COOPER HEWITT

The Smithsonian Design Museum in NYC. www.cooperhewitt.org

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thanks

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Finalist

Skye Peterson, age 18 Communications High School, Wall Township, NJ Teacher: Laura Fallon

The placement and naming of “feminine napkin” dispensers can be harmful to transgender men. Even if they are found in men’s restrooms, they are typically located in the common area which would reveal the person’s identity as transgender. The Accessible Hygiene Product Dispenser would be found in both men’s and women’s restrooms attached to the sanitary receptacles inside each stall. These dispensers will be smaller, the contents preferably free, and they will have simple, reliable mechanisms to get the product to the user. The Accessible Hygiene Product Dispenser allows transgender men and other users to be more comfortable and discreet, while enhancing overall ease of use.

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Honorable Mention

Isabella Choi, age 16 Bergen County Academies, Hackensack, NJ Teacher: Scott Lang

Countless people of diverse backgrounds feel isolated in America, and miss a sense of inclusivity because of the lack of visual indicators of their culture and identity. The lack of visual exposure leads to ignorance, feelings of exclusion, and the need to “fit in.” Brighten Your View! expands upon streetlamp decorations by creating an array of designs that correspond with the United States’ diverse population. The decorations are sturdy yet removable and attach to streetlamps through the hanger or the light itself. They are accompanied by informative electronic content. Brighten Your View! creates familiar sights for people who are adjusting to a new place and exposes the residents of the United States to wonderful celebrations from around the world, promoting inclusivity. It aims to create an ambiance of wonderment where people can join together in a public experience that is available to everyone.

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Honorable Mention

Sasha Palmer, age 17, Marlea Rust, age 17, and Lucy Sheerin, age 17 Springfield High School, Springfield, OR, Thurston High School, Springfield, OR, and South Eugene High School, Eugene, OR

Feeling isolated and like you don’t belong is a common obstacle in high schools. We observed in three different schools how these feelings can feed anxiety and depression. Later, we spoke with a psychiatrist who confirmed our hypothesis and discussed how awareness and acceptance is an important step in treatment. The goal of our design is to create more awareness and acceptance of anxiety and depression. Our design does this by spreading the message that it is okay to struggle. We help the cause by bringing positivity and inclusion through stickers and decals. Our design is meant to bring joy to those who want or need it. This can include people with severe illnesses and everyday struggles. Sometimes something as simple as a positive message can brighten someone’s day or open their mind up to new perspectives on life.

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Deja Va: 2011 NDA Winner Rick Valicenti Recalls Two Iconic Poster Designs

Rick Valicenti is a legendary graphic designer, whose career spans the transition from analog to digital design production. Rick spoke with Cooper Hewitt curator Ellen Lupton about his design process over Zoom on October 23, 2020. Edited for clarity and length.

Ellen Lupton:  Rick, where are you?

Rick Valicenti, screenshot from a Zoom call. Rick is smiling and wearing a dark sweater. Behind him, a red car is suspended in the air for repairs.

Rick Valicenti:  I am in a garage in Toronto. This is the second day of a fourteen-day quarantine as we prepare to visit my mother-in-law, who is ninety-three years old and in assisted living. We are quarantined in a studio apartment above our friend’s garage.

I created this poster at the start of the 1990 Gulf War war. The poster was for a lecture at the Alberta College of Art, sponsored by Gilbert Paper. When asked to make a lecture poster, I thought “How do I ignore that we just started a war?” My own narrow version of history was the Vietnam war. In college, my draft card number was ninety-eight in a year they called number ninety-three or ninety-five. I wondered, “Man, did I dodge that? Should I have participated in that?” You carry those conflicted emotions if you missed the draft by good luck in the lottery, not bone spurs. The theme of my poster is deja vu, baby! Here we go again! There is a reference to world peace in the typesetting along the bottom.

Poster, Deja Vu, 1990; Designed by Rick Valicenti (American, b. 1951); Offset lithograph on textured white wove paper; H x W: 91.3 × 61 cm (35 15/16 in. × 24 in.); Gift of Ken Friedman; 1997-19-226

EL:  How was the image was created?

RV:  The image is a photograph created by myself, photographer Corinne Pfister, and her assistant, Michael Pappas. The three of us were just uncorked. We found a model of a World War II bomber, we found a globe, we got some dry ice, we hit some water on it, and we got ourselves fog. Turn on the colored gel and we are done! Shoot a four-by-five color transparency, and it is over. Lay some type down and you got a poster.

Picture the great travel posters by A. M. Cassandre and E. McKnight Kauffer. Their illustrations teetered right on the edge of modernism. You can feel Herbert Bayer in the Bauhaus colliding with these illustrators. They got modernism and geometry but they could not shed themselves. So, they brought this other flare, this illustrative painterly flare. How could I do that? I am not one of those guys. Can Paul McCartney sing Little Richard? No, not really! But he did his version and that is cool. Scream your heart out, man. So, this poster was me doing that—creating a painterly illustration with a camera.

It never mattered to me whether an idea was rendered illustratively or photographically. My ineptitude at illustration allowed me to develop another talent, which is working behind the camera as a director. You do not have to be the guy who clicks the shutter or the person who fills the airbrush. This is the directorial mode of photography. How can we use photography to play in a different realm? Advertising has learned how to do that. How does graphic design do that? We saw Herbert Matter, László Moholy-Nagy, Man Ray, and Nathan Lerner do that. They all used the tools of the moment. I am inclined to use tools of aptitude, which means if you do not have much of an aptitude for it, but you sure like it, try it! 

EL:  Tell me about your poster for the opera Tannhäuser.

RV:  It’s 1988, and I’m on my own as a designer. I’m doing a poster for Chicago’s Lyric Opera, a there’s no budget. Peter Sellers is directing Tannhäuser. I meet with Peter and he is enamored with a picture of Pentecostal evangelist Jimmy Swaggart, crying on TV after he was caught visiting a prostitute in a place with striped awnings.

That photograph is black and white. Swaggart is on TV, crying. Sellers says, “This is my character.” So, I say, “Would I be able to videotape the baritone or the lead tenor and photograph the monitor?” He says, “Sure!” So, that is what we did. I blew up the image of the singer’s face. Underneath, I stretch the photo of the Bible to fill the space. Wow, you can stretch a picture! Now, what can I do with the type? I specify some Gothic type from Ryder Type Gallery. I had them stretch the type to fit the space. But, I say, leave a space for the “S” because a three-letter word that begins with an illuminated letter is sex. And then I add a couple of red dots for the umlaut.

Poster, Tannhäuser, 1988; Designed by Rick Valicenti (American, b. 1951); Lithograph on paper; 91.5 × 61.1 cm (36 in. × 24 1/16 in.); Gift of Rick Valicenti; 1995-73-3

I was as close to the director’s subject matter, his subject matter, as I could be by reenacting it and then using the poster as a document of his point of view. This design was not an affectation. It was pulling the cords and playing those chords that Peter was working with, but doing it through the medium of graphic design. That is when I really could feel a tingle inside, and that is what I wanted to go for in the future. If I do not hit that tingle, then the design is not reverberating strong enough. It does not have everything in play. Something is out of tune. That was a very seminal piece for me.

EL:  You were talking about stretching the photograph. Did you stretch the type, too?

RV:  We were right at that transition from analog to digital. I was still dependent on the typesetters. Their equipment allowed them to set your type and then fill the space that you defined. I could say, “I have X amount of inches leftover in height and width. Please take this spec and make it fit.” Today, we do that falling out of bed, but back then, you had to explain what you wanted with tracing paper and a red pencil. I would draw the shape I needed to fill, and pencil in the type.

EL:  The stretched type is distorted: the horizontals are thicker than the verticals. Was that effect considered ugly at the time?

RV:  Oh, yes, those people. Even today, there are those people. You are one of them, I think. I go there, too. There are moments for respecting the beauty of the type designer’s intent, absolutely. But sometimes there is a silly putty moment. It is like filling a pizza pan with pizza dough. You have to work it into the corners. 

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An Infinite Reflecting Vista

In celebration of  National Design Month, October’s Object of The Week posts honor past National Design Award winners.

This post was originally published on November 10, 2016.

In the late 1990s, the Tacoma Art Museum (TAM) in Tacoma, Washington announced its plan to relocate from the bank building that it had occupied since 1935 to a new site on the waterfront with views of Mt. Rainier.  National Design Award-winning architect Antoine Predock was selected to design a building that more than doubled TAM’s exhibition space and also formed the foundation for a new cultural district in the city. Predock’s building drew inspiration from the light and water of the area, as well as Mt. Rainier.  The design for the building anticipated future development, including a parking lot that would create a visual buffer between the traffic of the nearby highway, I-705, and the TAM.

Predock conceived of a space that centered on a stone garden, allowing light and air to fill the core of the building.  Mirrored glass would be positioned around the stone garden at the end of a central hallway that joined the lobby and museum entrance with the galleries.  The mirrored glass would reflect both the stone garden and the natural panoramas, including Mt. Rainier, creating an infinite reflecting vista in the core of the building.  This drawing is one of a sequence that Predock made to illustrate this concept to his client.  The completed building, which was finished in 2003, deviated only slightly from this sketch. The only significant change is the indication in this rendering of the stone used in the garden, which was initially planned as blackened basalt, but was ultimately constructed out of lighter-colored granite.

The medium of drawing is particularly important for Predock.  He sketches frequently as part of his design process, but also whenever he travels.  He has written that drawing “is both a vehicle for understanding and a gestural act unto itself.”  For Predock, drawings are not “about detail or proportion.  They are about the spirit of a building or place.”

Caitlin Condell is Associate Curator and Head of the Drawings, Prints & Graphic Design Department at Cooper Hewitt, Smithsonian Design Museum.

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Design Salon: Storytelling

In this age of information, designers can tell stories that can be shared more extensively than ever before, whether in print, within an immersive environment, or beyond. How does design serve as a medium through which to share experiences, spark wonder, and address meaningful issues?

In this program, Cooper Hewitt invites 2020 National Design Award winners Scott Dadich (Communication Design Award), Emily Gobeille and Theodore Watson of Design I/O (Digital Design Award), and 2018 National Design Award winner Michael Ellsworth (Co-founder and Principal, Civilization) for a lively discussion on the link between storytelling and the “why” of design

Learn more about the winners of the 2020 National Design Awards!

ACCESSIBILITY

This free program will be hosted through Zoom, with the option to dial in as well. Details will be emailed to you upon registration. CART captioning will be provided. Please reach out to us with any information on how we can support your participation, and with requests for services by emailing [email protected].

ABOUT NATIONAL DESIGN MONTH

In 2020, National Design Week expands to a monthlong virtual celebration, gathering the country’s leading designers and communities around the country to celebrate the power of design in our everyday world. Held in conjunction with the National Design Awards, National Design Month will highlight the work of Award winners through a series of free virtual education programs throughout October including talks, tours, workshops, a professional development training, a college fair, and a career fair. Check back throughout October for new activities to be released on the Smithsonian Learning Lab and more!

  2020 SPECIAL THANKS

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A New Way With Color

In celebration of National Design Month, October’s Object of the Week posts honor past National Design Award winners.

In 2011, Knoll won a National Design Award for Corporate and Institutional Achievement. The company, known for fostering many talented international designers over the decades, is represented by more than 170 objects in Cooper Hewitt’s permanent collection.  

In the same year as Knoll’s National Design Award, Cooper Hewitt received a generous gift of Knoll textiles including two colorways of Eszter Haraszty’s printed textile Triad, first introduced in 1954. This seemingly straightforward fabric was a prize-winning one for Haraszty and Knoll, taking an award for printed textiles at the 1955 Home Furnishing Design Competition sponsored by the American Institute of Decorators (AID). Her bold and unconventional use of color differentiated her from her contemporaries in the field. This example of Triad has narrow black and white vertical bands interrupted by rectangles of orange and deep pink, an unusual color combination for the period, but one that has endured the test of time. A photograph in the New York Times showed a length Triad draped over Florence Knoll’s round teak table with chrome-finished steel legs. [1]  

Haraszty, a Hungarian immigrant, arrived in New York City in 1947. A graduate of the University of Fine Arts in Budapest, Haraszty began her career in costume and stage design. It was during her 1946 visit to the United States that the Communists seized power in Soviet-occupied Hungary, and Haraszty decided not to return. She was fortunate to live briefly with another Hungarian émigré, Marcel Breuer, and his wife Constance in Connecticut. It was through this advantageous connection that she met the Knolls and pivoted to textile design for interiors. After her death in 1994, friend Peter Blake recalled Hans Knoll’s response to Haraszty’s vision of modern design, and how he trusted her instincts even when Knoll’s salespeople weren’t convinced:  

“Don’t listen to those salesmen,” he told her. “Do what you think you should do. I’ll take care of them, and of selling the fabric.”  

He also encouraged her participation in other aspects of Knoll’s business such as advertising, graphics, showroom and corporate office design. While most well-known for her work with Knoll from the late 1940s until 1955, she always kept her own studio at home, and continued consulting for clients engaged in design for interiors, textiles and fashion. She later published books on embroidery techniques.   

[1] Betty Pepis. “Textile Designs Dominate Home Furnishing Contest,”New York Times, April 14, 1955: 35.  [2] Peter Blake. “Eszter,” Interior Design, February, 1995: 29+. 

Kimberly Randall is the Collections Manager for the Textiles Department. 

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Design Salon: Social Impact

Design Salon: Social Impact

How can designers change the paradigm of creative production to amplify emerging creatives’ ideas, support individuals to be self-sufficient, and use design radically to solve global issues? Joining 2020 National Design Award winners Abrima Erwiah of Studio One Eighty Nine (Emerging Designer Award), Aziz Hasan of Kickstarter (Design Visionary Award) and Angela Hariche of Catapult Design (Product Design Award) is 2014 National Design Award winner Angela Brooks (Principal, Brooks + Scarpa Architects, Inc.) for a conversation on the power of design to drive social change across the realms of creativity, production, and the global community.

Learn more about the winners of the 2020 National Design Awards!

  About National Design Month

In 2020, National Design Week expands to a monthlong virtual celebration, gathering the country’s leading designers and communities around the country to celebrate the power of design in our everyday world. Held in conjunction with the National Design Awards, National Design Month will highlight the work of Award winners through a series of free virtual education programs throughout October including talks, tours, workshops, a professional development training, a college fair, and a career fair. Check back throughout October for new activities to be released on the Smithsonian Learning Lab and more!

  2020 Special Thanks

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Now Entering Lines Forest

In celebration of National Design Month, October’s Object of The Week posts honor past National Design Award winners.

This post was originally published on July 9, 2017.

This wallpaper by Geoff McFetridge somewhat resembles a circuit board with its minimal rendering of visual elements, but the title, “Lines Forrest,” clearly sets the record straight that this is a forest, though not necessarily one containing trees. The design is composed of strong verticals along with a variety of geometric shapes. The seemingly random placement of these other elements suggests the organic nature of the forest while also making the design more cohesive and less directional. The high contrast of the black on light gray background increases the graphic quality and abstract nature of the design.

McFetridge’s works of graphic design usually employ a simple color palette and flattened perspective. This aesthetic continues in his wallpaper designs, most of which are printed in a single color. He began designing wallpaper in 2001 with “Shadows of the Paranormal” and “Lines Forest” among his early designs. In 2007 he founded Pottok Prints (pronounced poh-tee-ahk) with his wife and partner Sarah deVincentis to control the production and sale of his wallpapers and other items.

McFetridge, a graphic designer and visual artist based in Los Angeles, was the winner of the 2016 National Design Award for Communication Design.

Greg Herringshaw was the Assistant Curator in Wallcoverings at Cooper Hewitt, Smithsonian Design Museum.

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Design Salon: Designing Sustainable Cities

As climate change reshapes the planet, how can design advance solutions that promote a healthy, sustainable future for all?

In this salon, the inaugural winner of the 2020 National Design Award for Climate Action, Susannah Drake (Founding Principal, dlandstudio) for the Sponge Park, is joined by 2017 National Design Award winner Susan Szenasy (former editor-in-chief, Metropolis) and 2019 National Design Award winner Mark Chambers (Director, Mayor’s Office of Sustainability), discussing the City of New York’s game-changing initiatives to create the world’s greenest big city and examine how systems thinking informs local architecture and planning.

Learn more about the winners of the 2020 National Design Awards!

ACCESSIBILITY

This free program will be hosted through Zoom, with the option to dial in as well. Details will be emailed to you upon registration. CART captioning will be provided. Please reach out to us with any information on how we can support your participation, and with requests for services by emailing [email protected].

ABOUT NATIONAL DESIGN MONTH

In 2020, National Design Week expands to a monthlong virtual celebration, gathering the country’s leading designers and communities around the country to celebrate the power of design in our everyday world. Held in conjunction with the National Design Awards, National Design Month will highlight the work of Award winners through a series of free virtual education programs throughout October including talks, tours, workshops, a professional development training, a college fair, and a career fair. Check back throughout October for new activities to be released on the Smithsonian Learning Lab and more!

  2020 SPECIAL THANKS

The Climate Action Award is made possible with support from Lowercarbon Capital.

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An Early Eva Zeisel Design

In celebration of National Design Month, October’s Object of The Week posts honor past National Design Award winners.

A version of this post was published on November 13, 2012.

Eva Zeisel, a major figure in twentieth-century industrial design, won the National Design Award for Lifetime Achievement in 2005. Although best known for her contributions to mid-century American modernist ceramics, she worked with  manufacturers around the world, in a career that spanned more than eighty years. Cooper Hewitt is fortunate to have examples from her Intourist Tea service, designed in 1933 (Intourist was the Soviet Union’s official state travel bureau).

Zeisel began her career in her native Hungary in 1925, and by 1928, was designing modernist ceramics in Germany. After visiting the Soviet Union in the early 1930s, she took a job at the Lomonosov Porcelain Factory in Leningrad. Zeisel explored the factory’s archive of eighteenth-century tableware and realized that “the clean lines of modern design could be successfully combined with sensuous, classic shapes.”

Her Intourist tea service consists of short cylindrical and circular forms. To meet the Soviet drive to rationalize ceramics, Zeisel designed the simple shapes for inexpensive production as well as for visual and physical appeal. Designs for the Lomonosov Factory also had to meet state-set standards of social realism. This service’s painted decoration, “Leningrad, 1935,” designed by artist Varvara Petrovna Freze, commemorates the city’s new and old monuments. In celebration of Soviet achievement, a lively, colorful scene featuring a “modern” sculpture or official building is presented on one side of each piece. The Soviet self-image stands in contrast to a staid, gilded image of a historic site on the opposite side. The hot water pot[1] shows a view of Sergei Evseyev’s 1926 statue of Lenin, countered by the gilt image of the nineteenth-century St. Isaac’s Cathedral (below). Zeisel’s minimal ceramic forms are accentuated by traditional gilded decorations of ribbons and flags at the mouths, handles, and spouts. The service presents a fascinating combination of design for utility, for appeal, and for the communication of Soviet propaganda.

Hot Water Pot from the Intourist Tea Service (“Leningrad 1935” Pattern), view of St. Isaac’s Cathedral; porcelain, vitreous enamel, gold; 1989-41-88-a,b

In 1936, one year after being appointed artistic director of the Russian china and glass industry, Zeisel was falsely accused of conspiring to kill Stalin.  She was imprisoned and spent most of the next sixteen months in solitary confinement, but was then abruptly released. Zeisel emigrated to the United States in 1938. She taught ceramics as industrial design at Pratt Institute in Brooklyn, and began to revive her design practice. She brought a unique and playful organic modernism to the tableware and furniture she designed well into 2011, when she died at age 105.

Cynthia Trope is Associate Curator of Product Design and Decorative Arts at Cooper Hewitt, Smithsonian Design Museum.

[1] Cooper Hewitt’s Intourist group consists of a hot water pot (used as a teapot), creamer, sugar bowl, two cups, and a saucer. Reflecting Russian tea-drinking practice, Zeisel designed the service as a five-piece range, including a pot for heated water and a smaller teapot to contain a strong infusion of tea. This allowed each drinker to mix different amounts of the concentrate and hot water, making a cup of tea according to their own taste. See: Karen L. Kettering, “Lomonosov State Porcelain Factory; Dulevo Porcelain Factory” in Eva Zeisel: Life, Design, and Beauty, Pat Kirkham, Pat Moore, Pirco Wolfframm (San Francisco, CA: Chronical Books, 2013), 58-59.

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Climate Action Sponge Park Designed by DLANDstudio, the Gowanus Canal Sponge Park

in Brooklyn, New York is a proven new form of green infrastructure that captures and cleans dirty urban stormwater runoff and addresses the global problem of contaminated streams, rivers, aquifers, and oceans. Completed in 2016, the Sponge Park

is in a notoriously dirty EPA superfund site, where petroleum byproducts and combined sewer overflows of human waste present acute risks to public health. The Sponge Park

keeps excess water out of combined sewers, with a replicable ecosystem where plants and microorganisms in the soil absorb and break down biological and synthetic contamination in water and soil. The modular system, when implemented across New York City, has the potential to clean billions of gallons of storm water, and the impact nationwide has even greater power for environmental stewardship.

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Architecture Snøhetta For over 30 years Snøhetta has designed some of the world’s most notable projects integrating architecture, landscape, interiors, branding, and product design. The firm is dedicated to building equitable and sustainable places to enhance human society and natural habitat. With seven offices across the globe, Snøhetta’s noteworthy projects include the Library of Alexandria in Egypt, the Norwegian National Opera in Oslo, the National September 11 Memorial Museum Pavilion and Times Square in New York, the San Francisco Museum of Modern Art in California, the Calgary Public Library in Canada, House Zero a zero-emissions sustainable research prototype at Harvard University, and the Ford Motor Company’s new Research & Engineering Campus in Michigan. The studio’s global practice is led by founders Craig Dykers (US) and Kjetil Thorsen (NOR). Dykers leads the US studio together with partners Elaine Molinar, Michelle Delk, and Alan Gordon.

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Communication Design Scott Dadich Scott Dadich is a founder and co-CEO of Godfrey Dadich Partners, a communications design and strategy firm headquartered in San Francisco, California, that helps organizations tell better stories—from documentary films and longform journalism to corporate strategies and brand marketing campaigns. He has led work with Nike, Apple, The Obama Foundation, IBM, National Geographic, and The New Yorker. With the belief that every choice is an act of design, he created and executive produced Netflix’s Emmy-nominated Abstract: The Art of Design. Dadich was editor in chief of WIRED, where he previously served as creative director and was the only person to ever win three consecutive National Magazine Awards for design (he has four) along with three consecutive Society of Publication Design “Magazine of the Year” awards.

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Digital Design Design I/O Founded in 2010, Design I/O is a small studio passionate about creating immersive interactive environments, new forms of storytelling, and developing prototypes that lead toward a more magical future. Led by partners Emily Gobeille and Theodore Watson along with Nicholas Hardeman and Anna Cataldo, the studio takes a playful approach to its work with the goal of developing experiences which support open play and exploration in a collaborative environment. Design I/O strives to make work that not only allows the user to be a part of the experience, but to dramatically shape that experience in a meaningful way. Clients include The New York Hall of Science, Cleveland Museum of Art, Nokia Bell Labs, Franklin Park Conservatory, Cinekid, TELUS World of Science, TIFF, San Francisco Arts Commission, and Phillip and Patricia Frost Museum of Science.

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Fashion Design TELFAR BECOME A QUEER, BLACK 18 YEAR OLD, TRAVEL BACK TO 2004 AND ESTABLISH A 100% NON-GENDERED FASHION LINE OUT OF YOUR FAMILY APARTMENT IN LEFRAK CITY, QUEENS. MAKE CLOTHES THAT DO NOT EXIST ON THE MARKET — JUST LIKE YOU DON’T EXIST IN THE WORLD. DON’T HAVE ANY MONEY. PERSIST FOR A DECADE WITHOUT A SINGLE REVIEW FROM THE FASHION PRESS. DO EVERYTHING DIFFERENTLY. IF STORES WON’T BUY YOUR CLOTHES, SHOW IN MUSEUMS. IF ‘BEAUTY’ SPONSORS DON’T LIKE YOUR SKIN AND HAIR — MAKE THE UNIFORMS FOR A FAST-FOOD CHAIN. USE THE MONEY TO HELP BAIL HUNDREDS OF KIDS OFF RIKERS ISLAND. WIN THE CFDA/VOGUE FASHION FUND. USE THE MONEY TO MAKE AN ‘IT’ BAG, WHERE ‘IT’ HAS NOTHING TO DO WITH DOMINATION. REFUSE TO BE TOKENIZED. DECLINE INVITATIONS. USE ‘FASHION’ TO ENVISION A FUTURE — THAT CAN HELP DESTROY THE PRESENT. LOTS OF LOVE; KEEP YOUR FAMILY CLOSE; BREATHE; IGNORE THE BULLSHIT, AND PLEASE REMEMBER: THE WORLD ISN’T EVERYTHING.

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