Hewitt Hewitt. You may also consider establishing an Memberships start at $75/$65 endowment fund with your bequest, which can be for students and seniors, and events, passes to design [email protected] in their estate plans. Gifts of bequests, life insurance, or named after you or someone you wish to honor. This is a tremendous way for you to create a offer admission to the galleries and art fairs, access to 212.849.8349 other assets provide a vital source of capital and endowment lasting legacy and for your gift to support Cooper Hewitt’s national and international network of and summer Cocktails at Cooper reciprocal museums, and income needed to ensure Cooper Hewitt’s stability and innovative exhibitions and education programs. Hewitt; members-only exhibition a Smithsonian magazine future success. Becoming a member of the Cooper Hewitt If you have included Cooper Hewitt in your estate plans, or would like to receive assistance in previews and offers; discounts subscription. Legacy Society demonstrates your deep commitment to the planning your gift to the museum, please contact us. We would like to welcome you as a member of museum, and helps us continue to build the collection, conduct on SHOP, cafe, and public the Cooper Hewitt Legacy Society and ensure that Design Circle memberships research, and above all, provide public access to the world’s the museum can fulfill your wishes as intended. All programs; and a Design Journal inquiries will be held in strictest confidence. ($2,500–$10,000) furthermore best design through unique exhibitions, education programs, subscription. provide an intimate, behind- and online opportunities. CALL: 212.849.8322 EMAIL: [email protected] Design Insider, Design Watch, the-scenes look at the WRITE: Julie Barnes, Associate Director, Image: Installation view of the PolyThread knitted Cooper Hewitt Legacy Society members, with their permission, receive recognition in the museum’s online Campaign & Major Gifts, Cooper Hewitt, and Global Design memberships museum through the eyes of textile pavilion, designed by Jenny E. Sabin, Annual Report of Gifts and the Smithsonian Annual Report, membership in the Smithsonian-wide Legacy Smithsonian Design Museum, commissioned for Beauty—Cooper Hewitt Design Society, and invitations to special events to keep them informed of the museum’s advancements. 2 East 91st Street, New York, NY 10128 ($350–$1,500) additionally staff, Curators, and Director. Triennial.

GARDEN PARTY CELEBRATING COOPER HEWITT’S FORTIETH ANNIVERSARY IN THE HISTORIC LANDMARK CARNEGIE MANSION Honoring the visionary leaders of the museum’s transformative renovation

Barbara A. Mandel, Chairman Nancy A. Marks, Vice Chairman Enid W. Morse, Vice Chairman Beth Comstock, President Michael R. Francis, Vice President Paul Herzan, Chairman Emeritus Harvey M. Krueger, Chairman Emeritus Esme Usdan, Trustee

WEDNESDAY, JUNE 8, 2016 6:30–9:00 p.m.

cooperhewitt.org/gardenparty 20 21 SPRING 2016 SHOP.COOPERHEWITT.ORG SHOP COOPER HEWITT 01 UNSEEN BACKPACK 01 $1450.00 / MEMBER $1305.00

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09 A5 BOOK OF SHADOWS Lauren Bowker (British, b. 1985) founded TheUnseen as a creative house to $50.00 / MEMBER $45.00 explore the application of biological and chemical technology to wearable materials. Bowker developed color-changing inks that respond to environmental 10 A6 BOOK OF SHADOWS conditions. Applying these inks and compounds to fashion enables wearers, $38.00 / MEMBER $34.20 and those around them, to visualize otherwise invisible phenomena. TheUnseen is included in Beauty—Cooper Hewitt Design Triennial, on view 11 ALCHEMY NECKLACE through August 21, 2016. $85.00 / MEMBER $76.50

[Your work] proposes a new mode of What are the possible applications What comes to mind when you hear visual communication with inks that for the material technologies that you the word “beauty”? render invisible conditions into visual develop? Beauty is in revealing something that cues. We are interested in creating materials you don’t normally notice. It is seeing We wanted to bring technology to how a that can be inserted into everyday life the unseen. human interacts in their environment. It to improve it—a universal color code is about using color and form to express that is an early-warning indicator of an these different worlds beyond the eye, oncoming asthma attack, or a material Interview with Lauren Bowker (excerpt the ear, and the nose, beyond what we to easily communicate the state of your from Beauty—Cooper Hewitt Design as humans see. body or health. It is a catalyst to create Triennial © 2016 Cooper Hewitt, knowledge. Smithsonian Design Museum). 22