In The Road Ahead: Reimagining Mobility the Cooper Hewitt, Smithsonian Design Museum, presents a variety of concepts from around the world that ask the question: how will we move in the future? With concepts from firms like Höweler + Yoon, design studios like IDEO, and companies like Waymo, the exhibition suggests a range of possible futures instead of painting a holistic vision. Making the case that transportation options are multiplying as data and technology take to the roads (and tunnels, and skies), the show's organizers present a world on the cusp of transit change, change that could make cities not only more efficient but also a happier place for all their inhabitants. Hopefully. It's certainly a buzzy topic, given Elon Musk's constant parade of revelations and updates on his many ventures and self-driving cars taking to the street (at their own peril). Visitors to the show, up now through March 31, have just one obstacle in their way: the government shutdown. As part of the Smithson Institution, the museum is at the mercy of the federal government, which does not show any sign of ending its shutdown soon.
Posts tagged with "Cooper Hewitt Smithsonian Design Museum":
The United States is returning to the London Design Biennale, and the Cooper Hewitt, Smithsonian Design Museum will once again represent the U.S. in 2018. In Face Values, the Cooper Hewitt will bring an interactive installation about facial recognition technology to London and will confront participants with the knowledge that their faces have become commodified data. The London Design Biennale 2018 will run from September 4 through 23 at Somerset House in central London. This is the design festival’s second year, and exhibitors from all over the world have been invited to explore this year’s theme of “Emotional States." Thirty-six countries contributed to the 2016 Biennale with pieces that scrutinized or subverted the idea of “Utopia by Design.” In 2016 the Cooper Hewitt projected 100 digitized wallpapers from the museum’s archives in The Immersion Room, converting what was once a physical skin into easily changeable digital versions. For Face Values, curator Ellen Lupton has taken a similar approach to a different topic: the conversion of a physical signifier into easily transmissible code. Face Values will feature original work from designers Zachary Lieberman and R. Luke DuBois inside a pavilion designed by Matter Architecture Practice. Visitors will be able to use their faces to control the installations and learn how corporations and governments are able to track, catalog, and monetize facial data and emotions. Both installations will create collages of visitors’ faces and mash up their facial features. Lieberman’s work will mix the features of visitors together to create new faces, while DuBois’s piece will walk participants through a range of emotions and create a portrait that averages all of the features together. A monitor will also display how each emotion is cataloged in the face tracking system. Matter Architecture Practice has designed a backdrop of intentionally synthetic-looking reeds for the installation that’s supposed to blur the lines between the natural world and the digital. “In representing the United States at the London Design Biennale, Cooper Hewitt will be furthering the Smithsonian’s goal of catalyzing new conversations around issues of global importance,” writes Caroline Baumann, director of Cooper Hewitt. “While underscoring design’s purpose to address complex challenges and advance empowering solutions. Illuminating the potential of facial recognition technology to quantify, read and control our moods and movements, Face Values encourages participants to consider the vast capabilities and unforeseen consequences of this rapidly evolving field of digital design.” After the Biennale's opening on September 4, Face Values was awarded the London Design Biennale 2018 Emotional States Medal for "most inspiring interpretation of the 2018 theme." The jury panel was composed of 14 well-known designers, architects, educators, and artists from around the world.
Explosions of summer color are coming to New York City as San Francisco’s sold-out Color Factory pop-up installation is set to brighten Manhattan's streets starting on August 20. A 20,000-square-foot interactive exhibition from artist collaborative Color Factory will open in SoHo and will be accompanied by 20 “secret” color installations hidden across Lower Manhattan. The original Color Factory installation opened last August in San Francisco for a four-week run that eventually expanded to last nearly eight months. That show brought together a star-studded roster of local and international artists to create an exploration of color that went viral on Instagram, and Color Factory is looking to replicate that success in New York. Instagram-friendly installations and pavilions have exploded in recent years, and lauded firms from AGENCY to Snarkitecture have all jumped on the bandwagon, delivering selfie walls and all-white takes on the form. Let's not forget pop-ups like the Museum of Ice Cream, either, soon to be joined by its long-lost cousin the Museum of Pizza. The California version of Color Factory involved multiple explorations of color in light works, several monochrome rooms (currently all the rage), rainbow decals, fabric, balloons, and technicolor plastic furniture. The New York version seems like it will keep to the same vein; visitors will be able to experience 16 rooms, including a bar filled with mocha in every color of the rainbow, a light-up dance floor, a room full of ombré balloons, a room where participants can walk through a guided experience to discover their own “personal color," an enormous full-room ball pit, and custom illustrations from New York artists. After guests are finished at the exhibition, they can pick up a map to the 20 “secret experiences” Color Factory has hidden across the island, and the group says that the installation will be inspired by the colors of New York. Manhattan Color Walk from Color Factory on Vimeo. Color Factory is no stranger to New York’s streets. Manhattan Color Walk, a survey of colors from 265 individual Manhattan blocks, recently wrapped up at the Cooper Hewitt. The free installation was on display through June and adorned the museum’s terrace, garden, and walkways with colored bands pulled from New York’s most unique and ubiquitous colors. Color Factory staff walked and biked from West 220th Street all the way down to Battery Park and translated one color per block into a stripe at the museum and released an accompanying guide. General admission tickets for Color Factory are now on sale for $38, and the exhibition will be open at 251 Spring Street after August 20 from Thursday to Tuesday, 10:00 AM through 11:00 PM.
This summer, New York City is launching a new program to explore the city and save money. If you are a Brooklyn, New York, or Queens Public Library Cardholder aged 13 or older, you can reserve a Culture Pass to gain free access to more than 30 cultural institutions, including “museums, historical societies, heritage centers, public gardens and more.” Reservations should be made ahead of time, and a limited number of passes are available on each date. Here is a list of participating organizations: Brooklyn: Brooklyn Botanic Garden, Brooklyn Children’s Museum, Brooklyn Historical Society, Brooklyn Museum, New York Transit Museum Manhattan: Children’s Museum of the Arts, Children’s Museum of Manhattan, Cooper Hewitt, Smithsonian Design Museum, The Drawing Center, The Frick Collection, Historic Richmond Town, International Center of Photography, Intrepid Sea, Air & Space Museum, The Jewish Museum, The Metropolitan Museum of Art, The Morgan Library & Museum, Museum of the City of New York, Museum of Chinese in America, Museum of Jewish Heritage—A Living Memorial to the Holocaust, Museum of Modern Art, Rubin Museum of Art, Smithsonian National Museum of the American Indian, Society of Illustrators, Solomon R. Guggenheim Museum, Sugar Hill Children’s Museum of Art and Storytelling, Whitney Museum of American Art Bronx: Wave Hill Queens: Louis Armstrong House, Noguchi Museum, Queens Historical Society, Queens Museum, SculptureCenter Staten Island: Historic Richmond Town, Jacques Marchais Museum of Tibetan Art Check out this link for more details.
The Cooper Hewitt, Smithsonian Design Museum has announced the winners of the 2018 National Design Awards, recognizing ten individuals and firms who have used design to shape the world for the better. This year’s winners include: Lifetime Achievement: Writer, educator, and designer Gail Anderson has taught at the School of Visual Arts in New York for the last 25 years, and is an active partner at the multidisciplinary Anderson Newton Design. Anderson has written or co-authored a total of 14 books on popular culture and design, and formerly served as the senior art director at Rolling Stone. Design Mind: Landscape architect, award-winning author, and Professor of Landscape Architecture and Planning at MIT Anne Whiston Spirn. Spirn was recognized for her longtime advocacy for balancing urbanism with nature, as well as her continued direction of the West Philadelphia Landscape Project. Corporate & Institutional Achievement: Design studio Design for America, which empowers communities to solve local problems through design. Architecture Design: WEISS/MANFREDI was recognized for the way their projects consistently bridge the gap between architecture, art, and the surrounding landscape. The firm’s been on a roll lately, having picked up several cultural commissions and an invite to exhibit at this year’s Venice Architecture Biennale. Communication Design: Digital identity and experience firm Civilization was recognized for its ability to create empathetic connections and commitment to working with companies who are advocating for the greater good. Fashion Design: The Los Angeles-based fashion designer Christina Kim was recognized for her use of traditional hand working techniques and sustainable business practices. Interaction Design: Architect and designer Neri Oxman was recognized for her experimental material usage and continual boundary-pushing forms. Oxman leads the Mediated Matter Group at the MIT Media Lab, a group whose work frequently bridges the gap between art and technology; their most recent project, Vespers, is a contemporary reinterpretation of the death mask typology that uses living microorganisms. Interior Design: The Miami-based Oppenheim Architecture + Design was recognized for its sense-invoking interiors that are often inspired by local vernacular. The firm has realized projects all over the world from towers in Dubai to the Williamsburg Hotel in Brooklyn, but like many of the other winners, Oppenheim balances their projects within the surrounding natural environment. Landscape Architecture: Boston-based landscape architecture firm Mikyoung Kim Design was honored for its vast body of public work, much of it focused on improving urban resiliency. The firm has tackled projects large and small around the world, from the Chicago Botanic Garden Learning Campus to the Songdo International Plaza in Incheon, South Korea. Product Design: Minneapolis-based Furniture designer and manufacturer Blu Dot was recognized for its playful and modern stylings (including some less-than-functional objects). The National Design Awards have been recognizing exemplary names in the design world since 2000. Nominees must have seven years of professional experience under their belt, while the lifetime achievement nominees must have at least 20 years of experience. Caroline Baumann, director of Cooper Hewitt, will announce the winner of the Director’s Award at a later date, to be given to an outstanding patron of the design world. This year’s awards ceremony will be accompanied by National Design Week, which will run from October 13 through the 21st.
The Cooper Hewitt Smithsonian Design Museum hosted its annual National Design Awards last week, handing out hardware to an illustrious group that included Mass Design Group, Deborah Berke Partners, Surfacedesign, and Susan Szenasy. But if you couldn't make it to the invitation-only event, you can stop by the museum to check out one of the city's most interesting design exhibitions: Joris Laarman Lab: Design in the Digital Age. The first major U.S. exhibition on the Dutch designer, the show explores Laarman and his team's naturally and industrially-inspired, digitally-manufactured products, like the Bone Chair, generated from algorithms that mimic bone growth, and a pedestrian bridge built in midair using 3-D printing. The Adaptation Chair, created from welded strands of coated polymer, draws on the complex patterns of growing branches and roots, changing its geometry to adapt to different needs throughout. Throughout the Cooper Hewitt's galleries you'll encounter tables, chairs, lights and other pieces made of wood, metal, fabric, vinyl and plastic that have been knitted, stacked, puzzled, electroformed, cut, welded, folded, lathed and extruded, all using computer-powered fabrication techniques. Laarman is obsessed with the transition of the industrial world to our digital one. This work perfectly bridges the two. The show is on view through January 15. [youtube https://www.youtube.com/watch?v=13o_qSatv3s]
"In what ways can design act as a catalyst for change?" "How can design help people learn?" "How might design improve how people live?" "What design strategies help make better local and regional economies?" "How can design save what is authentic and essential to help communities thrive?" These are the questions that organize the exhibition By the People: Designing a Better America, curated by Cynthia E. Smith at the Cooper Hewitt Smithsonian Design Museum in New York City. Act, learn, live, make, save are the verbs enabled by design. But what is design itself, an act or a product? In the questions and the examples shown in the exhibition, design is neither fully a product nor an act. Rather, throughout the exhibition, design is an agent that enables actors and leads to actions. According to Smith's introductory essay in the catalogue, work on the exhibition began after the Great Recession of 2008 and involved extensive field research across the United States, including interviews with designers, community advocates, philanthropists, academics, artists, local citizens, undocumented workers, developers, policymakers, and historians. One result of the extensive field research is a refreshing map of design and innovation in America. As Smith seeks to identify the pressing challenges faced by American communities, poverty and the history of injustice emerge as the underlying issues of the American landscape. The map of design today includes shrinking and regressing cities, rural areas as well as major regional metro areas. This map is not bounded by city centers but located in communities that find themselves dwelling at the edges, designing for what Smith identifies as "a shared prosperity." Some highlights of the exhibition include Teddy Cruz's San Diego affordable housing project titled Living Rooms at the Border, Michael Maltzan's Crest Apartments housing project for homeless veterans in Los Angeles's Van Nuys neighborhood, and Matthew Mazzotta's Open House, a house that unfolds to become an open-air stage in York, Alabama. The design processes of these buildings incorporate the visions of different agencies and stakeholders. If these projects are examples of design as objects, other examples highlight how design is close to action: Farm Hack Tools, founded by independent farmers across America, develops and designs open-source agricultural tools in order to expand knowledge and technology of agriculture. The 4th Floor project is an attempt to create a new commons by converting the storage space of a library to a maker space in Chattanooga, Tennessee, thereby changing the traditional definition of a library from a place of consumption of information to production and sharing of knowledge. At a time when traditional public space is declining, these new commons are powerful alternatives. All these examples, spanning from buildings to commons, objects to actions, demonstrate how design today is an agent of change providing tools and bringing form to ideas. By the People: Designing a Better America runs through February 26, 2017.
The Institute for Public Architecture (IPA)’s 4th Annual Fall Fete will be held at the Cooper Hewitt Smithsonian Design Museum on October 26. The Benefactor’s Reception will begin at 6:30 p.m., with galleries open to view By the People: Designing a Better America and Scraps: Fashion, Textiles, and Creative Reuse. The institute will celebrate the year in socially engaged architecture by honoring Katie Swenson, vice president of national design initiatives at Enterprise Community Partners, Carl Weisbrod, director of the New York City Department of City Planning and chairman of the New York City Planning Commission. Awards will be presented by Deputy Mayor Alicia Glen and New York City Housing Authority Chair Shola Olatoye. The IPA’s first international honoree, and 2016 Pritzker Prize winner, Alejandro Aravena, will offer remarks. The Friends Party, will follow at 8:30 p.m. Reserve your tickets here.
The two exhibits take a very different approach to their subject matter, with the first heavily centered on a specific medium and industry (textiles) while the second focuses broadly on how design can tackle social challenges ranging from healthcare to transportation infrastructure. Read below for more details! Scraps: Fashion, Textiles and Creative Reuse, Sept. 23–April 16, 2017 Traditional craft and modern sustainability will intersect within this exhibit, which will include more than forty works from Reiko Sudo of Tokyo-based textile design firm Nuno, Luisa Cevese of Milan-based studio Riedizioni, and Christina Kim of Los Angeles-based brand dosa. Museum Director Caroline Baumann said in a press release, “Telling the inspiring and empowering stories of three women designers and entrepreneurs who hail from three continents, Scraps brings critical focus to the human and environmental costs of fashion consumption while also offering viable solutions for reducing waste and raising awareness." By the People: Designing a Better America, Sept. 30–Feb. 26, 2017 Cynthia E. Smith, the Cooper Hewitt’s curator of socially responsible design, spent two years compiling By the People. It will cover 60 projects that relate to health care, alternative transportation, sustainable land use, food, education, and more. An introductory section of the exhibition, which will include a video by Cassim Shepard and an interactive data visualization titled Mapping the Measure of America, aims to explore social inequality in the U.S. and contextualize the other exhibit's other projects. Baumann added "By the People will showcase the innovative and impactful actions generated through design, and inspire creative problem-solving at local, regional, national and even international levels."
Despite having an established pedigree within the creative world, London has never had its own Biennal(e)—or even Triennale, for that matter. This year however, the city is opening the Inaugural 2016 London Design Biennale, showcasing work from 34 participating countries around the theme of Utopia by Design. Set to be hosted at Somerset House, a former royal palace on the Strand in central London, the Biennale will run from September 7 to 27 this year. On display will be installations curated by leading design institutions from around the world. Participating bodies include USA's Cooper Hewitt, Smithsonian Design Museum, DAMnation (Belgium), German Design Council, Moscow Design Museum (Russia), Triennale Design Museum (Italy), India Design Forum, Southern Guild (South Africa), The Japan Foundation, and Victoria and Albert Museum (UK). Other participating nations will be: Albania, Australia, Austria, Bahrain, Chile, Croatia, France, Greece, Indonesia, Israel, Korea, Lebanon, Mexico, the Netherlands, Nigeria, Norway, Pakistan, Palestine, Poland, Portugal, Saudi Arabia, Sweden, Switzerland, Tunisia, and Turkey. Judging the contributions will be an an international advisory committee and jury comprised of established figures within the industry who will "award medals to the Biennale’s most significant national contributions." “We are delighted to announce the first ever London Design Biennale to be held at Somerset House," said Dr. Christopher Turner, Director of the Biennale. "500 years after the publication of Sir Thomas More’s classic, we are inviting countries to interrogate the contentious theme, Utopia by Design. These responses will demonstrate the power design has not only to strike up and inform debate, but also as a catalyst: provoking real change by suggesting inspiring or cautionary futures. Alongside the exhibition there will be an ambitious talks programme bringing together the very best international thinkers, and I hope that the Biennale will become a laboratory of ideas that might, in their way, contribute to making the world a better place.” London Mayor Boris Johnson also added: "Just as the London Olympic and Paralympic Games brought the world together through sport, they also inspired it through design, with Barber and Osgerby’s elegant torches and Heatherwick’s kinetic cauldron – a great unifying convergence of nations in fire and copper. In autumn 2016 the London Design Biennale will attract designers, as well as visitors, from all around the world for a vigorous exchange of ideas and ingenuity—the currency of London’s important and world-leading creative economy.”
The Cooper Hewitt, Smithsonian Design Museum started awarding a yearly Design Award in 2000. The award is a jury-selected process that includes among its ten categories honors for Architecture, Interior Design, Landscape Design, and for Lifetime Achievement that has been won by architects. This year's awards were elegantly introduced by the Museum’s Director Caroline Baumann and Tod Williams and Billie Tsien. They honored MOS Architects' Hilary Sample and Michael Meredith, landscape designer Shane Coen at Coen + Partners, and Commune, the Los Angeles interior design firm. In addition, Common Ground founder Rosanne Haggerty was given a Design Mind award, Jack Lenor Larson was awarded the Director's Award, and, fittingly, the late Michael Graves (whose partners claim he told them before he died that he would win the award this year) was given the annual Lifetime Achievement award.
Cooper Hewitt, Smithsonian Design Museum 2 East 91st Street, Manhattan Babb, Cook & Willard (1902) Gluckman Mayner Architects with Beyer Blinder Belle (2014) Part a historic house tour and part a lesson on material culture and curatorial practices, today’s Archtober lunchtime session packed a ton of information into 60 minutes. Brooke Hodge, deputy director of the Cooper Hewitt, National Design Museum, showed us around one of the finest mansions of Manhattan. Designed by Babb, Cook & Willard in 1902, the Carnegie Mansion’s most recent renovations were completed just last year. Executive architect Beyer Blinder Belle developed the master plan, while Gluckman Tang Architects (formerly Gluckman Mayner Architects, the firm responsible for the Staten Island Museum at Snug Harbor that we’ll be touring on Thursday) oversaw the historic preservation aspects of the project. Diller Scofidio + Renfro worked closely with the museum’s curators to develop the display cases and exhibition design. The firm also oversaw the plan of the garden, which, once complete, will open at 8:00a.m. to welcome visitors onto the property even beyond hours of admission. Our dear friends at Pentagram worked on the graphic identity together with the typographer Chester Jenkins, who developed an open-source typeface called the Cooper Hewitt. This initiative was yet another way to make the museum more inviting to the public, and to encourage people to feel connected with design. The renovation added 7,000 square feet of exhibition space to the mansion without expanding the building’s envelope. Offices and the library were relocated to adjacent townhouses, and part of the collection was moved to offsite storage. Other smaller pockets of space were carved out: a former powder room is called the “Teaspoon Gallery,” a play on its location next to the Spoon Gallery, which was named after a donor family. Visitors are encouraged to grab a Pen (note the capital “P” since we still never take ink into exhibitions) at the admissions desk and keep track of their favorite objects. These electronic styluses turn visitors into collectors, and encourage creative moments of exploration. One gallery features a projection screen that covers two walls, reproducing visitor-drawn forms as wallpaper. The digital transformation of these designs into large-scale patterns help visitors connect with the objects on display. Fragments of wallpaper that might otherwise be interpreted as whole objects unto themselves can now be understood as part of repeating patterns that set the tones of entire rooms. Julia Cohen is the Archtober Coordinator at the Center for Architecture.