DIRECTOR’S LETTER

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SPRING/SUMMER 2017 how the creative awakening of American design further propelled the United States to a place of hope and economic opportunity. DEAR COOPER HEWITT Coupled with Jeweled Splendors of the Art Deco Era: The Prince and Princess Sadruddin Aga Khan Collection, visitors cannot help FRIENDS, but leave in awe of this fertile period. It’s my favorite time of year and an opportune moment to inject For today’s young people, design expands academic and some optimism into our minds. This journal brims with optimism, career horizons, boosts confidence, and promises a productive from the vibrating cover celebrating design legend Ingo Maurer future. Thanks to the generous support of Target, Cooper and his work full of dreaming and creativity to a slew of topics Hewitt’s National High School Design Competition opens the exploring the promise of design. Be sure to see Ingo's LED doors for students to engage in design thinking and tackle real- wallpaper on display in our current exhibition on the first floor, life challenges. This year, our judges include Alice Waters, chef Making | Breaking: New Arrivals, emphasizing breakthroughs in and owner of the groundbreaking restaurant Chez Panisse in new technologies and techniques and in-depth process stories. Berkeley, California, and founder of the Edible Schoolyard Project Design optimism is rooted in the discipline’s commitment (ESP), featured in this issue. A nationwide school program, ESP to collaboration, experimentation, and, most importantly, teaches children to become creative problem-solvers and fosters innovation and progress. A dynamic learning laboratory, Cooper a lifelong appreciation for food’s ability to connect and sustain Hewitt harnesses the power of its educational resources—built our communities. on the strength of its world-class collection of over 210,000 We strive to welcome the broadest and most diverse design objects—to passionately engage audiences of all ages in audiences possible. We recently launched an exciting partnership design’s forward momentum. with New York University’s Ability Project to transform the Design’s catalytic energy is brilliantly showcased in The museum into a laboratory for the study of accessibility. Jazz Age: American Style in the 1920s, on view through August Graduate students have been experimenting with our collection’s 20 on the second floor and throughout the Barbara and Morton application program interface and interviewing our staff Mandel Design Gallery. A multi-disciplinary and multi-sensory and visitors, while exploring the building top to bottom and exploration of the era in which American design ascended to the developing exciting new solutions for fully integrating visitors world stage, The Jazz Age is a bold installation of four hundred with disabilities into the Cooper Hewitt experience. Claire plus objects—nearly half from our own holdings—that celebrates Kearney-Volpe, an adjunct professor for the Ability Project, shares the pulse and rich mixture of cultures and expressivity that preliminary observations in this issue. brought a new beat to contemporary life. It also underscores

01 02 Dutch designer Joris Laarman visited Cooper Hewitt’s Barbara and Morton Mandel Fellow Trustees Scott Belsky (left) and Todd Waterbury join Director Caroline Design Gallery in preparation for the September 2017 opening of Joris Laarman Lab: Baumann to welcome Margaret Gould Stewart (far right) to the Board of Trustees Design in the Digital Age. Laarman (center) works with Cooper Hewitt curator Andrea at 2017 TED Conference. Lipps on the installation. (See pg. 8 for more details.) 3 5 5

Liza Siegler Liza By

When she began, Alice brought to her to her Alice brought When she began,

Arman Turner Jenkins, Alum of Martin Turner Arman Middle School, 2013 Jr. King, Luther At the Edible Schoolyard Project, we cele- we Project, At the Edible Schoolyard has truth: food profound a simple but brate us to each connecting of way a beautiful The human us. around world and the other all-encom- are sustenance real rituals of and to respect stop we when passing, and changed are lives them, our appreciate forever. trained a of mission the dual perspective political and fervent teacher Montessori renowned with an already along activist, Right now I’m writing about the kitchen about the kitchen writing I’m now Right I feel When I come here and the garden. walk time I Every peace…. I’m at like a smile is on my those gates through and welcomed I’m that knowing face I come for where This is respected. the peace to will spread peace and I me. The garden is a part of world. the it used to be a parking told was When I was If it still a little surprised. was I lot, The the staff. met never have would I All the inside. garden changed me from into is being released the carbon that about the more me care makes the air in earth. In the garden I am breathing life. of a taste When I do, I get oxygen. peace and I hope The garden is a part of when I graduate the same will stay it me but for for just high school: not from of the gates who come through those the garden. — BEAUTY IS A LANGUAGE A IS BEAUTY OF CARE: FIRST PRINCIPLES OF THE EDIBLE SCHOOLYARD PROJECT PROJECT SCHOOLYARD THE EDIBLE OF FIRST PRINCIPLES In 1995 in Berkeley, California, Alice Waters founded the Edible Schoolyard Project in collaboration with in collaboration Project the Edible Schoolyard founded Waters Alice California, In 1995 in Berkeley, Middle School. She Jr. King, public middle school, Martin Luther local her of and parents the teachers teach we how and uniting re-imagining equality” by schools the place of our to “make way a envisioned design an empathic how demonstrates The program the school day. during children and nourish our years. than twenty more in scale over flourished, and grown has evolved, process 01 Arthur Design. Design. Music. The National Jazz Museum in Harlem The National Jazzmeia Horn Quintet the presents Portraits The Disappearance Jonah Bokaer: Atlantic Records Presents Sir the Baptist Sir Records Presents Atlantic Cash DJ Kitty *Performances subject change. to Atlantic Records Presents LOLO Records Presents Atlantic and Flex Program Robi D Light Trio Jazz Juilliard Juilliard Night: Coco and Breezy Niia Records Presents Atlantic Jazz Ensemble Juilliard Juilliard Night: Live featuring featuring Live Spalding Selects Esperanza and Rose Washington, Nadia Mezcalitos, and the Nightingale and Friends Apex Brass Juilliard Night: Dance. JUNE 15 JUNE 8 JUNE 22 JUNE 29 6 JULY 13 JULY 20 JULY 27 JULY 3 AUGUST 10 AUGUST 17 AUGUST 24 AUGUST FREE FOR COOPER HEWITT MEMBERS TODAY TICKETS YOUR NON-MEMBERS RESERVE No need to pre-purchase. Just show your membership card at the door. Become a member today! cooperhewitt.org/cocktails $13 online / $15 at door #DrinkUpDesign Juilliard School performances are made possible by the generous support of Dinny and Lester Morse. The popular summer series returns to the series returns summer The popular Cooper at and Garden Hewitt. Terrace Ross cocktails performances. the Enjoy Come for Vino. e Tarallucci from purchase for fare and light shine. or Held rain welcome. All ages P.M. 69 THURSDAYS, 24 8AUGUST JUNE Smithsonian Community Committee, and staff from National Museum of the Smithsonian Community Committee, and staff from National Museum of the American Indian, Smithsonian Enterprises, and Archives of American Art. @baumtweet @baumstagram @cooperhewitt cooperhewitt.org

While at the annual TED conference, I was honored honored was I TED conference, the annual While at in the latest thrives design optimism And finally, and Terrace Ross Arthur to join us in the Be sure

03 On May 2, Cooper Hewitt hosted the second annual NYC Smithsonian Staff Picnic in the Arthur Ross Terrace and Garden. Secretary David J. Skorton (center) and his wife Dr. Robin Davisson (right) joined Caroline Baumann, Caroline Baumann Caroline Director Optimism prevails at Cooper Hewitt through our exhibitions exhibitions our through Hewitt Cooper at prevails Optimism to announce proud are We programs. national and our Design National our of winners 2017 the illustrious the gala celebration 19 for Join us on October Awards. problem- and their design thinkers, these designers, of a presents winners class of year’s This solving powers. places that the future—one vision of positive tremendously concerns— design’s of the forefront the common good at meaningful change opportunities for that and demonstrates within reach. well are Waterbury Todd Trustee with the Design Dinner to co-host Gould Stewart Margaret welcome the same time and at 3). I also took the pg. Board (pictured, Hewitt’s to Cooper to share industries varied people from opportunity to recruit Design Pulse our for on design and optimism thoughts their on responses fresh thoughtful, their posting are We feature. and join to be inspired #DesignOptimism Follow Instagram. the conversation. Esperanza with curator gallery in the Selects incarnation Award Grammy Four-time installation. provocative Spalding’s Spalding thought vocalist, and bassist, composer, winner, music, in design, creation—in of deeply about the process Hewitt using Cooper the challenge of embraced in life—and as the collective well as to tell individual stories objects Spalding adaptation. and evolution continuous of story and shares way along the discoveries personal her recounts Enjoy! inspiring her. currently the playlist Hewitt Cooper Cocktails at our for Garden this summer will make series. Dance, music, and design performance everyone—the experience for a magical evenings Thursday in you to seeing I look forward is included here. full program the garden! 03 4 SPRINGSPRING/SUMMER 2016 2017 DIRECTOR’S LETTER 4 7 7

01 Alice Waters with students at Martin Luther King, Jr. Middle School in Berkeley, California, USA. 02 King Middle School students tasting as they cook. 03 Students eating fresh kale pesto toasts they have made. 04 An Edible Schoolyard kitchen classroom in action. 05 An Edible Schoolyard carrot harvest. 06 Chickens at home at the Edible Schoolyard. 07 Teachers sharing a meal at the Edible Schoolyard Academy, June 2016. 08 Tomato tasting in the Edible Schoolyard garden classroom. 09 School lunch is an academic subject at the Edible Schoolyard. "Three Civilizations of the Americas" illustration by Monica Linzner. Liza Siegler is the Partnerships Director Liza Siegler is the Partnerships Director at the Edible Schoolyard Project. 06 05 07 09 08 04 with a lasting schooling their from away of web the interconnected of appreciation place in it— own and their system the food families, bodies, their their it affects how are world—and communities, and their their action! to take determined

All this makes an Edible Schoolyard Edible Schoolyard an All this makes the of years twenty-two After an Edible of incarnation Each new —ALICE WATERS —ALICE greens? with mustard experience of lots a class Throughout Those with none? has each student ensure we period, opportunities to choose how of plenty upon reflect or to participate, want they appears or tastes an ingredient how an opinion of form smells—and or own. their lab in design the ultimate environment to tackle a collaborate which students turn a set to problem—How or situation might How a recipe? into ingredients of How crop? that planted Aztecs have the in the seasonal shifts in sun- to factor bed?—assess when siting a tomato light ideas, their outcomes, test potential and incorporate results, their learn from learn the time. they what seen have we Project, Edible Schoolyard in tens of root these principles take schools and communities, thousands of York in New programs including founding Los Orleans, San Francisco, New City, and North Carolina, Angeles, Greensboro, than and in more York, Placid, New Lake the Edible comprise that 5,500 programs edibleschoolyard. at Network Schoolyard org. - the transforma reinforces Schoolyard an edible education. of tional benefits with carry these programs of Students experiences they’ve them the formative with relationships strong had creating as a life- well as friends and teachers, come They world. the natural of long love FOOD IS THE ONE CENTRAL ONE CENTRAL THE FOOD IS ABOUT THING HUMAN CAN THAT EXPERIENCE OUR BOTH OPEN UP SENSES AND OUR OUR TO CONSCIENCE PLACE IN THE WORLD. As educators working with these working As educators to teach any When preparing Schools and sustainable farms farms Schools and sustainable support each other; The cafeteria is the heart of the the the heart of is The cafeteria school; and 4. Children thrive in nature; thrive 4. Children a privilege; not is a right, 5. Good food 6.  7. 8. Beauty is a language of care. 8. Beauty is a language of design a lesson plan we principles, design a kitchen we way much the same the menu space, a cafeteria classroom, the school landscape of the lunch, or for - about estab methodical are We garden. and contextual lishing rituals, routines, to balance how We cues. or references indepen- sense of a student’s foster with their dence and interdependence a want we instance, In every peers. the learning space and to enter student and me,” made for was “this place feel, “my feeling, as possible leave as often made an important friends and I have together.” mark here it: Have we interrogate we lesson, The students? the quiet considered by who learn best Those visual learners? with who come Those thinking out loud? 03

What if we designed a place designed we if What gardens, kitchen Edible Schoolyard this student-centered Beneath Children learn with all their senses; with all their learn Children reputation as a gifted chef and cham- as a gifted chef reputation She agriculture. sustainable pion of that belief vision in her her grounded learn which children in the environment as much as the teacher communicates learning. are they material the or and indoors exploration, welcome to what to Spark connections outdoors? about? Ignite curiosity care kids already Reflect, unfamiliar? or new what’s about all five a place activates how through senses—explicitly and implicitly—our child, from every for respect deepest if the places What background? every designed to be were kids learn our where delicious? irresistibly designed are and cafeterias classrooms, These spaces invite that. to do just personal, own their to create students flavorful, with fresh, experiences direct the daily through and nutritious foods and sharing preparing, growing, of acts The medium of made. they’ve what for to discover leads students food between the connections themselves and the natural, academic subjects human-made, and socially constructed call this "edible We them. around world education." philoso- is an edible education approach in eight rooted and learning practice phy principles: core is an ideal teacher; 1. Food doing; learn by 2. Children 3.  02

6 SPRINGSPRING/SUMMER 2016 2017 6

BEAUTY IS A LANGUAGE OF CARE: FIRST PRINCIPLES OF THE EDIBLE SCHOOLYARD PROJECT . 9 : Claire Kearney-Volpe Claire By challenge designed to spur innovation innovation challenge designed to spur social, emo- with physical, people for The disabilities. tional, and cognitive which coincided with competition, the with Americans the of 25th anniversary in sixty-three resulted Act, Disabilities wearable, software, for proposals technology solutions from and other and fifteen in sixteen states developers enhancing the lives aimed at countries 02 The Ability Project has developed has developed Project Ability The media to interactive telecommunica- media to interactive - methodol tions. Classes in the basics of accessible technology, ogy in assistive research, design and development, interaction/ and user prototyping, museums round experience design for Among the offerings. out the program’s principles fundamental Ability Project’s people best technology serves is that in its design. participate when they access ensures research Participatory those living of to the critical knowledge while also offering with disabilities without disabil- those opportunities for is life what understand ities to better Collaboration, collaborators. their for like solving in silos, than problem rather results. creative more produces with New in partnership ventures several and agen- groups advocacy City York partnered cies. In 2015, the program to lead the ConnectAbility AT&T with technology Challenge, a three-month 01 THE ABILITY ABILITY THE PROJECT EMPOWERING PEOPLE WITH DISABILITIES WITH DISABILITIES PEOPLE EMPOWERING DESIGN THROUGH Established in 2013, the New York York in 2013, the New Established - is an inter Ability Project University space dedicated disciplinary research disability between to the intersection with an aim to foster and technology, with individuals among collaboration disabilities, community organizations, variety A and faculty. and NYU students - and professionals—engi students of speech and educators, designers, neers, and individuals therapists, occupational - to cre together with disabilities—work teaching, learning, for opportunities ate three across Students and research. Ability schools comprise the NYU’s of occu- from range whose majors Project digital and integrated therapy pational Cooper Hewitt has partnered has partnered Hewitt Cooper University York with the New to develop Ability Project broadening ideas for new access to the museum. In Bill de Blasio 2016, Mayor City York and the New People Office for Mayor’s with Disabilities presented with the Ability Project the their for Award Sapolin ADA and innovative “fearless tools to developing approach the lives will improve that with disabilities.” people of builds Ability Project The and designs relationships barriers solutions to eliminate audiences. underserved for

Cooper Hewitt Hewitt 27, 2017–January 14, 2018 Cooper September to showcase museum in the United States will be the first Joris Dutch design firm of work experimental the innovative, the domesticating Laarman Lab. Laarman and his team are in tangible its principles and pixels materializing world, digital of and entanglement embody the hybridity They form. craftsmen, disciplines, bringing the technical skills of today’s and engineers, of rigor the artists, of the expressiveness inquiry to each design project. scientific Images, top to bottom (L to R): Joris Laarman and Anita Star in their Images, top to bottom (L to R): Joris Laarman and Anita Star in their studio; Rendering, MX3D Bridge location in Amsterdam; Vortex in Amsterdam; Vortex studio; Rendering, MX3D Bridge location Amsterdam Console in the Lab’s workshop; Bone Armchair, 2007; Carrera marble, resin

COMING THIS FALL TO COOPER HEWITT: HEWITT: COOPER TO FALL THIS COMING AGE THE DIGITAL IN LAB: DESIGN LAARMAN JORIS of the in New York, Kim and Al Eiber, and Creative Industries Fund NL. is made possible in part by support Joris Laarman Lab: Design in the Digital Age is made possible in part by support from Ehrenkranz Fund, the Dutch Culture USA program of the Consulate General 8 SPRINGSPRING/SUMMER 2016 2017 COMING SOON TO COOPER HEWITT 8 11

Claire Kearney-Volpe is a Doctoral Claire Kearney-Volpe is a Doctoral Fellow and Adjunct Professor for the NYU Ability Project. She works on a variety of human-centered assistive and rehabilitation technology projects and is active in the digital accessibility community. 09 08 Students’ wireframes of an accessibility toolkit—an online tutorial to inform exhibition design. 09 Accessible musical interface designed with feedback from students at the Lavelle School for the Blind. By Ishaan Chaudhary, Kai-han Chang, Nicola Carpeggiani, Satbir Multani, and Yi Zhao. 10 Claire Kearney-Volpe (left) and Dr. Leona Godin (right) listen to a description with a touch tour of an exhibition by Cooper Hewitt curator Susan Brown.

08 06 Inside NYU Tandon’s Media and Games Network (MAGNET), where the Ability Project is located. 07 Student’s process documentation for the Ability Project and Cooper Hewitt Co-Lab course. 05 Wireframes of a mobile application that uses beacon technology to help museum visitors with visual impairments navigate the museum, as well as access audio descriptions of Cooper Hewitt’s collection. By Jenny Liang, Asher Freeman, and Lucas White. 01 The Accessible Icon Project, launched in 2010, created a new logo for the International Symbol of Access (1968). The revised design featuring a more dynamic figure aims to portray individuals with physical disabilities in a new light. accessibleicon.org 02 NYU students test out the viability of a tactile wayfinding prototype as part of an Ability Project class. 03 See above. 04 Markus Proell’s prize-winning project the KinesicMouse, from the AT&T/Ability Project Connect Ability Challenge. The KinesicMouse software allows for hands-free, facial expression-based control of a PC. 07 06 10 5 4 3 2 and presentation. Collaborators looked looked Collaborators and presentation. website the museum’s designs for at Hewitt’s with Cooper and experimented - inter program application collections fully integrating for ways to find face the Cooper with disabilities into visitors - experience. In a comprehen Hewitt each groups four presentation, sive analysis, testing user research, shared The designs. prototyping and iterative real, offer the students that parameters in resulted scalable recommendations cost, considered that work replicable and multiplicity of constraints, physical partner- Hewitt The Cooper audiences. in only schooled the students ship not thinking about design but of ways new enhanc- for potential design’s revealed audiences to new welcoming ing and the museum. 1 Creating raised surfaces or textures in the museum can enable the museum can enable surfaces or textures in Creating raised aware of installations impairments to become people with visual throughout pedestrian This technique is utilized around them. are world. Pictured below York City and around the avenues in New for museum wayfinding. prototype solutions the Ability Project TESTING TACTILES TESTING Demo 03 05 During the spring 2017 semes- Using a museum as a laboratory ter, Ability students are working with working are Ability students ter, and test Cable to evaluate Spectrum - home-entertain existing Spectrum’s and services. Based on products ment subscribers from findings and feedback will design with disabilities, the students accessibility solutions. and the program territory for is new design thinking of applying the tenets and to be exciting proved and process part- Ability Project’s challenging. In the the museum Hewitt, with Cooper nership inspiration. and creative as client served the challenges experienced for Some of as both the students time for the first - the archi were visitors and designers a landmarked of constraints tectural home and the requirements historical with museum display along come that participants with low-profile yet stylish stylish yet with low-profile participants can be that orthotics rehabilitation grow. as they and reprinted adjusted For the Lavelle School for the Blind School for the Lavelle For - its revolution to continue Eager of people with disabilities. with people of joined Project Ability the in the Bronx, Together Art and with Bridging Education - pro whose groundbreaking (B.E.A.T.), with blind and works Rockers, Beat gram, to develop students visually impaired music. In a semes- through confidence students Project Ability ter-long course, - with designing and devel tasked were oping accessible tech enhancements to fully students to enable the Lavelle music-making in B.E.A.T.’s participate and a body, voice, the use of through microphone. teamed Ability Project the work, ary Hospital for NYU’s at with researchers to how to investigate Diseases Joint from suffering children growing provide orthotics/ with affordable palsy cerebral of Using a combination prosthetics. techniques, 3D-modeling and printing help to fit designers Ability Project 04

SPRINGSPRING/SUMMER 2016 2017 THE ABILITY PROJECT 10 10 13

SUSAN S. SZENASY SUSAN Susan S. Szenasy is publisher and editor in and editor is publisher Susan S. Szenasy the which she has led for , Metropolis of chief of A board member years. thirty-one past Accreditation, Design Interior the Council for and Foundation, Architecture Landscape Advisory Architecture for Center the NYC IIDA two also has received Board, Szenasy - sev and holds Commendations Presidential doctorates. honorary eral DIRECTOR’S AWARD DIRECTOR’S Next Gen Competition for adding the windmills they windmills they adding the for Next Gen Competition 2009). (May pylons electrical designed to existing A team of architects and engineers won Metropolis’s won and engineers architects A team of Deborah Berke Partners is a New York– is a New Partners Berke Deborah design interior and architecture based Berke, Deborah partners led by practice and senior Leff, Marc Jones, Maitland and Caroline Stephen Brockman principals master visionary From Wharton Ewing. interiors, of details focused plans to the all scales at works Partners Berke Deborah outcomes. with transformative Wharton Ewing, Caroline Leff, Marc to right: Left Jones, Stephen Brockman. Maitland Berke, Deborah nine- new a Headquarters, Cummins Indy Distribution formed Indianapolis, has in downtown tower story partially left are columns and ceiling that concrete ever-present are that façade ribbons of with exposed, (Indianapolis, Indiana, 2017). floor-plate in the narrow Silman Robert Architects; RATIO partners: Project Hennessy Inc.; Syska Fink Roberts & Petrie, Associates; Rubin Land David Design Group; Inc.; Circle Group, Inc.; One Consultants, Civil & Environmental Collective; Partners; Inc.; Doyle Front, Ten; Atelier Lux Studios; Parking Walker Design Group; Hicks Art Strategies; Associates. + Shiner Consultants; RTM Consultant;

DEBORAH BERKE PARTNERS DEBORAH SLOW AND STEADY WINS AND STEADY SLOW THE RACE INTERIOR DESIGN Khaki wide leg pants with wide elastic, khaki nylonwide elastic, with wide leg pants Khaki (New coat lining trench bag, and khaki contrast rectangular 2016). York, New York, health and behavior, and on designing the the on designing and and behavior, health for necessary systems and physical human well-being. and dignity, growth, top from (clockwise directors Design Group MASS Gruits, Michael Patricia Alan Ricks, Saladik, David left): Doran, Kelly pictured: (not Bainbridge Sierra Murphy, Mohland, and Matthew Benimana, Sarah Christian Smith). designed Housing and Sharehousing, Doctors’ Butaro physician improve professionals, healthcare to attract (Burera, care quality of and lift the regional retention, of Ministry Rwanda partners: 2012). Project Rwanda, Fund in Health, and the Daniel E. Ponton Health, Partners Hospital. Women’s the Brigham and at DESIGN FASHION Mary designer York–based In 2002, New Wins the and Steady Slow Ping founded on the which uses design to comment Race, modern fashion. of anthropology cultural in 2007 CFDA the into inducted was Ping V&A the of is in the collections work and her and other Foundation, Museum, the Deste collections. major

MASS DESIGN GROUP MASS STAMEN DESIGN STAMEN Founded in 2008, MASS Design Group is a is a Design Group in 2008, MASS Founded with a portfolio global design collaborative design, research, the fields of spans that practice MASS’s and training. advocacy, to relationship on architecture’s focuses - solo exhibi of the subject has been and she Japan. DDD in and SFMoMA at tions as San Francisco to publicize designed Olympics poster, while Olympics, the 2012 city for bid the United States of diversity and the cultural sports, women, celebrating (2002). Area the Bay DESIGN INTERACTION Stamen Design is a San Francisco–based Founded design and technology company. in 2001, Stamen’s Eric Rodenbeck by World include the Dalai Lama, the clients - MTV, and universi Health Organization, projects, Other the country. ties around and Map Stack, have such as Field Papers in access to and participation increased digital design worldwide. on the trading of a single day of visualization a NASDAQ, normal and between the difference illustrating NASDAQ, (2012). anomalous data DESIGN ARCHITECTURE

JENNIFER MORLA DESIGN TRUST FOR PUBLIC TRUST DESIGN SPACE Reclaiming the High Line, a feasibility study that that study Reclaiming the High Line, a feasibility the High and reprogram save to efforts catalyzed open to 1.45 miles of railway a derelict Line from inspiring year, millions each by public space enjoyed York, New York, cities to do the same (New other the High Line. partner: Friends of 2002). Project Founded in 1995 by Andrea Woodner to Woodner Andrea in 1995 by Founded the public bring design expertise into Space Public for Trust the Design realm, shaping of the forefront at remains civic spaces shared City’s York New The organization’s and infrastructure. the High Line structure, saved projects - cus first City’s York New jumpstarted and created Tomorrow, of Taxi tom-built - sustain comprehensive first the city’s ability guidelines. Jennifer Morla is the founder of San of Morla is the founder Jennifer which has Morla Design, Francisco–based Design Levi’s, for design programs created Within Reach, and the Mexican Museum. COMMUNICATION DESIGN COMMUNICATION is in the work Morla’s Medalist, AIGA A 2010 MoMA, SFMoMA, of collections permanent Art Museum, American and the Smithsonian CORPORATE & INSTITUTIONAL ACHIEVEMENT & INSTITUTIONAL CORPORATE CRAIG CRAIG L. WILKINS DESIGN MIND Architecture School: Three Centuries of Educating Educating of Centuries Three School: Architecture America (2012). in North Architects Craig L. Wilkins is an architect, academic, an architect, Wilkins is L. Craig the as one of recognized and author African on leading scholars country’s - the for He is Americans in architecture. Community the Detroit of director mer the at and a lecturer Design Center and Architecture College of Taubman the University Urban Planning at his Both Arbor. Ann in Michigan of and pedagogy are practice creative relatively yet the long, rich, by informed in both color of people of stories untold construction symbolic and the physical across levels At multiple America. of his award-winning platforms, diverse and design essays, chapters, books, the and present recover interventions political, historical, rich social, cultural, oft- of contributions and aesthetic color of people and practitioners ignored and public engagement. professional for

HARTMUT ESSLINGER HARTMUT HONORING EXCELLENCE, INNOVATION, AND LASTING AND LASTING INNOVATION, HONORING EXCELLENCE, DESIGN AMERICAN IN ACHIEVEMENT Yamaha frog 750, a retro-futuristic motorcycle motorcycle 750, a retro-futuristic frog Yamaha in features safety advanced with the most designed permits of withdrawal DMV’s to California response in 1985 (1985). motorcycles high-powered for Hartmut Esslinger is an internationally is an internationally Hartmut Esslinger living now designer industrial renowned the first was He California. in Los Gatos, high- to bring human-driven, designer complex of world touch design to the technology. and software hardware design in his frog founded Esslinger in 1969 and expanded it Germany native Together in 1982. to the United States Roller, Patricia wife, and with his partner the one of into he built the company design agen- leading strategic world’s - with presti worked has cies. Esslinger gious global companies, including , , and SAP, Vuitton, Apple, Louis whom he helped convert for Microsoft, and technological competences their emotionally into desires entrepreneurial appealing global brands.

LIFETIME ACHIEVEMENT 2017 WINNERS 2017

SPRING/SUMMER 2017 2017 NATIONAL DESIGN AWARD WINNERS 12 SPRING/SUMMER 2017 LANDSCAPE ARCHITECTURE PRODUCT DESIGN SURFACEDESIGN JOE DOUCET DESIGNERS ARE OPTIMISTS: 2017 NATIONAL AWARD DESIGN WINNERS A SNAPSHOT OF

OCTOBER 19 Surfacedesign is a San Francisco– Joe Doucet is a New York–based CONTEMPORARY DESIGN based landscape architecture and designer, entrepreneur, inventor, and 2017 urban design firm. Founded in 2001, creative director. His clients include CELEBRATE THE Surfacedesign creates dynamic parks, BMW, Braun, Hugo Boss, Lexon, Moët 2017 NATIONAL plazas, waterfronts, civic landscapes, & Chandon, and Target. Doucet holds and private gardens. Led by James more than fifty patents and his work DESIGN AWARDS A gala benefit to support has been exhibited globally, including A. Lord, Roderick Wyllie, and Geoff di Cooper Hewitt in the Girolamo, Surfacedesign projects include in the Design Museum and museum’s spectacular the Smithsonian Master Plan, Auckland the Biennale International Design in Arthur Ross Terrace and International Airport, Golden Gate Bridge Saint-Etienne. Garden. 75th Anniversary Plaza, and IBM Plaza Honolulu. BRAUN products and home appliances, reinforcing the notion that product design within any brand portfolio should lead to designs that are Roderick Wyllie, Geoff di Girolamo, and James Lord. recognizable to consumers not simply through a Museo Del Acero Horno landscape, expressing SECURE YOUR logo, but through their design ethos (2008). the spirit of the site’s former industrial glory and PLACE TODAY! celebrating its position within the surrounding regional landscape context (Monterrey, Mexico, 2008). Project ONLINE partner: Harari Architects. COOPERHEWITT.ORG/NDATICKETS CALL 212.849.8340 EMAIL [email protected] MEET THE JURY The 2017 National Design Awards Jury, comprised of a diverse group of designers 01 and educators from around the nation, convened at Cooper Hewitt in the early spring 02 to select the award winners. By Cara McCarty

National Design Awards programming is made possible by major support from Persistent advancements in materials of mobility and entire systems, four trends together with other modes of transpor- Additional funding is provided by Design Within and technologies, based increasingly on and challenges characterize our era: digital tation, such as portable folding bicycles Reach, Facebook, and Bloomberg Philanthropies. science as well as on the imagination of technologies, customization, environmental (fig. 1), are transforming mobility and our National Design Award trophies are created by individuals, has produced a large body of concerns, and well-being. urban infrastructure. Designers, engineers, The Corning Museum of Glass. work defined as contemporary design. We have created an informa- scientists, manufacturers, and the general ndagallery.cooperhewitt.org is powered by Behance, part of the Adobe Family. Much of it has to do with the way things are tion-driven society where digital technol- public are sharing their expertise, their data, ogies have radically transformed the way their findings, yielding multidisciplinary Media sponsorship is provided by made, often using new processes. We have mastered assembly-line mass production we communicate, manufacture, live, and approaches to research and design. Not as exemplified by such ubiquitous products work. They have improved our daily lives, only are things being made in new ways, but National Design Awards and National Design as the white plastic chair available all over made many things easier—often more this interdependence of various expertise Week professional supporters include AIGA, the the world for only a few dollars, and micro- enjoyable—and they have changed how we is leading to new expressions of materials professional association for design, American chips—the "brains" of our digital products— design. We expect our products to do so and forms specific to our time, resulting in Back row (L to R): Lisa Strausfeld, Sandy Speicher, Rafael de Cárdenas, Randy J. Hunt, Institute of Architects New York Chapter, Jeevak Badve, Mia Lehrer. Front row (L to R): Robert Wong, Lisa Perry, Ray Huff American Society of Interior Designers, American fabricated for pennies. Even low-cost cars much more for us. In fact, they have become smarter, more responsive, more adaptable, Society of Landscape Architects, Council of are now technically excellent. With the so complex we no longer think in terms of and higher performing products and expe- Fashion Designers of America, Industrial Designers Society of America, Interaction Design Association, definition of design extending far beyond isolated objects, but of systems, like mesh riences. Smart textiles, for instance, with 14 and International Interior Design Association. chairs and cups and saucers to new notions networking or autonomous vehicles that integrated technology can track personal 15 SPRING/SUMMER 2017 Cara McCarty is the Director of Curatorial at Cooper Hewitt, Smithsonian Design Museum. DESIGNERS ARE OPTIMISTS: A SNAPSHOT OF CONTEMPORARY DESIGN OF CONTEMPORARY A SNAPSHOT ARE OPTIMISTS: DESIGNERS

01 05 06 Smart Balaclava prototype, 2016; Designed by Nottingham Trent University (Nottingham, England) and Stoll GmBH (Germany); 3D-knitted with conductive yarn, electric heating elements, NFC chips, photovoltaic cells. Electric-conductive yarn powered by a small rechargeable cell battery gently warms the air inhaled by the wearer.

03 02 Brompton Folding Bicycle, 2016; Designed by Andrew Ritchie (British, b. 1947); Manufactured by Brompton Bicycle (Brentford, England); Assembled bent, brazed, and lacquered tubular steel (frame) and titanium (mudguards), synthetic (saddle), molded rubber and Kevlar (tires); H x W x L (open): usage and regulate temperatures. (fig 2) 57.2 × 55.2 × 147.3 cm (22 1/2 in. × 21 3/4 in. × Personalizing objects for self-ex- 58 in.); Gift of Brompton Bicycle, 2016‑19‑1 pression, improvement, or for fun has 03 been done for centuries, but recent Vessels, from the GLASS series, 2015; Designed strides in digital manufacturing technol- by Neri Oxman (Israeli-American, b. 1976) and the Mediated Matter Group, MIT Media Lab ogies are also enabling us to customize (Cambridge, Massachusetts, USA); 3D-printed products. A benefit of such customi- glass; Museum purchase from General Acquisitions Endowment Fund and through gift of MIT Media zation is experimentation—varying a Lab, 2016-51-1-a,b/4-a,b design merely with a change in software 04 07 04 rather than the complete retooling of Kinematics Dress #4, 2015; Designed by Nervous a production line (figs. 3,4). We can System (Somerville, Massachusetts, USA), printed custom order a pair of Nike shoes from by Shapeways (New York, New York, USA); Nylon, A significant change in recent body, shape, and size, including high-per- There is hope that the enlarged terri- driven to make things better, to question, to 3D printed by selective laser sintering; Museum a “kit of parts” similar to when design- years is marked by the increased formance prosthetics such as wheel- tory encompassed by design will include the innovate, to synthesize and create meaning- purchase from General Acquisitions Endowment Fund, 2015-18-1 ers Charles and Ray Eames ordered engagement of the user throughout the chairs or the UNYQ Align Scoliosis brace. many environments of neglect and poverty ful experiences that ultimately improve and standardized steel parts to construct design process, particularly those with (fig. 5) in our contemporary cities. We may find enhance our quality of life. Often, they see 05 their 1949 Case Study House; however, UNYQ Align Scoliosis Brace Prototype, 2017; special needs or an extreme condi- Thanks to science and digital opportunities in the moral and economic possibilities where others don’t, and as a Designed by Francis Bitonti (American, b. 1983) once the materials were delivered, tion. Consequently, we’re becoming technologies, we are adding metrics and pressure toward greater social equity in creative force they have enormous impact. and Studio Bitonti; Manufactured by UNYQ (San the Eameses changed their minds and Francisco, California, USA); 3D-printed nylon; H much better at understanding people efficiencies to design, optimizing perfor- our economically advanced cities through In recent years, the public, too has become x W x D: 43.5 × 28 × 27.5 cm (17 1/8 in. × 11 in. assembled something different than and behaviors, defining and designing mance, improving structural capabilities design, which are able to tackle situations much more design savvy, self-reliant, and × 10 13/16 in.); Museum purchase from General originally planned. Undeniably, the most products that are adapted to individual of buildings and products, and reducing that demand success in both physical and adaptable, demanding better-performing, Acquisitions Endowment Fund, 2017-12-1 transformative object of our time is the users. In fact, although the greatest material waste. Environmental and social dimensions. This expansion of design smarter products that do more with less. 06 smartphone, which addresses both cus- beneficiaries of product customization sustainability issues have become the to play a role in the world’s poorest and This is a period of constant, dramatic, and Alfi High Back Chair, 2015; Designed by Jasper tomization and doing more with less. We Morrison (British, b. 1959); Manufactured by are people with special needs, design- conscience and creative challenge of largest urban centers requires a greater dynamic change. As the digital, virtual, and Emeco (Hanover, Pennsylvania, USA); Milled personalize them by downloading apps ing for extreme conditions oftentimes many designers and manufacturers. For sense of scale and numbers. Already some material worlds increasingly co-mingle, polypropylene and wood fiber, hand-carved ash; H x that cater to our preferences, and the W x D: 80 × 43.2 × 50.2 cm (31 1/2 in. × 17 in. × 19 is more inclusive, such as curb cuts in example, Jasper Morrison’s Alfi chair for of the world’s most deprived urban inhab- unexpected designs and solutions will arise 3/4 in.); Gift of Emeco, 2015‑25‑1 options continue to increase daily. sidewalks benefitting a multitude of Emeco, made of reclaimed wood fibers itants have organized into networks of and designers will continue to push the

A beneficial byproduct of incorporating users. Unlike one-size-fits-all manufac- and polypropylene and responsibly-har- self-help communities, collaborating with boundaries of possibilities, imagination, and 07 so many previously separate prod- Scale Acoustic Panel System, 2016; Designed by turing processes, 3D printing gives us vested ash wood (fig. 6), or, Benjamin professional designers and harnessing their resourcefulness in their efforts to make Benjamin Hubert (British, b. 1984), Layer Design: ucts into one is that we provide more more opportunities to improve comfort Hubert’s modular acoustic panel system energy and skills to advance themselves. a difference. Manufactured by Woven Image (Brookvale NSW, opportunities to create and to perform Australia); Pressed recycled PET (textile), injection- and adapt products to an individual’s made of pressed recycled PET. (fig. 7) Designers are optimists. They are molded ABS plastic, recycled aluminum, magnets 16 numerous tasks with a single device. 17 SPRING/SUMMER 2017 DESIGN PULSE:

DESIGN PULSE: OPTIMISM OPTIMISM

Cooper Hewitt looked to participants Poster, graphic by GIRLTREK of this year’s TED Conference in Vancouver, British Columbia, for perspectives on the way optimism is reflected in design today.

Inspirational Ideas, illustrated notes by Sheryl Connelly Solidarity against Waste, illustration by Radhika Nagpal

YVES BÉHAR SHERYL CONNELLY GIRLTREK SIMON SINEK RADHIKA NAGPAL Designer and Entrepreneur Futurist, Ford Motor T. Morgan Dixon and Optimist and New York Times Fred Kavli Professor of Computer Science Follow #DesignOptimism Company Vanessa Garrison, bestselling author of Start School of Engineering and Applied on Instagram to be inspired Co-founders, GirlTrek With Why & Leaders Eat Last Sciences Wyss Institute for Biologically and join the conversation. Inspired Engineering Harvard University Design is inherently optimistic because it The most promising element of today’s Design can be a secret superpower! “Selfcare Designers have a social responsibility to use Design works in systems in the way systems wants to create our best possible future. design is the multidisciplinary approach to is a revolutionary act” has always been a design to serve the people who would engage work in nature—there is an interconnectedness Globally, people are demanding cohesive problem-solving. I love it when right brain guidepost in our personal and professional with it, not just those who pay for it. The best within design systems and a collectiveness and responsible design experiences, experts and the left brain experts work side lives. Many women, especially Black women, design doesn’t simply follow a trend, it must, among the natural world that emanates businesses have to adapt, and governments by side as equal partners. use the promise of self care as one reason to when necessary, defy it. And in our modern, optimism. It is inspiring to think collectively, need to respond to deliver better programs. walk thirty minutes a day with GirlTrek and technology saturated, digitally connected and let our designs build off of that inspiration. live their healthiest, most fulfilled lives. Now world, that means using design to foster real, The promise of design that focuses on that’s design optimism in action! human interaction. Too many technologists peoples’ needs—both functional and seem to have abandoned their responsibility to emotional—will lead to better outcomes do so. The designers I meet are proud to carry for all. Areas of health and education are the torch. sectors in need of large-scale redesigns where, as designers, we can play a crucial and transformational role. 18 19 21

01 Esperanza Spalding: Storytelling through Objects 02–03 Matt Flynn (C) Smithsonian Institution 02 Sheet music included in Esperanza Spalding Selects demonstrates evolving views toward the African American traditions that influenced popular 20th century music. This piece features an elegant image of composer Duke Ellington surrounded by his orchestra. Sheet music, Solitude, 1934; Composed by Duke Ellington (American, 1899–1974); Lithograph on paper; 26 × 18 cm (10 1/4 × 7 1/16 in.); Collection of Smithsonian Libraries, Cooper Hewitt, M1366.E44 S65 1934 03 Textile, Bluette, ca. 1912; Designed by Atelier Martine (, France) for Paul Poiret (French, 1879–1944); Screen printed cotton and linen; 146 x 76 cm (57 1/2 x 29 15/16 in.); Gift of Louise Dushkin, 1984-136-1 wall-breaking tool. Much like my collabo- ration with Cooper Hewitt—I appreciated working with partners with an adventurous spirit, trying to make something happen that is a little bit out of the ordinary. I felt the so grateful to get a chance to work with team. It’s encouraging, and it’s been really challenging for everybody. For me too, and I’m just thankful. Esperanza Spalding Selects is on view in the Nancy and Edwin Marks Gallery from June 9, 2017–January 7, 2018 and is made possible by The Marks Family Foundation Endowment Fund. In-kind support for the site-specific installation is provided by ZGF Architects. Piano provided by Steinway & Sons. 02 03 ARTIST Abbey Lincoln Abbey Coleman Steve Pascoal Hermeto Joni Mitchell Mvula Laura Shorter Wayne Chick Corea Pearson Duke MF Doom Maurice Ravel TITLE Laugh Laugh Clown Fairies Time No Good Mixing Pot Edith and the Kingpin Woman Phenomenal Awakened Pandora Warp Time I Care Know You Hoe Cakes espagnole L’heure And I’m all about it now! I had a great revelation—since you asked. I’ve always been scared to show my work before it was done, and I want to reclaim some of that willingness, and some of that humility to share my work in progress and in ask for feedback. That would be a change - how I do things. I have to confess, this reali zation is having a great effect on my life. WP: Based on your experience with the exhibition, are you interested in delving more into other artistic mediums? - ES: Yes, always. I really, really love experi menting. I think if I were a scientist I would - be satisfied with research and experiment ing. I love to see what happens when you put unexpected elements or new elements together or take things apart. I’ve been experimenting with other mediums—inter- disciplinary work—basically, we’re just experimenting. I propose an idea to a painter, or set designer, or a dancer, and ask, “What if…? ” And we try it and find out what happens after “what if?” WP: What is next for you musically? Can you share a bit about what’s to come? ES: I am working with [jazz saxophonist and composer] Wayne Shorter on an opera he has composed and he’s asked me to write the libretto, slated to premiere in 2019, if all goes well. I’m also in the writing process for a live-performance recording. This forth- coming project is about breaking down walls and finding out what happens when we allow protective barriers to fall. Being a polished performer is definitely a kind of wall, a kind of protection. The challenge in preparing for this upcoming project: letting the wall come down, showing the process, and seeing what happens when you use sound as a ESPERANZA’S PLAYLIST: ESPERANZA’S school where young girls practiced drawing. young girls practiced school where innocent them to sketch their Encouraging Poiret of plants and animals, impressions textile, drawings into popular turned the designs. and wallcovering drapery, carpet, the cutting edge of I found it striking that from these untrained design for Poiret came drawings of their teenagers’ free-hand Un-evolved artistic natural surroundings. highest echelon of ability infiltrating the affecting the aesthetic design, and actually coming out of evolution of the designs perfect example of Poiret’s atelier is a very d+evolution in action. process inter- WP: Do you find your creative secting or paralleling the design process? ES: I’ve experienced the intersection of music and design in the storytelling. Every design does tell a story. I don’t have the experience or vocabulary to look at a of designed object and speak to it in terms design, of visuals, or aesthetics. But I can understand story, and I can engage with story. In music, that’s what I’m doing all the time. I’m always figuring out how to make a story compelling and engaging. I think my to approach to this exhibition has been how make the stories of the objects compelling so that when you look at them, the story of d+evolution is apparent. I admire design from a distance because I realize that as an art form I feel really far from it. The fact that I experience the world of design so far from my world of music is a good thing, and I think that’s part of what’s made for a really different exhibition. WP: What is something that you learned about yourself or your creative process that stems from working on this exhibition? Were there any revelations? ES: Yes, that I want to find an editor for everything I do! I like to think of editing as a deductive process. During my interactions shaping the exhibition and working on the text I have come to love the relationship between an editor and the content creator. And now I’m really hungry for that rela- tionship in other aspects of my creative life. It was so humbling, challenging, and such a great force for improvement on the work that I initially developed. The process improved, clarified, and strengthened my writing and the exhibition groupings. Honestly I’m usually not accountable to another authority in my field when I’m creat- ing art, when I’m making a performance, or even designing lighting, or composing. So, it’s not a process that I often go through. Then I was gifted Cooper Hewitt’s Hewitt’s gifted Cooper was Then I When I began having conversations conversations When I began having ES: yet good very wasn’t I with the curators - d+evo about speaking about this idea of not writing are Speaking and lution theory. I’m a communication. modes of best my concepts relaying at musician—I’m better music and performance. through an handbook Making Design, and found the seemed to express that example in its process. concept d+evolution too and options presented The curators behind explained the stories once they and histories objects—the various the based on those stories, materials—and made a compelling that I chose objects in design. d+evolution case for out stand that objects any there WP: Are more d+evolution as truly exemplifying than others? theme I included it in a group Yes, ES: It is a Technologies.” I called “Devolving the design came from textile design that Poiret school L’École Martine. Paul in the designer fashion —a leading French early twentieth century—founded the , HER

EMILY’S D+EVOLUTION OBJECTS AND MUSIC OBJECTS And de-evolution is a primary component is a primary component And de-evolution be con- must evolution—things of to change and change comes structed a fun It’s to deconstruction. thanks everything but maybe exercise thought we that anything now, us right around - is undergo perceive, or of can conceive ing a d+evolution. - introduc your talk a bit about WP: Let’s to collection Hewitt’s tion to Cooper . Selects Spalding Esperanza for prepare scouring the museum’s it like was What design objects? of collection vast

WENDI PARSON, COOPER HEWITT’S DIRECTOR OF COMMUNICATIONS OF COMMUNICATIONS COOPER HEWITT’S DIRECTOR WENDI PARSON, ESPERANZA SPALDING: ESPERANZA STORYTELLING THROUGH THROUGH STORYTELLING What does d+evolution does d+evolution What WENDI PARSON: to has it meant what and you mean to project? last your figuring I’m still SPALDING: ESPERANZA - it means, if it means any out all that to is a it to refer I’d like what thing! But the creative of element fundamental one system structure, process—one devolving, disintegrating, down, breaking system as a new deconstructed getting but evolving, emerging, is constructed, processes. different two not they’re via de-evolution. is possible Evolution AND MARKETING, TALKS TO SPALDING ABOUT HER WORK, INCLUDING WORK, INCLUDING ABOUT HER SPALDING TO TALKS AND MARKETING, HER ALBUM AND PERFORMANCE PROJECT ESPERANZA SPALDING, THE FOUR-TIME GRAMMY AWARD-WINNING AWARD-WINNING THE FOUR-TIME GRAMMY SPALDING, ESPERANZA TRADITION, AND VOCALIST IN THE GROUNDED COMPOSER, JAZZ BASSIST, OF COOPER HEWITT’S ONGOING THE FIFTEENTH INSTALLMENT CURATED SERIES—IN WHICH DESIGNERS, WRITERS, AND PROMINENT SELECTS COOPER TO AND RESPOND EXPLORE TO ARE INVITED FIGURES CULTURAL HEWITT’S COLLECTION. Wendi Parson Wendi by Interview CREATIVE PROCESS, AND WHAT’S NEW ON HER HORIZON. WHAT’S AND PROCESS, CREATIVE 01

SPRING/SUMMER 2017 ESPERANZA SPALDING INTERVIEW AND PLAYLIST 20 $150 / MEMBER $135 $200 / MEMBER $180 BRIGHT GRID OBLONG SCUBA BRIGHT GRID OBLONG 21"W x 11"H BRIGHT ANGLE SQUARE CYAN ANGLE SQUARE BRIGHT 17”x 17” SHOP.COOPERHEWITT.ORG $150 / MEMBER $135 $200 / MEMBER $180 BRIGHT GRID OBLONG HI-LITE BRIGHT GRID OBLONG 21"W x 11"H BRIGHT GRID SQUARE SAFETY BRIGHT GRID SQUARE 17”x 17” $200 / MEMBER $180 $150 / MEMBER $135 21"W x 11"H BRIGHT CUBE SQUARE CORAL BRIGHT CUBE SQUARE 17”x 17” CRUSH BRIGHT CUBE OBLONG SCHOLTEN & BAIJINGS FOR MAHARAM & BAIJINGS SCHOLTEN $150 / MEMBER $135 $200 / MEMBER $180 BRIGHT ANGLE OBLONG FLAMINGO ANGLE OBLONG BRIGHT 21"W x 11"H Product images courtesy of Maharam 17”x 17” BRIGHT ANGLE SQUARE CYAN ANGLE SQUARE BRIGHT are the second in a series of products designed by designed by products of the second in a series are Cube Angle, and Bright Grid, Bright Bright lies in grouping the Bright of The essence Maharam. with in collaboration Scholten & Baijings to be designed are textiles three The variation. and combination possibilities for the inherent when combined. relationships geometric new and to form used in tandem

SPRING/SUMMER 2017 SHOP COOPER HEWITT 22