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On campus, a slew of initiatives are capitalizing on the are initiatives of On campus, a slew York New from students together brought we spring, Last

02 National Design Award winner of the Director’s Award Susan S. Szenasy helps a young designer create a book cover at our Design Fest during National Design Week. 02 issue’s “Design Pulse” asks: What can design do to empower can design do to empower What asks: “Design Pulse” issue’s responses The thought-provoking with disabilities? people with on individuals impact design’s of awareness broaden abilities. different advancements as a dynamic hub to highlight role museum’s in view expanding access. On design thinking for and promote the some of presents galleries, Access+Ability first-floor our products innovative seventy and over research extraordinary and sensory cognitive, physical, different address that in developments the latest of challenges, taking advantage also reflect They methods. digital technologies and fabrication in the design process the user prioritize that changing attitudes the opportunity. when given do can a person what to emphasize to help us design prototypes and users Ability Project University’s This accessible. making the museum more and solutions for City’s York with New to partner proud very are we winter, Access+Ability with Disabilities for People Office for Mayor’s in weeks two Lab. For Hewitt Cooper initiative, newest and our will be and Morton Mandel Design Gallery the Barbara February, and experimentation space for a collaborative into transformed An accessibility all ages and communities. of visitors learning for with San workshop rug-making with Google, a hackathon a Mark Morris dance Growth, Creative studio Francisco-based disease, a Design and with Parkinson’s people for workshop Digital Storytelling with Columbia University Storytelling Salon around dialogue and awareness will stimulate Lab, and much more museums to cities to from access to everything broadening in this unprecedented participate will you vital services. I hope Hewitt. Cooper learning opportunity at experiential This year and going forward, we are embracing accessibility embracing are we and going forward, year This Wheeling how Alex Elegudin share and Accetta Tara

DIRECTOR’S LETTER DIRECTOR’S A collaborative and creative process, design begins with empathy with empathy design begins process, and creative A collaborative and solutions products, systems, in results and the user for and user is our visitor the Hewitt, At Cooper lives. improve that and participatory. welcoming the campus is designed to be and in the design process, to engage is encouraged Everyone experience into viewing a passive transform these interactions walls, the museum’s design. Beyond of discovery an immersive and eclectic vast our explore the globe all over audiences from with our online collections own and build their collection permanent digital tools. abilities and all people of that to ensure sense in its broadest The offerings. Hewitt’s Cooper will fully enjoy backgrounds campus-wide our Design Journal reflect of this issue of contents designers, and feature future, inclusive to a more commitment and barriers down breaking who are and designer-users users, expanding opportunities. community- designed and built the first-of-its-kind, Forward disabilities. Steve with physical people for based fitness facility drawing his tactile introduces Graphics, Touch of Landau, founder the capability to draw, visually impaired the which gives board, more adds several Agency” “Design and design, and create. Mansfield, Jeffrey de los Reyes, voices—August knowledgeable and personal professional bring both Sabry—who Walei and And this accessible design. to the importance of perspectives 01 WINTER 2017 HEWITT DEAR COOPER FRIENDS, 01 Vice President of the Board of Trustees Elizabeth Ainslie (left) with Director Caroline Baumann and Board Chairman Barbara Mandel (right) at the 18th National Design Awards Gala. Ainslie has been appointed Board Chair as Mandel steps down after four years of indomitable leadership.

DIRECTOR’S LETTER DIRECTOR’S DESIGN NATIONAL 2017 GALA AWARDS AND AGENCY DESIGN AND IN WATER OVER MIDAIR THE AXIS PROJECT: DESIGNING WELLNESS FOR TOUCH BY DRAWING DESIGN PULSE: EMPOWERMENT LAB: COOPER HEWITT DESIGN ACCESS LEWIN GRANT SUSAN INTERVIEW: AND RARE JEWELRY RADICAL PLANNED GIVING AT COOPER HEWITT SHOP

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SPRING 2016 2 WINTER 2017 WINTER 2017 NATIONAL DESIGN AWARDS GALA NDA ACROSS THE USA We are celebrating the 2017 DIRECTOR’S LETTER DIRECTOR’S Cooper Hewitt celebrated the 18th National Design Awards National Design Awards nationwide, 03 0403 05 on Thursday, October 19, 2017. bringing our winners to Washington, DC, San Francisco, and Boston for

02 design-based learning experiences and panel discussions. Learn more Throughout the museum, there are exhibitions of of outstanding service as President. Cooper Hewitt’s at cooperhewitt.org/nda. design ingenuity introducing visitors to objects of beauty mammoth renovation and reopening—and so much 01 03 and intellectual richness: from exquisitely decorated more—simply would not have been possible without their objects of the eighteenth and nineteenth centuries to enthusiastic and steadfast dedication and support. Thank innovative works of contemporary design. Visitors to Joris you, Barbara and Beth! I am delighted to announce Trustee Laarman Lab: Design in the Digital Age are fascinated by the Elizabeth Ainslie as Chairman and Trustee Scott Belsky as gravity-defying MX3D printing technology developed by the President, as of December. Their combined wisdom and pioneering designer and his multidisciplinary team. So we experience, with the support of all our members and friends, asked architectural historian and critic Mario Carpo—who will ensure Cooper Hewitt’s continued success and impact. has written extensively on the contemporary revolution in technology—to describe the game-changing impact of MX3D’s capabilities. On the second floor, Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection celebrates @baumtweet the acquisition of 150 brooches, necklaces, bracelets, and @baumstagram rings from this influential collector. Susan’s extraordinary Caroline Baumann @cooperhewitt

generosity to Cooper Hewitt has expanded the international Director cooperhewitt.org 05 scope of our jewelry holdings and brought important 04 innovators into the collection. Enjoy our interview with 06 Susan—a giant in the world of cultural communication— in which she discusses her passion for supporting contemporary jewelry, informed by her close relationships NATIONAL HIGH SCHOOL with leading architects, artists, and designers. ALL ACCESS DESIGN COMPETITIONTHE 2018 NATIONAL HIGH SCHOOL And please mark your calendars for the opening of DESIGN COMPETITION The Senses: Design Beyond Vision on April 13 and Color on May 18. Highlighting our diverse ways of seeing the world, The Senses will explore sensory design as a GREAT DESIGN EMPOWERS PEOPLE. source of pleasure and wonder, as well as an outlook for 07 solving problems and expanding access. Furthering our understanding of sensory power and perception, Color 08 will combine highlights from the museum’s permanent collection and the Smithsonian Libraries’ extraordinary rare books collection to share how design innovates and communicates through color. Finally, I want to express my profound gratitude to two beloved members of the Cooper Hewitt family who just YOUR NEXT IDEA stepped down as officers of our Board. Trustee Barbara COULD, TOO.

Mandel provided four years of indomitable leadership as 01 04 08 Board Chairman and Beth Comstock gave us six years Chelsea Clinton, presenter of the Architecture Design Greg Kennedy, Delta Faucet (left), Andre Zechmeister, (left to right) Product Design Award winner Joe Doucet and

THE CHALLENGE SCHOLARSHIPS AND PRIZES DETAILS & ENTRIES Award to MASS Design Group Delta Faucet (right) Spencer Bailey, Surface Magazine Make the everyday accessible—Redesign Three finalists will receive a $XXX scholarship, www.cooperhewitt.org/designcompetition a process, object or place that you use a trip to New York City to present their ideas everyday to be more accessible by people and more. One winner will receive an additional Entries due March XX, 2018 with disabilities. $XXX scholarship. Organized by Cooper Hewitt, Smithsonian Design Museum Now in its third year, the 2018 Nationalin collaboration with TaHighrget. School 02 05 03 Design Competition in collaboration with Target is Mary Ping, founder of Slow and Steady Wins the Race, (top left to top right) Cooper Hewitt Trustee Todd Fashion Design Award winner Waterbury, Cooper Hewitt Trustee Margaret Gould Stewart, Importance of the Obvious collection, 2013; Matthias Borowski (German, b. challenging teens across the country to make an National Design Awards programming is made possible 1983), Kollective Plus Zwei (Vienna, Austria, founded 2014); Foam, polystyrene, and Facebook guests (bottom) by major support from everyday product, process, or place accessible. 03 resin, wood; Sizes vary, up to 25 x 30 x 110 cm (9  x 11  x 43  in.) Submit your design idea by February 12, 2018. Find (left to right) Marc Leff, Deborah Berke, Maitland Jones, 06 Stephen Brockman, and Caroline Wharton Ewing of Deborah Design Mind Award winner Craig L. Wilkins 04 and 05 out more at cooperhewitt.org/designcompetition. Berke Partners, Interior Design Award winner, After six years of outstanding leadership, Board President Beth Comstock with presenter Michael Ian Black 07 Additional funding is provided by Design Within Reach, 4 (left) is passing the baton to Trustee Scott Belsky (right). Lifetime Achievement Award winner Hartmut Esslinger Facebook, Bloomberg Philanthropies, and R/GA. 5 WINTER 2017 WINTER

Governor Baxter School for the Deaf THE ARCHITECTURE OF DEAFNESS: Established 1957 2015 Student Pop.: 60 ON THE SUBVERSIVE AND DIGNIFIED Mackworth Island State Park Established 1946 100 acres Civil War Stone Pier 1.25 miles of trails Union Army Training Camp DESIGN AND AGENCY ARCHITECTURE OF THE DEAF SCHOOL 1863 By Jeffrey Mansfield

MACKWORTH Set in picturesque Casco Bay in southeastern Maine, Mackworth ISLAND FLATS CASCO BAY An industrial designer, architect, and advocate speak to the role of the user protected coastal Island is a peculiar knob of land. It is a place I have known since I wildlife area

DESIGN AND AGENCYDESIGN in the design process. was a child. To the Deaf community it is known for The Governor Baxter School for the Deaf, to the locals for its hiking trails and miniature faerie houses, and to the world as the setting of Mark Medoff’s Tony-winning Children of a Lesser God. EVERYDAY LOVE STORIES A residential school for the deaf founded in 1957 by deed of the late Maine governor, the facility is a short drive from Portland. By August de los Reyes Yet owing to its location on the 100-acre island, accessible only by boat or the causeway that connects the island to the mainland, When I look at a bendable straw, I see a love story. As a the school could not be farther from the city. Its topographical designer, I have always thought of accessibility simply as and bathymetric contours—precise yet arbitrary lines drawn by good design, a kind of design hygiene that just has to be done. surveyors—also draw the contours of normalcy in our society, Gatehouse Baxter House Governor Baxter School for the Deaf Navigating environments from my power wheelchair brought and in its inverse, dis-ability, designating a physical and mental Administration Building Founded 1957 me to a conclusion: accessibility is not enough. In 2001, the boundary between “normal” and the “other.” This edge condition Civil War Stone Pier World Health Organization reframed the definition of disability obfuscates the island institution with other typologiesCauseway of isolation, 1863 from the medical model to the societal model, suggesting that including the boarding school, asylum, prison, internment camp, disability is not an effect of some physiological or cognitive hospital, lazaretto, leper colony, monastery, and sanctuary. difference—rather it is a mismatch between a person’s As a social institution, the mission of the deaf school the premise that deafness is an ailment. The deaf school did not so abilities and the environment or artifact with which she or he is was historically educational and rehabilitative: to prepare deaf much cure deafness as cultivate a discrete, if disruptive, linguistic, interacting. children for productive assimilation into society. In the service of sensorial, and material culture that resists the homogenizing This shift set me on a path to understanding the concept “curing” deafness, the architectural forms and vocabularies of effects of biopower. Most important, these schools brought of inclusive design, both a critique and a complement to deaf schools, from sprawling Kirkbride-like campuses to modern transcendent dignity to Deafness. accessibility. While accessibility implies a workaround to an interpretations of the panopticon, bear therapeutic aims that existing design to gracefully degrade an experience, inclusive forge an indelible link between deafness and pathology. Today, Jeffrey Mansfield is an Associate with the 2017 National Design Award design focuses on someone with an ability difference in mind this merger continues to shape social attitudes toward deafness winner for Architecture Design MASS Design Group. A Kluge Fellow at from the beginning, assuming that what benefits this person and guide technocratic approaches that seek to architect a final the Library of Congress, Mansfield holds a Master of Architecture from will benefit all whether they share the difference or not. An solution to the problem of deafness. But schools like Governor the Harvard Graduate School of Design. Architecture of Deafness is everyday example is the curb cut. While curb cuts help people Baxter are subversive. For the first time in our lives, we were supported with a grant from the Graham Foundation for the Advanced in wheelchairs and other mobility aids transition from sidewalk brought together and communication flourished effortlessly not Studies in the Fine Arts. Deaf himself, Jeffrey attended a school for the to street, many people take advantage of these affordances through speech but through sign, challenging as a misdiagnosis Deaf in Massachusetts. whether they’re walking their bike, pushing a baby stroller, making a hand-truck delivery, or pulling a suitcase across a city

street. Background Upper As I dug deeper into inclusive design, I found a history Mackworth Island, Falmouth, Maine. Governor Percival Baxter deeded the island Plan, Mackworth Island. A causeway connects the 100-acre island to the mouth. When he got home, he put a screw inside a straw and to the State of Maine in 1943 as a “sanctuary for wild beasts and birds.” Since mainland; to enter the ecologically diverse island and the school, visitors must of innovations all born from addressing some kind of ability wrapped wire around the grooves, creating the first bendable 1957, the island has been home to the Governor Baxter School for the Deaf. enter through a gatehouse—a symbolic threshold of our disciplinary society. difference. The telephone was originally intended to help the Photo by author Illustration by author. straw. As I encounter everyday objects through the lens of deaf; the keyboard was devised by someone whose lover, an inclusive design, I find myself surrounded by love stories. Italian countess with visual impairments, could not write him love letters without assistance; early email protocols were August de los Reyes leads the product design team at Pinterest. created by Vint Cerf so he could communicate more directly As the former head of Xbox Design, August helped Microsoft break with his wife rather than relying on the relay service for the new ground for inclusive design in the digital arena. August holds an deaf and hard of hearing. The elegance and beauty of these MDesS from Harvard and is a Fellow of the Royal Society of Arts.​ and many other examples is they all have one thing in common: they are all love stories—expressions of innovation and creativity by designers and inventors hoping to be closer with

the people they love. Upper When I see a bendable straw, I think of the father who Copy Of Patent for Drinking Tube (USA), September 28, 1937; Made by was sitting at a diner watching his young daughter unable to Joseph B. Friedman (American, 1900-1982); Ink on paper; H x W (document): 28.9 x 20 cm (11 ⅜ x 7 ⅞ in.); Joseph B. Friedman Papers, Archives Center, drink her milkshake because the straw was too high for her National Museum of American History, Washington, DC, 2001.3031

6 7 WINTER 2017 WINTER WHEN DESIGN FAILS THE DISABILITY COMMUNITY By Walei Sabry IN MIDAIR AND “WHEN PRODUCTS ARE WELL DESIGNED, THEY HAVE THE POTENTIAL TO ENABLE HUMAN BEINGS TO PERFORM TASKS OVER WATER By Mario Carpo DESIGN AND AGENCYDESIGN THEY PREVIOUSLY THOUGHT WERE IMPOSSIBLE . . . HOWEVER, IT IS IMPORTANT TO DESIGN PRODUCTS THAT EMPOWER USERS INSTEAD OF MAKING THEM FEEL INFERIOR.”

Born in Egypt and raised in New York City, I’m a classic New used. This makes them indistinguishable from other devices. It Yorker. The only difference about me is that I drag a 58-inch is common for blind customers to ask for the audio description black cane across the streets and sidewalks. That’s because device and receive the assisted listening device meant for I was born with a progressive eye condition called retinitis customers who are hard of hearing. pigmentosa. As a child, I could see fairly well. But by the time Another common design flaw is a result of the fact I was nineteen, I was blind. Once I started my new life as a that these are wireless devices. Because of that, the signal blind person, I discovered that I had an abundance of tools is not strong throughout the theater. This means that blind and assistive technologies to help me access information. customers have to sit in a very specific section of the theater Because of these technologies, I was able to stay connected in order to properly hear their audio description. The result can to my family and friends, and complete an undergraduate put blind customers in uncomfortable situations. It could be degree as well as a master’s degree in disability studies. Today that there are no available seats in the area with the strongest I am New York City’s first digital accessibility coordinator, signal. It could be that there are only a few seats available, responsible for making the city’s digital products work for which results in the blind customer being separated from people with disabilities. his or her party. Finally, in film screenings where there are a When products are well designed, they have the lot of blind viewers attending, blind customers have to be 01 potential to enable human beings to perform tasks they segregated into their own section of the theater. This happens previously thought were impossible. This is especially true most often at disability film festivals. of products designed to include the disability community. Perhaps the biggest design flaw of these devices is that However, it is important to design products that empower blind users cannot set them up independently. The devices Revolutions, both social and family of similar but different items, and The manufacturing process of choice users instead of making them feel inferior. heavily depend on LED displays that have no audio or tactile technical, always start on a small endless variations can be mass-produced for the first generation of digital makers was at no extra cost. Mass customization is the CNC (Computerized Numerical Control) When it comes to assistive technology and products feedback. The real-world consequence of this flaw is that scale—often from trials and designed to enhance the lives of people with disabilities, there employees who do not use these devices often can make a complete reversal of all the technical, milling machine—a legacy subtractive tends to be a trend of products that, although created by mistakes setting them up for the customer. The customer tests, samples, probes, and dry social, economic, and esthetic tenets of technology that drills and carves shapes well-meaning, non-disabled designers, fall short of their goal will not find out if the device is properly set up until the movie runs. When these experiments the industrial age. Yet the first forays of out of blocks of raw material. The first of delivering independence—products that are good ideas in begins. The only course of action is to leave the movie that has are successful, they scale digitally driven mass-customized design decade of the twenty-first century saw concept but ultimately do not take into consideration actual already started and find customer service for assistance. This into commercial production were met by the development of cheap and affordable up and grow, which is why we needs and behaviors of disabled users. process is not only frustrating but stressful, as it can prevent the architectural establishment of the time 3D-printing machines, which create objects An example of such products would be audio description the rest of the audience from properly enjoying the movie. eventually get to know them, with dismissive sarcasm: when Greg Lynn by extruding or otherwise adding layers devices for blind customers to use in movie theaters. In How do we avoid designing these flawed products for and we call them revolutions: first showcased his now famous Alessi Tea of material on top of one another—in the disability community? The answer is simple. Include people and Coffee Tower (2000)—a textbook- Michelangelo’s terms, not per forza di levare concept, these devices enable blind visitors to get the because they change everything. information they need to perceive and enjoy Hollywood’s with disabilities from day one. Ask yourself, “How many people perfect demonstration of the technical but per via di porre (not by taking away but latest blockbusters. Essentially, these wireless devices on the design team are also going to be users?” “Do we have logic of nonstandard production—many by adding material; Michelangelo famously transmit a recorded audio narration that explains visual a diverse set of beta testers?” “Have we reached out to the remarked that computer-aided design could favored the subtractive process, which, aspects of the movie. This includes describing the setting of disability community for their feedback throughout the design be good for making fancy trinkets, but he argued, raised the sculptor’s art above each scene, introducing characters, and noting visual actions cycle?” “Have we listened to their feedback?” It’s all the basics The basic principles of digital design and would never do for architecture; as a noted the painter’s). In our times, however, the that are integral to the plot. Think of it as the audiobook of good customer service. Because disabled customers are just fabrication have been known since the historian and critic said back then, buildings rise of additive replication technologies version of the movie. customers and their money is the same as everyone else’s. early 1990s. As Bernard Cache, Greg ain’t teapots. Perhaps not, but today the singularly vindicated all the principles of That sounds amazing, doesn’t it? Unfortunately, these Lynn, and other pioneers of computational offices of Zaha Hadid, Frank Gehry, and digital design and manufacturing, and devices have a history of shortcomings. First and foremost, http://www.acb.org/adp/tech.html architecture explained back then, others use similar technologies to build elicited even greater expectations. For the devices are not designed with the needs of blind parametric scripting and CAD-CAM very valuable real estate, including some this was a technology meant to bypass customers in mind. Instead, assisted listening devices and Walei Sabry is the digital accessibility coordinator for the New York technologies opened the way to a new of the most costly high-rises in the world; the modern industrial system altogether: audio transmitters that are designed for sighted people are City Mayor’s Office for People with Disabilities. universe of variable technical objects, and no one, not even in academia, can laugh using digital technologies, making more 8 where the same script can generate a them off anymore. copies of the same product will not make 9 WINTER 2017 WINTER

any of them cheaper; economies of often happens these days, are built in with different performances within scale do not apply to digitally driven distant places, thousands of miles away the same structure, which incidentally 3D printing. As a result, distributed, from their markets. is going to upend some centuries-old local fabrication becomes a viable When the 3D-printing revolution principles of structural design that technical and economic alternative to started, however, many in the design most engineers still take for granted centralized mass production, and a Fab professions once again retorted that (and they shouldn’t). Until recently, size Lab at the corner of the street (making making big buildings is quite unlike appeared to pose a more formidable stuff only when needed, as needed, making small teapots. For a start, and possibly insurmountable problem. where needed) can be more efficient, buildings are made of many different As 3D printing typically occurs inside a IN MIDAIR AND OVER WATER OVER AND MIDAIR IN and certainly more environmentally materials, some load-bearing, some printing chamber, 3D-printed objects friendly and more socially cohesive, than not. But today’s 3D printers can already must be smaller than the machine that the most productive and profitable of print high-performance materials, and prints them. Some designers have tried factories—particularly if factories, as even different materials and materials to circumvent this issue by using bigger and bigger 3D-printing machines (see recent work by Michael Hansmeyer and Benjamin Dillenburger, for example: at the time of this writing, the biggest 3D printers are the size of a small room). Others have argued that even the biggest building is a whole made of many parts, and are developing catalogs of small-size 3D-printed components ready for robotic assembly (Gilles Retsin, Manuel Jimenez Garcia, and Daniel Kohler at the Bartlett School of Architecture; Jose Sanchez at the School of Architecture of USC, Los Angeles; and 04 02 Gramazio and Kohler at ETH Zurich, among others). Joris Laarman Lab: Design in the Digital 01 This is where MX3D and Joris the dome of the Cathedral of Florence Visualization of stress lines, MX3D Bridge; Courtesy of Laarman have come up with quite a because he claimed he could do so without Age is on view through January 15, 2018. Joris Laarman Lab different solution, less intuitive perhaps using centering. To this day, we don’t know 02 and technically more challenging— how he did it, but he carried it off pretty Coffee and Tea Towers designed by Greg Lynn for which is probably the reason why it well. And if the Renaissance turned out Alessi, 2000

was hitherto untested—and which to be more than just another revival of 03 promises to be a game changer. Instead antiquity, we also owe it to the technical Cross-sectional drawing of Filippo Brunelleschi’s design for the dome of Santa Maria del Fiore of printing the building (or its parts) self-confidence and creative optimism that Cathedral in Florence, Italy, by Lodovico Cardi da Cigoli inside a machine, they have installed a Brunelleschi’s exploit revealed and infused (1559–1613) new generation of printers-welders on into the culture of early humanism. A bridge 04 robotic arms, and they move the printers on an Amsterdam canal is likely to be a tad Rendering, MX3D Bridge in the MX3D workshop; Photo around the building as they make it—just less conspicuous than the dome of the courtesy of Joris Laarman Lab

the way a team of traditional carpenters Cathedral of Florence—but it is fairly visible 05 would climb on the rafters of a barn as all the same. Again, revolutions always start Marker for MX3D App they raise it. MX3D and Joris Laarman on a small scale. 05 print the building out of the box, as they say: in midair. But if robotic printers can DOWNLOAD MX3D BRIDGE APP Joris Laarman Lab: Design in the Digital Age is climb on the structure they print and use organized by Cooper Hewitt, Smithsonian Design Enjoy an augmented reality experience Museum and the Groninger Museum, the Netherlands. it as the base and scaffolding for further Mario Carpo, theorist and critic, is the of Joris Laarman Lab’s MX3D bridge. It is curated by Mark Wilson, Chief Curator and Sue-an Reyner Banham Professor of Architectural van der Zijpp, Curator of Contemporary Art and Design, printing, size is no longer a limit for Zoom in and out and move around the History and Theory, The Bartlett, University at the Groninger Museum and Andrea Lipps, Assistant computer-driven, 3D-printed building— bridge for a 360-degree view of its Curator of Contemporary Design at Cooper Hewitt. only the sky is, as the saying goes. College London. He is the author of design. Building without framings or Architecture in the Age of Printing: Orality, iPhone and Android users: Writing, Typography, and Printed Images scaffoldings has always been every download the app from iTunes or Google Joris Laarman Lab: Design in the Digital Age is made architect’s dream. On the eve of the in the History of Architectural Theory and Play and use figure 05 as your marker for possible by the generous support of Amita and modern age, Filippo Brunelleschi—a The Alphabet and the Algorithm, and other exploring the bridge. Purnendu Chatterjee and the May and Samuel Rudin goldsmith by training, a noted eccentric, books. Carpo is currently the Vincent Scully Family Foundation, Inc. Support is also provided by the Ehrenkranz Fund, the Dutch Culture USA program of and a prankster without any architectural Visiting Professor of Architectural History the Consulate General of the Netherlands in New York, expertise—was commissioned to build at Yale University. The Iwata Family Foundation, Tory Burch, Kim and Al 10 03 Eiber, and the Creative Industries Fund NL. 11 WINTER 2017 WINTER THE AXIS PROJECT: DESIGNING FOR WELLNESS By Tara Accetta and Alex Elegudin THE AXIS PROJECT:THE AXIS FOR DESIGNING WELLNESS The Axis Project is a multidisciplinary elevator would be able to accommodate of small activity rooms located next to 02 03 center committed to providing high- the consistent daily traffic of dozens of one another, all too small and impractical wheelchair users. for wheelchair users. We had to make quality services for those with physical searching, we found an 11,000-square- Aside from the challenges of some modest structural changes to the disabilities. We founded the Axis Project foot lot that had an 8,000-square-foot finding a location, we needed to find a space, including taking down walls within with the concept of counteracting the single-story building on it. The property was place that was willing to take a chance the smaller rooms to make the rooms lack of health and wellness facilities formerly a catering hall and had beautiful on us—a nonprofit with a new, unproven larger and replacing permanent chairs for those with disabilities, while high ceilings and a unique interior courtyard, idea. We eventually found a 7,500- and tables with ones that were foldable simultaneously aiming to foster an and provided the spacious layout we square-foot space that housed a social and easy to move to create wider individual’s independence. As a first- needed to fulfill our vision. adult day program in Harlem that was passageways. of-its-kind facility, the Axis Project The new Brooklyn location allows underutilized in the afternoons. The We identified a 750-square-foot fills a new and unique role, replacing wheelchair users to unapologetically roll space was intended for use by senior room to be our gym to hold fitness a hospital or outpatient environment through the space, while simultaneously citizens; there were elements, such as exercises for members. To conserve with a community-based setting that having access to all the different activities immovable tables and chairs, as well space that would allow wheelchair empowers an individual to lead an active, available to them. The new gym space has as very narrow pathways, which would users to navigate around one another, fulfilling life. general exercise equipment with slight prove obstructive. The space had a lot we not only kept our equipment close Individuals with disabilities modifications, so whether you are a person make up the largest minority group in with a physical disability or completely the United States. Nearly one in five 04 able-bodied it is the perfect fitness center people have a disability in the U.S., for you. We believe that a space that serves the equivalent of about 56.7 million the able-bodied population and those people—19 percent of our nation’s with disabilities cohesively is the most population. In the U.S., 25.6 percent of to the walls but also we transformed the to serve as a “hangout” space—special integrated ideal setting. And soon, we plan people with a disability are physically walls themselves into workout stations events and parties are a big part of our to serve seniors at our Brooklyn location inactive during the week, compared by attaching anchors and various pulleys programming. as well. The Axis Project is a place that has to 12.8 percent of those without a to them. Further, we were able to attach After successfully operating for two been designed to help users become their disability. There is an imperative need a ceiling lift that made transferring from a years and receiving great feedback, we best selves. for people with disabilities to engage wheelchair a lot easier for our members. Our knew it was time to expand. Our place in in a healthy lifestyle—not only for main space is 4,000 square feet and is our Harlem was great, but the space was far their physical health, but for their most dynamic because it serves various away from large demographics of members spiritual and emotional well-being. With different purposes, but is best suited for from Brooklyn and Queens, so we wanted Tara Accetta is pursuing an MSEd at proper assistance in achieving holistic group-based activities. It was imperative a more localized area for them that was Brooklyn College and is an up-and-coming wellness, people with disabilities are that the equipment for group activities easier to access. We never expected to advocate in the disability community. more motivated to pursue an education, be portable, for example Krank Cycles find a place that was ideally accessible strive for job opportunities, and, on wheels and movable therapy mats. right off the bat, just hoped that the space Alex Elegudin co-founded Wheeling importantly, become active members in Members truly love the classes we offer. didn’t have structural barriers that would Forward in 2011 to help persons with their community. Unfortunately, in New Whether it is a standing class or a Krank hinder us from implementing our vision of disabilities get the support and resources York City, accessible gyms are few and Cycle spin class comparable to SoulCycle, accessibility. Unfortunately, due to the they need to lead active lives. He is an far between; this is even more true for we show that wheelchairs don’t stop our gentrification going on in Brooklyn, we attorney and advocate on disability issues. gyms with a knowledge tailored to assist members. were priced out of many of the available our community. Knowing that, we knew Social engagement and peer-to-peer properties that were priced for retail use we needed to create our own space support are major goals of the Axis Project. and not as community spaces. This required to foster our vision. We had to start Thus we needed a space where members us to go deeper into Brooklyn to find a 01 from scratch to even think of what this could converse without being distracted suitable location. One of the challenges A member performing a battle ropes workout.

kind of space would look like. Although by the activities going on around them. with many of the spaces was their being 02 accessibility is codified in some ways by Creating separate areas for activities was a part of new multi-story developments Participating in a Zumba class at Axis.

law, it’s really a subjective concept from difficult with our space constraints, but and having many structural columns that 03 a user perspective. We knew we needed we managed by using movable walls and often protruded into the space itself and The Axis Project 1st Anniversary Celebration a large open space that had ground- designating some areas for semi—private had a narrowing and obtrusive effect for 04 12 floor access, since neither a lift nor an 01 socializing. We also allow the front area accessibility. However, after months of A boxing class at the Axis Project 13 WINTER 2017 WINTER

emerging tactile composition, so they could comprehend and plan the overall picture, placing each new mark in the right location DRAWING BY TOUCH to create simple, recognizable figures. A POWER USER Sculptor Emilie Gossiaux, who has no light perception after a bike accident seven years ago, uses a tactile drawing board

DRAWING BY TOUCH like the one in the earlier study to sketch and illustrate ideas about her artworks. After years of practice, the experience feels to her like visual drawing, which is not surprising, since fMRI studies at Harvard in the 1990s showed the same parts of the brain lighting up during both activities. 03 Gossiaux’s pictorial explorations using this simple tool are pushing the boundaries of tactile portraiture, showing us a new level of expressiveness and mastery of this form of TACTILE MINDFULNESS highly refined through constant use and sensory substitution. While Gossiaux’s work reveals exceptional the absence of visual distractions. The artistry and skill, probably anyone with tactile drawing board is a low cost, low DESIGN OF TOOLS good fingertip sensitivity can learn to tech, portable tool for non-visual self- To achieve these results, Gossiaux use the tactile drawing board to make expression and communication that builds 02 experiments with different surfaces, styli, simple figures. The key to developing tactile mindfulness through its continued and paper to optimize the tactile drawing these abilities is temporary or permanent use, leading to some extraordinary artistic experience and find the “sweet spot,” in lack of vision. Just putting on a blindfold accomplishments, and highly developed which she receives the most accurate causes us to switch our focus from vision manual skills that probably carry over into The role of vision in figure drawing tactile information, capturing not only to touch, bringing tactile sensations to every aspect of the artist’s life. As with any is easy to demonstrate: if you close the placement of lines, but also visual the perceptual foreground. Because vision skill, the key to achieving mastery appears your eyes or put on a blindfold and characteristics like darkness or thickness. is effortless, operates at a distance, and to be intensive practice and access to then try to draw a picture of your dog, Pressing a little harder with the stylus can take in an entire scene at once, it appropriate tools, adapted to one’s specific for example, the results will probably should result in a barely perceptibly higher always supplants touch as the dominant needs and preferences. be unrecognizable. Drawing a good raised line; this requires a rubber pad with sense. Sighted people can learn tactile likeness requires visual feedback: you just the right resiliency, and paper that mindfulness with training, but as soon as have to see the line as it is being drawn, stretches a bit but does not rip when you their blindfold is removed, vision takes over 01 so that you can continually correct your really bear down. A good analogy is a singer and their newly acquired tactile skill will movements to achieve the desired Emilie Gossiaux holds up her sketch of her guide who listens to herself through the highest- probably start to fade. dog, London, as London pokes her nose up into the result. Without vision we have no way quality headphones during recording photo, bottom right. Emilie used the Blackboard to perceive lines as we make them, tactile drawing board from Sensational Books sessions: the more precisely she can hear MASTERY (sensationalbooks.com). 01 and no way to experience the picture herself, the more accurate and steady her But for those living without vision for as a whole. 02 pitch and timbre. many years, tactile ability can become John Kennedy’s Drawing & the Blind book cover By Steve Landau showing simple side views of a person lying down, a A TACTILE DRAWING BOARD cat, a dog, and a horse. These sketches were made by A person can learn to draw without a blind student using the rubber-mat method of tactile drawing. As a company of designers and producers of tactile maps and seeing, by replacing visual perceptions with tactile feedback. In pioneering 03 models, Touch Graphics, Inc. usually focuses on products that Mom and Dad, tactile portrait by Emilie Gossiaux. experiments in the 1970s, psychologist Ballpoint pen on copy paper, 2017 communicate spatial information through the sense of touch John Kennedy at the University of 04 for use by visually impaired students and museum visitors. Toronto taught adults who had never Still image from a video of Emilie Gossiaux Occasionally, the company develops tools to support blind had sight before how to draw using a demonstrating the tactile drawing board in her studio. rubber mat placed under a sheet of She holds the pencil in one hand and feels the lines she is making with the other hand. artists and scientists. One of our recent explorations involves drawing paper. Their pencils created a collaborative project with a practicing sculptor, Emilie raised furrows in the paper as they Gossiaux, who explores new modes of self-expression through pressed down into the resilient surface, and the artists could feel these furrows touch. The result of this experimentation is a large rubber Steven Landau is the president of Touch with one hand as they drew with the Graphics, a company he founded in 1998 drawing board, a simple device that provides real-time tactile other hand. When they weren’t drawing, that aims to refine and commercialize 14 feedback as you draw. they were using both hands to scan the 04 methods for tactile graphics production. 15 WINTER 2017 WINTER

LIZ JACKSON I can't think of anything less empowering than writing about EMPOWERMENT. It is not Design Activist empowering to be the object of someone else’s good deed. Even the phrase “design for disability” implies that something has been done for us, DESIGN PULSE: rather than with us or by us. We’re more than our bodies and experiences. We have thoughts and ideas, too. The design world must trust the expertise of disabled people; we’re more than just your inspiration. Disability ingenuity is the DESIGN PULSE: EMPOWERMENT PULSE: DESIGN future of this design movement and it’s about time we start getting some credit. I believe the expectation of choice will ensure that our designs EMPOWERMENT rather than our bodies will become the focus of critique. And perhaps through this process, disabled people will feel empowered to become designers, because design needs more than our What can design do to empower people experiences. It needs our ideas. with disabilities? Voices from the field provide a range of viewpoints.

SINA BAHRAM Accessibility consultant, researcher, and entrepreneur and founder of Prime Access Consulting GRAHAM PULLIN Designer, academic at the University of Dundee It is important for us ERIC KONDO and author of Design Meets Disability to distinguish between Entrepreneur, father, universal design, inclusive wheelchair skateboarder design, and accessibility. Universal design is the act of considering all audiences, or as many as we can, at the beginning of a project, and iterating upon this consideration until we arrive at a solution JED A. LEVINE that is usable by far more people than if we had not taken such a design tact. Inclusive design is a newer Executive Vice President, Director of term, used by many contemporary designers and Programs and Services, CaringKind advocates. While “universal” implies a potentially For individuals with Alzheimer’s and unattainable burden for designers and developers, other dementias, good design has the “inclusive” is an invitation. It’s warm, and it aligns power to provide comfort, and support with most peoples’ basic values. We include our their independence and autonomy as friends, our loved ones, and so on. Inclusive design long as possible, thus empowering the recognizes that people have multiple forms of identity and difference, including age, ability, language Every person is a reservoir of potential energy affected individual to be more fully who fluency, socioeconomic status, cultural background, and future accomplishment. they are. When persons with dementia and so on. Accounting for those differences doesn’t Over thirty years ago, I had a motorcycle accident do well, caregivers also benefit, mean making everyone the same. that made me a wheelchair user. In my house, experiencing less stress. I have a wheelchair from the era of Theodore Design can reflect and even influence attitudes toward disability. Roosevelt, which serves as a constant reminder to So why am I reluctant to adopt the word empowerment? Perhaps me of how important design has been in my own it is the transformation implied of overcoming disability, when life. I have benefited greatly, as have others, from disabled people I know reject this expectation. the continuous evolution of thoughtfully designed Perhaps it’s just the tone of voice: EMPOWERMENT in block and manufactured adaptive equipment. Design is capitals. Disability-related design can be deliberately unremarkable not just about aesthetics, it can be freeing. where this is appropriate, yet without being in any way apologetic. https://www.facebook.com/Wheelchairboarding Disability, like design, can be part of the fabric of everyday life, beyond triumph or tragedy. 16 17 WINTER 2017 WINTER SUSAN GRANT LEWIN DESIGN ACCESS INTERVIEW: COOPER HEWITT LAB: DESIGN ACCESS DESIGN LAB: HEWITT COOPER

RARE AND RADICAL JEWELRY Cooper Hewitt Lab: Design Access will activate the museum’s 6000-square-foot Barbara and Morton Mandel Design Gallery with programming, activities, workshops, and events focusing on accessibility and design for visitors of all ages and communities February 2–16, 2018.

ACCESS DESIGN TEEN CREATIVE GROWTH PROGRAM HANDS-ON RUG-MAKING 02 WORKSHOP COLUMBIA UNIVERSITY COOPER HEWITT: What is your background DIGITAL STORYTELLING LAB MUSEUM ACCESS CONSORTIUM and how did you land in the design world? DESIGN AND UNIVERSAL DESIGN STORYTELLING SALON: WORKSHOP SUSAN: Art, architecture, and design have always been my passion. I was a fine arts VERBAL DESCRIPTIONS major with a focus on architecture and MARK MORRIS design at the University of Pennsylvania, DESIGNING ACCESSIBLE and went on to New York School of Interior DANCE FOR PARKINSON’S Design. I began working at Fairchild CITIES SYMPOSIUM PROGRAM publications, then Hearst magazines— writing about interior design and furniture. I became creative director at Formica COLLEGE ACCESSIBILITY ACCESSIBILITY HACKATHON Corporation, and then founded my own art PROJECT OPEN CALL WITH WITH GOOGLE CLOUD and architecture public relations company. PANEL CRITIQUE MACHINE LEARNING APIS CH: When did you develop an interest in contemporary jewelry?

SGL: It was by chance that my professional interests led me to become a contemporary This exhibition (December 15, 2017–September 3, 2018) features jewelry collector. The first event ACCESS+ objects and services—developed over the past decade—with and 01 that opened my eyes to this world of by people with physical, cognitive, and sensory disabilities seeking contemporary jewelry was in Copenhagen. While still working as a journalist, I traveled to expand accessibilty and inclusion for all users. ABILITY Susan Grant Lewin bestowed a rare gift to Cooper Hewitt that frequently to Denmark to write about furniture. It was in Copenhagen that I fell includes 150 brooches, necklaces, bracelets, and rings, and traces in love with the work of Vivianna Torun radical developments in jewelry from the mid-twentieth century to Bülow-Hübe. That was the beginning! I the present. Lewin’s gift significantly expands the range and depth just loved it. The other influence that got of Cooper Hewitt’s jewelry holdings to encompass the inventive me into collecting in the ’80s was Mickie Friedman at the Walker Art Center. As the approach of the studio jewelry movement and the impact of later creative director at Formica Corporation, Cooper Hewitt Lab: Design Access and Access+Ability will be presented in partnership with New York City groundbreaking conceptual and materials-driven contemporary I was determined to bring “culture” to Mayor’s Office for People with Disabilities. The collaboration contributes to Cooper Hewitt’s greater, ongoing jewelry design. Lewin talks here with Cooper Hewitt about the story the commercial manufacturer with efforts to broaden access to its campus, exhibitions, programs, and online presence. We invite you to share an arts program that included lecture your thoughts on our Access+Ability blog: cooperhewitt.org/channel/access-ability/. behind her collection, which is now on view in Jewelry of Ideas: Gifts series, museum exhibitions, scholarships 18 from the Susan Grant Lewin Collection through May 28, 2018. for design students, etc. As part of 19 WINTER 2017 WINTER PLANNED GIVING AT COOPER HEWITT SUSAN GRANT LEWIN INTERVIEW: RARE AND RADICAL JEWELRY

Residents of Caswell County, North Carolina, designers Robert Black and Ormond Sanderson have

03 04 always tried to live by the ideal of “making everything in your life beautiful and well functioning.” As the couple plans their legacy, they are eager to share this philosophy with others. “Having spent a CH: What are some of the new directions lifetime promoting these ideals,” says Black, “we wish to encourage others to appreciate the value and you see contemporary jewelry taking? satisfaction that can be achieved by being exposed to well-designed objects.” Of course, Black and Sanderson see Cooper Hewitt as the place to make that happen. SGL: That’s definitely technology and 3D printing. And that is represented in the exhibition [Jewelry of Ideas]. I have donated 150 pieces from my collection ROBERT K. BLACK J. ORMOND to Cooper Hewitt so we can tell the The couple met in the late 1950s while story of these groundbreaking works. I teaching at Atlantic Christian College in SANDERSON, JR. feel I am acting as a conduit for these North Carolina. The two shared a passion pieces. This work will now be available to for arts and crafts, and soon decided to a wider audience and expertly preserved open a store and sell their own pottery, for future audiences. enamels, and paintings. Converting a

05 family property, they developed Straw Valley outside of Durham. They built their 01 own equipment, designed additional Black Sectional Necklace from the Islet Series merchandising, and as their business the program, I organized a design wealth or sentiment; they were about (Philadelphia, Pennsylvania, USA), 2011; Doug Bucci (American, b. 1971); 3D-printed glass-filled grew, even designed the buildings for their competition with the goal to suggest ideas and concepts. The jewelry in nylon, sterling silver; 5.4 x 36 cm (2 ⅛ x 14  in.); stores, studios, and residence. Over time innovative uses for a new material. Titled the collection is often abstract or Promised gift of the Susan Grant Lewin Collection they expanded to include contemporary “Surface and Ornament,” The New York non-objective and includes jewelers 02 furniture, accessory lines, and a wide range Times called the resulting exhibition “the whose work advanced the field. I built a Portrait of Susan Grant Lewin of merchandise and artistic productions benchmark of design competitions.” collection with a pantheon of jewelers, 03 from notable designers. The campus One of the most celebrated pieces I representative of the absolute best NOT TITLED 7 Brooch (USA), Twentieth century; became an eclectic epicenter in North commissioned while at Formica was makers and designers working in jewelry Thomas Gentille, American, b. 1936, Bronze, gold- findings; 7.5 × 6.8 × 1 cm (2  × 2  × ⅜ in.) Carolina, as they enthusiastically welcomed Frank Gehry’s Fish in ColorCore. That across the world. (part a), 5.5 × 1.9 × 1 cm (2  × 3/4 × 3 in.) (part b); visitors to learn about great design. work was included in Gehry’s 1986 The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum, 2016-34-38-a,b Recently the couple generously retrospective at the Walker Arts Center CH: How do you describe your tastes supported Cooper Hewitt with a in Minneapolis. I worked closely with and choices in contemporary jewelry? 04 NOT TITLED Brooch (DeMarco Series) (USA), charitable gift annuity. A gift like Black Design Curator Mickey Friedman who’d Twentieth century; Thomas Gentille, American, and Sanderson’s provides the donor with always admired my jewelry. She ended SGL: I have to say it’s very hard to put b. 1936; Bronze, gold, industrial paint; Diam x D.: 7 × 0.6 cm (2 3/4 × 1/4 in.); The Susan Grant Lewin regular fixed payments and a charitable up inviting me to buy jewelry for the my taste into a box. I would definitely Collection, Cooper Hewitt, Smithsonian Design tax deduction, and the museum with Walker. This gave me the opportunity say that I’m much more into abstract Museum, 2016-34-37 a vital source of future support for its events and programs at Cooper Hewitt and The couple believes that “good design to travel across the United States and geometric pieces, gravitating to works 05 programs. “And of course if you don’t need the Annual Smithsonian Members’ Weekend adds quality to life,” and Cooper Hewitt visit the most important contemporary like Thomes Gentille’s. But then again, Fish Lamp (First Generation) produced by New the payments from the annuity” explains in Washington, D.C. could not agree more. We are grateful jewelers’ studios—and, in the process, I like Iris Eichenberg and her work is City Editions, (Los Angeles, California, USA), 1984; Frank Gehry (American, b. 1929); Colorcore, wire, Black, “you can use them to make additional “Planned gifts like these help the to Black and Sanderson—and all of our build my own collection. extremely feminist. I became a major wood; 38 x 48 x 26; Image Courtesy of Gehry contributions to an organization you museum organize for its future, and greatly donors—for their generosity and for helping proponent of contemporary American Partners, LLP. admire.” By design, a gift annuity is a gift contribute to its overall financial health,” us educate, inspire, and empower people CH: And did you start collecting then? jewelry, which was not as well regarded that continues to give. says Julie Barnes, Associate Director for through design. as its European counterpart at the time. When you support Cooper Hewitt Strategic Development at Cooper Hewitt. To learn more about planned SGL: Yes, but I didn’t think of it as In order to champion American jewelers, Jewelry of Ideas: Gifts from the Susan Grant with a planned gift, you also enjoy lifetime Black and Sanderson’s gift will support giving opportunities, and other ways collecting. I thought of it as buying and I wrote a book on the subject, One of Lewin Collection is made possible in part by the Rotasa Fund, the Society of North American membership in the Cooper Hewitt Legacy a wide range of museum efforts, from to support Cooper Hewitt, please shopping at first, always gravitating to a Kind: American Art Jewelry Today Goldsmiths (SNAG), Gallery Loupe, Sienna Patti, Society as well as the Smithsonian-wide cutting-edge exhibitions to innovative contact [email protected] or hear the stories of these designers. I (1994). My collecting was driven by William P. Short III, in memory of Nancy Jean Fulop Short, Helen W. Drutt English, Kim and Al Eiber, and Legacy Society, with invitations to special education programs. 212.849.8322. 20 sought out works that were not about experimentation. Ornamentum Gallery. 21 WINTER 2017 WINTER SHOP.COOPERHEWITT.ORG 212.849.8355 [email protected] SUPPORT EMPOWERING DESIGN. ALL DESIGN. ALL THE TIME. Make a gift to our Annual Fund.

03 WWW.COOPERHEWITT.ORG/DONATE 02 SHOP COOPER HEWITT

Racing Wheelchair, 2016; Designed and Manufactured by Designworks Los Angeles Studio (Newbury Park, California, USA, founded 1972) and Bavarian Motor 01 Works (BMW) (Munich, Bavaria, Germany, founded 1916); Carbon fiber, aluminum, titanium, and 3D-printed parts; Photo courtesy of Designworks Los Angeles On view in Access+Ability through September 3, 2018.

BOARD OF TRUSTEES COVER IMAGES (FRONT AND BACK) Elizabeth Ainslie, Chairman Dot Watch, 2017; Dot Incorporation (Seoul, Nancy Marks, Vice Chairman South Korea, founded 2014); Designed by cloudandco (Seoul, Korea, founded 2010); Enid W. Morse, Vice Chairman Creative Director: Yeongkyu Yoo (Korean, 10 Scott Belsky, President b. 1971); Industrial Design: Yeongkyu Yoo, Agnes C. Bourne, Vice President Kihwan Joo, Youngwoo Choi, Jaesung Joo; Beth Comstock, Vice President Graphic Design: Yeongkyu Yoo, Nara Ok; 04 Concept Editor: Michelle JY Park; Anodized Lisa S. Roberts, Vice President aluminum case, gyroscope, touch sensors, Todd Waterbury, Vice President wireless MCU platform, leather; Watch: Judy Francis Zankel, Secretary 4.3 × 1.25 cm diam. (1  × 1/2 in.); Courtesy of Dot Incorporation. Bart Friedman, Treasurer On view in The Senses: Design Beyond Vision (April 13, 2018–October 22, 2018.) Kurt Andersen 11 Carl Bass 08 Alain Bernard Amita Chatterjee Alberto Eiber, M.D. PHOTO CREDITS THE AXIS PROJECT: DESIGNING FOR WELLNESS Unless noted below, all images are by All photos courtesy of Wheeling Forward. 05 Marilyn F. Friedman Cooper Hewitt, Smithsonian Design Museum Shelby M. Gans 06 © Smithsonian Institution. DRAWING BY TOUCH 09 Alice Gottesman 01: Photo by Alexander Louis Heffesse Paul Herzan, Chairman Emeritus DIRECTOR’S LETTER 03: Courtesy of Emilie Gossiaux 01: Max Lakner/BFA.com 04: Photo by Steve Landau Helen Hintz 02: George Zervoudis Photography. Jon C. Iwata 03: © Matthias Borowski, Kollective Plus Zwei, 2014 DESIGN PULSE: EMPOWERMENT Jon Kamen 04: Zach Hyman/BFA.com Page 16: 01: Photo by Edward Boches; 02: Photo courtesy of Pratt Institute 07 Francine S. Kittredge 2017 NATIONAL DESIGN AWARDS GALA Page 17: 01: Photo by Hanna Agar; Canes: Top & Derby; David Lubars 01, 05–06, 08: Scott Rudd Photography 02: Photo by Liz Jackson; Cane: OMHU John Maeda 02, 04–07: Max Lakner/BFA.com 01 JOSEF FRANK: AGAINST DESIGN 02 365 GRADIENT CALENDAR 03 ANDREW CARNEGIE PLUSH Barbara A. Mandel 03: Benjamin Lozovsky/BFA.com SUSANT GRANT LEWIN INTERVIEW: RARE AND RADICAL JEWELRY $59.95 / MEMBER $53.95 $20.00 / MEMBER $18.00 $69.00 / MEMBER $62.10 Margery F. Masinter DESIGN AND AGENCY 01, 03–04: Photo by Matt Flynn © Smithsonian 368-page catalog featuring the architect’s Perennial calendar designed by Henry Drago for Plush doll, designed exclusively for Cooper Henry R. Muñoz III Page 6: Photo © Smithsonian Institution Institution work, furniture design, and brilliantly colored American Design Club. Color, text, and layout Hewitt, by London-based textile designer Karen A. Phillips Page 7: Photo and illustration courtesy Jeffrey 02: Painting by Marc Seguin patterns. change daily, no two pages are alike. Donna Wilson. Avi N. Reichental Mansfield. 05: Courtesy of Gehry Partners LLP David Rockwell IN MIDAIR AND OVER WATER PLANNED GIVING AT COOPER HEWITT 04 3D B FOGLIE BRACELET, BLUE 05 MASKING TAPE, BOX OF 20 06 TRY TRAY, SMALL Madeleine K. Rudin 01 & 04: Joris Laarman Lab Courtesy of Robert Black and Ormond Sanderson. $90.00 / MEMBER $81.00 $32.00 / MEMBER $28.80 $60.00 / MEMBER $54.00 Margaret Gould Stewart 02: Photo by Carlo Lavatori 03: GRANGER / GRANGER—All rights reserved. Inspired by nature, this bracelet was designed Specialty craft tapes that won’t leave residue World renowned designer Gaetano Pesce Esme Usdan by sculptor and jewelry designer Monica behind when removed, perfect for decorating combined opaque and translucent resins to Castiglioni in partnership with 3D-printing anything. form these one-of-a-kind pieces. company bijouets. Kathleen B. Allaire, Chairman Emerita 08 PASSABALL 09 PETER SHIRE TALL SPECKLED MUG Joan K. Davidson, Trustee Emerita Richard Meier, Trustee Emeritus 07 3-UP BOARD GAME $35.00 / MEMBER $31.50 $60.00 / MEMBER $54.00 $25.00 / MEMBER $22.50 Kenneth B. Miller, Chairman Emeritus Design Journal, Number Seven, Winter 2017 Graphic Design: Ann Sunwoo Founded in 2015, Pass-A-Ball is a charitable Designed and hand-painted by Peter Shire, Published by Project Manager: Pamela Horn, Director of Cross- Designed by Connect Four designer Howard socially conscious soccer brand that donates a each is one of a kind. Cooper Hewitt, Smithsonian Design Museum Platform Publishing and Strategic Partnerships Wexler; win by stacking your pieces three high. EX OFFICIO—SMITHSONIAN INSTITUTION ball for each one sold. 2 East 91st Street © 2017 Cooper Hewitt, Smithsonian Design Museum. David J. Skorton, Secretary New York, NY 10128-0669 All rights reserved. 10 MELLOW VASE, PINK/GREEN 11 SIGRID CALON MEMORY GAME John Davis, Provost/Under Secretary for cooperhewitt.org $199.00 / MEMBER $179.10 $18.95 / MEMBER $17.05 Museums & Research Design Journal is a benefit of museum membership. Design Journal is printed on FSC-certified For information about becoming a member, please call Caroline Baumann, Director, Cooper Hewitt, Two-tone acrylic vases, a collaboration of 52 cards featuring the works of Dutch visual recycled paper. 212.849.8349 or visit cooperhewitt.org. 22 Korean product brand Hattern and Milan-based artist Sigrid Calon. Smithsonian Design Museum 23 studio UMZIKIM. PRESORTED MAIL FIRST CLASS AND FEES POSTAGE PAID SMITHSONIAN INSTITUTION G-94 2 E 91ST STREET 2 E 91ST 10128 YORK NY NEW COOPERHEWITT.ORG

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