BGuthrie Photos: NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit:

BGuthrie Photos: NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: :

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Slide Show: Want to see the pictures as a slide show? [Click here for Slideshow]

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. CHBATH_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Bathing NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Bathing Beautiful (6 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
2. CHBATH_190827_12.JPG: Nature by Design: Bathing Beautiful
3. CHBOT_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Bot NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Botanical Lessons (13 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
4. CHBOT_190827_11.JPG: Botanical Lessons Botanical Lessons explores the 19th-century intersection of nature and design in the Smithsonian collections through models on loan from the National Museum of American History and illustrated books and periodicals from the holdings of Smithsonian Libraries. These thirteen colorful models, made by the leading German firm R. Brendel & Co., were popular teaching aids for students around the world during a period marked by a growing interest in science and education. Encyclopedias and periodicals were important sources of botanical research for an increasing number of scientists, professional gardeners, and enthusiasts. These models and illustrations provided up-close views of the natural world at a time when microscopes and image projection were not widely available. Through these design objects and visual aids, new ways of understanding nature's intricate structures and beauty were possible with the naked eye.
5. CHBOT_190827_19.JPG: Model, Ricinus Communis, 1875–1898 Ricinus communis, popularly known as castor bean or castor-oil plant, is indigenous to Eastern Africa. The plant's oil has been applied to many pharmaceutical and industrial uses throughout history, from fueling lamps in ancient Egypt to lubricating airplanes' rotary engines flown by the Allies during World War I.
6. CHBOT_190827_22.JPG: Arum Maculatum, 1875–1898 The Arum maculatum is known by a wide variety of names, most commonly lords-and-ladies, cuckoopint, and starchwort. The latter was likely assigned because starch can be extracted from the plant's roots to stiffen fabrics. If eaten raw, all elements of starchwort cause severe bodily irritation, but some elements are safe for consumption if properly prepared.
7. CHBOT_190827_26.JPG: Model, Ficus Carica, 1875–1898 The Ficus carica, or fig tree, is native to the Mediterranean and Central Asian regions, and it was one of the first plants cultivated by humankind, growing up to 30 feet. A staple in the diet of ancient Greeks and Romans, the fruit is now consumed around the world either raw, dried, or as a jam.
8. CHBOT_190827_29.JPG: Model, Aesculus Hippocastanum, 1875–1898 The Aesculus hippocastanum, or horse chestnut, is native to the Balkan region. The wood has little value as timber, but it is suitable for carving. Unlike true chestnuts, this seed is not fit for human consumption because it contains high doses of aesculin, which can be fatal if ingested raw.
9. CHBOT_190827_32.JPG: Plate, Tasconia Pinnatistipula , Paxton's Magazine of Botany, and Register of Flowering Plants, vol. 1 Sir Joseph Paxton may be more well known today as the designer of the 1851 Crystal Palace exhibition building in London, but his main occupation at that time was as Head Gardener of Chatsworth House, home to the Dukes of Devonshire since 1549. Paxton was also interested in publishing and landscape and greenhouse design. These passions combined in Paxton's Magazine of Botany, which was the third title he developed, running from 1834 to 1849. The pages selected here focus on the lavish illustrations that accompanied the detailed texts, which shared the newest developments in botany for amateur and professional gardeners alike.
10. CHBOT_190827_35.JPG: Plate, Sarracenia Purpurea, Paxton's Magazine of Botany, and Register of Flowering Plants, vol. 3, 1837 Sir Joseph Paxton may be more well known today as the designer of the 1851 Crystal Palace exhibition building in London, but his main occupation at that time was as Head Gardener of Chatsworth House, home to the Dukes of Devonshire since 1549. Paxton was also interested in publishing and landscape and greenhouse design. These passions combined in Paxton's Magazine of Botany, which was the third title he developed, running from 1834 to 1849. The pages selected here focus on the lavish illustrations that accompanied the detailed texts, which shared the newest developments in botany for amateur and professional gardeners alike.
11. CHBOT_190827_37.JPG: Plate, Odontoglossum Grande, Paxton's Magazine of Botany, and Register of Flowering Plants, vol. 8, 1841 Sir Joseph Paxton may be more well known today as the designer of the 1851 Crystal Palace exhibition building in London, but his main occupation at that time was as Head Gardener of Chatsworth House, home to the Dukes of Devonshire since 1549. Paxton was also interested in publishing and landscape and greenhouse design. These passions combined in Paxton's Magazine of Botany, which was the third title he developed, running from 1834 to 1849. The pages selected here focus on the lavish illustrations that accompanied the detailed texts, which shared the newest developments in botany for amateur and professional gardeners alike.
12. CHBOT_190827_39.JPG: Plate 71, Iconographic encyclopaedia of science, literature, and art. / Systematically arranged by J.G. Heck. Translated from the German, with additions, and edited by Spencer F. Baird ... illustrated by five hundred steel plates, containing upwards of twelve, 1851 This plate comes from an illustrated encyclopedia organized by German publisher and author Johann Georg Heck, in his 6-volume effort to comprise and organize knowledge of science, literature, and art in an accessible format. Figure 4 here depicts a walnut tree and figure 7 presents a variation of buckthorn, both of which are represented in corresponding botanical models on view in the central case nearby.
13. CHEMB_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Embroid NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Embroidered and Embellished (33 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
14. CHEMB_190827_04.JPG: Embroidered and Embellished A fanciful, romantic, and stylized interpretation of nature embellished men's waistcoats in 18th-century France. Realistic and exaggerated flowers were the preferred form of decoration and displayed the exceptional skills of France's embroidery professionals, who employed a painterly approach that required a sophisticated color sense and delicate rendering of light and shadow to amplify the brightness of the florals. A majority of the superb waistcoats and samples in this gallery were bequeathed to Cooper Hewitt by Richard C. Greenleaf, who in the early 20th century assembled one of the most important collections of European textiles and lace in the United States. The waistcoats, along with embroidery samples and their related designs on paper, illustrate the exquisite artistry and incomparable craftsmanship that made French design the standard for men's dress across the royal courts of Europe. Among the most fashionable piece of clothing for a gentleman of the ancien r�gime, a white silk waistcoat was the perfect canvas for displaying elaborately designed floral frameworks. To set the fashion, a gentleman needed dozens, if not hundreds, of waistcoats festooned not only with beautiful flowers, but clever references that sparked conversation. Faced with a growing demand for novelty, embroidery designers began adding animals, insects, romantic vistas, and even cultural and historical references to heighten the whimsy and topicality of their waistcoat designs. Close examination reveals the gold and silver thread, sequins, seed pearls, faceted glass, and paste beads that elevated men's clothing to a height of elegance and intricacy rarely seen since.
15. CHEMB_190827_14.JPG: Waistcoat, Uncut (France), 1780–95 A trio of monkeys provides musical entertainment while their companion on the pocket flap above reclines with a bottle of rum.
16. CHEMB_190827_17.JPG: Singerie
17. CHEMB_190827_19.JPG: Drawing, Female Monkey in Rococo Dress, late 19th century While executed in the 19th century, these two drawings capture the mocking spirit of singerie. This foppish pair have the clothing and accessories predominant in 18th-century France: she has a feathered confection of a hat, powdered wig, pink muff, and deeply ruched skirt, while he, engaged in prayer, wears a three-piece suit and a powdered wig with a black wig bag.
18. CHEMB_190827_23.JPG: Drawing, Male Monkey, Straddling Frame in Prayer, late 19th century While executed in the 19th century, these two drawings capture the mocking spirit of singerie. This foppish pair have the clothing and accessories predominant in 18th-century France: she has a feathered confection of a hat, powdered wig, pink muff, and deeply ruched skirt, while he, engaged in prayer, wears a three-piece suit and a powdered wig with a black wig bag.
19. CHEMB_190827_26.JPG: Bound Print, Plate 1, La Chasse au Lapins (Rabbit Hunt), Nouveau Livre de Singes (New Book of Monkeys) A well-equipped monkey with a musket, powder flask, and hunting hound quietly approaches two plump rabbits from behind. In reality, rabbits have a strong flight response so it is unlikely this duo would have been successful in their pursuit.
20. CHEMB_190827_28.JPG: Halley's Comet
21. CHEMB_190827_34.JPG: Waistcoat (France), 1785–95 This handsome waistcoat depicts Dido and Aeneas in a scene from Didon, a popular 1783 opera by the composer Niccol� Piccini (Italian, 1728–1800) based on Virgil's Aeneid. Set in the 9th-century-BCE city of Carthage, the two main characters stand before a low-latticed wall topped with ornamental urns filled with flowers. The setting evokes the late-18th-century interest in classical forms of antiquity as well as less formal garden settings.
22. CHEMB_190827_36.JPG: Pictorial Designs
23. CHEMB_190827_38.JPG: Waistcoat (France), 1780–95 An idyllic scene shows a young man resting on a mossy rock as he serenades a brightly plumed wild turkey with his flute. Pleasant and peaceful scenes that romanticized the lives of country dwellers abounded at the end of the 18th century and presaged the beginning of the Romantic Era in about 1800.
24. CHEMB_190827_41.JPG: Button These buttons illustrate romantic notions of rural living as well as the emerging fascination with dotting the landscape with newly created ruins. Each features a lone figure: one crosses a crude pedestrian bridge with a large basket on his back while the other stands next to the remains of a crumbling wall with an arched window.
25. CHEMB_190827_46.JPG: Drawing, Design for Embroidery, Gentleman's Waistcoat Pocket, ca. 1785 Designed by Fabrique de Saint Ruf Nestled between the pocket flap and an outer border of large flower clusters are two vignettes showing a tranquil scene of stone houses and a bridge surrounded by tall trees. This design may have appealed to a gentleman yearning for a quieter life in the country.
26. CHEMB_190827_48.JPG: Salesman's Samples (France) A shady wooded path with a balustrade leads to a pair of crumbling towers in this sample for the bottom corner of a waistcoat. The small scene captures the French fascination with English freeform landscape gardening whose designs frequently incorporated recreations of ancient ruins to heighten the emotional and spiritual experience for visitors.
27. CHEMB_190827_52.JPG: Waistcoat, Uncut (France), 1760–70 This uncut waistcoat with lush flowers and vegetation features a tranquil landscape with oxen and cows in pairs, with one standing, the other resting. They bear more than a passing resemblance to a series of engravings by Jean-Baptiste Pillement (French, 1728–1808), an artist and designer whose influential engravings helped spread chinoiserie throughout Europe. His romanticized landscapes influenced textile design and extended to embroidery as well.
28. CHEMB_190827_54.JPG: Insects
29. CHEMB_190827_58.JPG: Waistcoat (France), ca. 1790 This waistcoat is teeming with insect life. Small butterflies float between floral sprigs, blue dragonflies adorn the pocket flaps, furry caterpillars crawl along branches, and menacing-looking stag beetles take flight along the bottom edge. In her memoir, author Lady Elizabeth Craven recalled a visit to Lyon in 1785, where she reacted in horror to a new waistcoat design with "great sprawling butterflies." Also notable was the shrug of the salesman who remarked that "novelty was everything."
30. CHEMB_190827_62.JPG: Drawing, Design for Embroidery, Corner of Gentleman's Waistcoat, ca. 1780 Clearly inspired by the ornament prints of Charles Germain de Saint-Aubin, a large butterfly pulls a chariot with two smaller companions in the rear. Intended for a waistcoat, this whimsical scene might possibly refer to the goddess Psyche, who is frequently depicted as a butterfly pulling a chariot.
31. CHEMB_190827_64.JPG: Hunting
32. CHEMB_190827_67.JPG: Uncut Waistcoat Fronts (France) This superb panel is embroidered � la disposition -- the design is arranged on the silk in the form of half a waistcoat front, with button covers and corner pieces for the front and back of the lapels. A customer could purchase a waistcoat in this format and have a tailor cut and sew it to their measurements. Perhaps intended to celebrate the hunt, a bucolic scene with flowers and butterflies has two hunting hounds viciously attacking a wild boar.
33. CHEMB_190827_69.JPG: These embroidery samples haven been in their original paper enclosures for over 200 years, preserving their brilliant color and pristine condition. The samples likely represent designs for men's coats although embroidery houses could produce designs on any fabric according to a client's wishes. While consumers in Paris could visit the marchand-merciers (retailers) to see samples in person, these paper envelopes were highly portable, meaning selling agents could take orders from customers far removed from the city center. Paris was widely recognized as the capital of fashion, and this perception was due mainly to the large volume of high-quality textiles produced in Lyon specifically for the Paris trade. By the 18th century, the textile industry in Lyon employed thousands of men and women. Local government and business leaders recognized Lyon's special place in the textile design and production -- it was the first to introduce seasonal changes in silk design. With the goal of training the next generation of textile designers, in 1756 leaders proposed opening a free school for flower painting under the leadership of a flower specialist with some knowledge of fabric design. It was not until the end of the century that the school produced its finest graduate, the talented designer Jean Fran�ois Bony (French, 1754–1825), whose influence here is evident.
34. CHIRID_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_Irid NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Iridescence (17 photos from 2019)
  Iridescence The term iridescence derives from Iris, the Greek goddess of the rainbow, and refers to a vibrant optical effect of rainbow-like colors that change in the light. Found on pearls, bird feathers, and insect wings, iridescence draws from and celebrates the natural world's multidimensional colors and organic forms. Since the Middle Ages, designers have experimented with ways to achieve an iridescent effect on the surface of glass and ceramics and incorporate naturally iridescent materials such as mother of pearl into their jewelry and metalwork. Featuring objects from the museum's collection, this exhibition demonstrates how iridescence has maintained a lasting impact on design. Requiring the color sense of an artist and the technical skills of a chemist to execute, the technique of iridescence connects objects across time periods and geographies. Ancient glass appears iridescent as a result of chemical decomposition from years buried underground, an effect admired and imitated by Louis Comfort Tiffany and others working in the art nouveau and arts and crafts styles at the turn of the 20th century. At the same time, the ceramicists Cl�ment Massier in France and William de Morgan in Britain both looked to medieval Spanish ceramics glazed with metallic oxides for inspiration in their own work. Efforts to produce radiant light effects in glass and ceramics continue up to the present. Designers experiment with adding unexpected materials to formulate metallic glazes and bright surface treatments to catch the eye.
35. CHKAT_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Katagami NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Katagami (25 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
36. CHKAT_190827_07.JPG: Katagami Katagami is the traditional Japanese craft of katagami: paper stencils carved by master artisans for use in decorating textiles. These stencils often take nature as their subject, and are made from natural materials. Cooper Hewitt's collection of katagami mostly dates to the late Edo (1603-1868) and Meiji (1868-1912) eras, when the craft was at its height. The works on view demonstrate a range of styles and cutting techniques, reflecting the great expressive potential of the medium. To create the stencils, pounded mulberry bark is treated with fermented persimmon juice, resulting in a paper that is strong, flexible, and waterproof. Once the paper has been cut, thin silk threads are sometimes added in order to reinforce the design. These treatments are necessary because, since at least the 16th century, katagami have been employed in a dyeing technique called katazome. In this method, a highly-skilled dyer places the paper stencil over prepared fabric and applies a dye-resistant rice paste (or "resist") through the stencil. This process is then repeated along the fabric's length, creating an unbroken pattern. Later, when the fabric is dyed -- usually with natural indigo -- the areas protected by the resist remain untouched by the color. Finally, when the resist is washed away, the finished textile retains the stencil's design.
37. CHKAT_190827_19.JPG: Carving Patterns
38. CHKAT_190827_22.JPG: Animal Patterns
39. CHKAT_190827_33.JPG: Abstract Patterns
40. CHKAT_190827_49.JPG: Supporting the Patterns
41. CHKAT_190827_54.JPG: Large Patterns
42. CHKAT_190827_63.JPG: Export Patterns
43. CHNAT_190827_001.JPG: The following pictures are from the page 2019_NY_Cooper_Nature NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature -- Cooper Hewitt Design Triennial (125 photos from 2019)
  Curiosity Cloud, 2015–2019 Designed by Katharina Mischer Each bulb in this immersive installation contains a hand-fabricated replica of a different insect, many from New York and the surrounding area. Some species are found commonly in nature, others are endangered or extinct, and still others are invasive. Curiosity Cloud unites species of insects that would never coexist in the natural world. Moving through the installation activates the insects to flutter within their bulbs, facilitating a dialogue with nature.
44. CHNAT_190827_045.JPG: Nature -- Cooper Hewitt Design Triennial
45. CHNAT_190827_050.JPG: Designers are collaborating with nature, forging meaningful connections between humanity and the Earth. Their work is inspired by and intertwined with nature like never before, reflective of our transforming relationship to the natural world. Compelled by a sense of urgency, designers look to nature as a guide and partner. With projects ranging from experimental prototypes to consumer products, immersive installations, and architectural constructions, Nature-Cooper Hewitt Design Triennial, co-organized with Cube design museum, presents the work of sixty-two international design teams. Collaborations involve scientists, engineers, advocates for social and environmental justice, artists, and philosophers. They are engaging with nature in innovative and ground-breaking ways, driven by a profound awareness of climate change and ecological crises as much as advances in science and technology. The exhibition themes explore seven strategies that designers are using to collaborate with nature - to understand, remediate, simulate, salvage, nurture, augment, and facilitate. The outcomes are speculative or practical and reveal new material, creative methods, and inventive technologies. These provocations and solutions put forth by today's extraordinary design teams serve as encouragement for an enduring and more respectful partnership with nature.
46. CHNAT_190827_071.JPG: Understand From the microscopic to the macroscopic, the natural world is full of rich, complex processes that designers help to make more comprehensible. Harnessing new research, visualizing new and innovative streams of data, and offering experiences in the physical and digital realms, designers are providing the tools for us to better understand the wonders of nature and reestablish a reverence for its systems.
47. CHNAT_190827_081.JPG: Electron Micrographs, 2019 Designed by James C. Weaver James C. Weaver produces electron micrographs using a customized multi-detector scanning electron microscope, which scans the surface of a sample using a focused beam of high-energy electrons. The signals from each of the detectors are color-coded and subsequently recombined, creating a polychromatic electron micrograph. Unique to this process, color information is automatically generated during image acquisition, and not through manual post-processing. Variability in surface topography is revealed in a dazzling array of hues. The images shown here, of farmed coral specimens from the tropical Indo-Pacific, demonstrate the skeletal complexity of these incredibly diverse and ecologically important marine invertebrates.
48. CHNAT_190827_093.JPG: Petrified River, 2018-2019 Designed by Ant�n Garc�a-Abril Petrified River is a site-specific installation for the museum's garden that represents the transformation of Manhattan from wild nature to urbanized landscape. Three natural elements -- hill, river, and pond -- are the main components and are metaphors for "Mannahatta" or "island of many hills." The installation continues Ensamble Studio's fascination with structures in the landscape begun at Tippet Rise Art Center (Fishtail, Montana, USA).
49. CHNAT_190827_111.JPG: BabyLegs, 2017-2019 Designed by CLEAR (Civic Laboratory for Environmental Action Research) BabyLegs is an open-source, affordable monitoring tool to study marine microplastic pollution, a danger to all marine life and to communities who rely on fishing for livelihood. Created by Max Liboiron, director of CLEAR, a feminist, decolonial marine science laboratory in Newfoundland and Labrador, the trawler can be attached to a boat and dragged along the water's surface to collect microplastics for study and identification.
50. CHNAT_190827_114.JPG: Infinity Burial Suit , 2008-ongoing Designed by Coeio Inc. Jae Rhim Lee's design for a customized cotton burial suit is an alternative to current funerary options such as cremation and casket burial. The suit contains a built-in mix of proprietary materials and mycelia (fungal threads) that fruit into mushrooms. This "biomix" absorbs and eliminates toxins that are emitted from the body into the soil and aids in decomposition. -- Mourn, 2017-ongoing Designed by Nienke Hoogvliet These biodegradable funerary urns are comprised of cremation ashes and a biodegradable plastic known as PHA, which helps regulate the disintegration process of the ashes. This allows toxins in the ashes to break down gradually into less impactful components that can then be absorbed into the soil and water. Nienke Hoogvliet collaborated with the Dutch Water Authority to produce the bioplastic.
51. CHNAT_190827_131.JPG: Remediate Designers seek to rectify imbalances in our ecosystems, bringing us in closer alignment with nature. Whether developing new materials or rethinking death and burial, designers are helping to reform attitudes about the environment, rehabilitate our mental and physical well-being, and regenerate local traditions and habitats.
52. CHNAT_190827_137.JPG: Soft Robotic Grip Glove, 2015-ongoing Designed by Harvard Biodesign Lab This glove represents a new area of soft robotics in assistive devices, using flexible and lightweight materials for functionality. The glove assists individuals with limited motor skills caused by stroke, injury, or other illness. Sensors control actuators that, when activated, inflate bladders, causing the gloved hand to open, close, grasp, pinch, and hold an object.
53. CHNAT_190827_146.JPG: After Ancient Sunlight, 2018 Designed by Charlotte McCurdy For this raincoat, Charlotte McCurdy created a petroleum-free, algae-based plastic that is carbon negative. Currently, the majority of plastic materials are made from fossil fuels, or stores of carbon created by "ancient sunlight." Instead, McCurdy encourages the use of new materials that metabolize atmospheric carbon, such as quickly grown plant matter. The accompanying book and infographics document her research into the reservoirs of earth's carbon and the potential for harnessing photosynthetic productivity or "young sunlight" for meeting our material needs.
54. CHNAT_190827_164.JPG: Monarch Sanctuary, 2018-ongoing The population of the beloved monarch butterfly has drastically depleted due to susceptibility to agricultural pesticides, temperature changes, and land development. Terreform ONE's proposed 30,000-square-foot sanctuary is a vertical meadow behind a glass fa�ade with highly regulated temperature and humidity. The model shows how the fa�ade can provide a temporary habitat for wild monarchs.
55. CHNAT_190827_196.JPG: Fantasma, 2019 It was designed by AnotherFarm. It is dated 2019. Its medium is garment, silk worm cocoons and raw silk threads. To create Fantasma, design studio AnotherFarm collaborated with scientists who make transgenic glowing silk, engineered by injecting silkworm eggs with coral DNA to glow red. Japan's Hosoo textile manufactory wove the transgenic silk into a textile, which was used by the designers to create this garment. Put on the glasses to enhance the color of the glowing silk. It is credited "Courtesy of AnotherFarm."
56. CHNAT_190827_216.JPG: Simulate Nature is the ultimate guide. Understanding how nature works prompts a desire to emulate its properties and efficiencies. Designers are modeling systems, materials, and objects on biological structures to devise optimal forms or efficient techniques.
57. CHNAT_190827_224.JPG: Voronoi Dress, Biomimicry Collection It was designed by threeASFOUR and Travis Fitch. Its medium is ensamble (2), patterned swatches (21), video. Guided by an interest in the energy of natural forms, fashion designers threeASFOUR, in collaboration with Travis Fitch, have examined geometries rooted in nature to find new ways to wrap the human body. In translating these complex patterns into garments, the designers have used 3D printing to achieve new material possibilities in their clothing. It is credited "Courtesy of threeASFOUR in collaboration with Travis Fitch and Stratasys (Eden Prairie, Minnesota, USA, founded 1989)."
58. CHNAT_190827_225.JPG: Voronoi Dress, Biomimicry Collection Designed by threeASFOUR Guided by an interest in the energy of natural forms, fashion designers threeASFOUR, in collaboration with Travis Fitch, have examined geometries rooted in nature to find new ways to wrap the human body. In translating these complex patterns into garments, the designers have used 3D printing to achieve new material possibilities in their clothing.
59. CHNAT_190827_236.JPG: 3D-Painted Hyperelastic Bone�, 2015-19 Designed by Adam E. Jakus Made from a mineral known as hydroxyapatite, a form of calcium found in bones, this 3D-printed, customizable material mimics the strength of bone while retaining flexibility and porousness. Ultimately, the Hyperplastic Bone may be used both inside and outside the body to regenerate bones and integrate existing tissues without the inflammation or immune responses often associated with implants.
60. CHNAT_190827_243.JPG: Vessel, Metamorphism, 2017-ongoing Designed by Shahar Livne As natural resources diminish and, with them, many media-specific crafting processes, Shahar Livne reframes the material impact of the 20th century's reliance on petrol-based plastics. Plastic waste, which clogs land and sea, has been undergoing geologic processes, compounding and morphing into a clay-like substance that Livne molds and shapes using traditional methods.
61. CHNAT_190827_247.JPG: Salvage One of the most remarkable aspects of nature is the lack of waste. Decomposition, scavenging, and biodegradation are some of nature's processes to maintain a closed-loop life cycle. Designers are redefining raw materials by creatively capturing and repurposing air pollution or ocean plastic, and they are developing new methods to work with non-traditional natural materials.
62. CHNAT_190827_257.JPG: Ultraboost Shoe, 2016-ongoing It was designed by adidas x Parley. It is dated 2016-ongoing. Its medium is prototype, running shoe (3), ground shoe, illegal fishing nets, stages of manufacturing: marine debris, pellet, flakes, spool of plastic thread, upholstery for benches. Parley's 3-pronged AIR strategy, Avoid -- Intercept -- Redesign, starts with the premise that plastic is a design failure and must be replaced. AIR is a call to action to deal with the saturation of plastic clogging the oceans. It is at the heart of Parley's collaboration with global sports manufacturer adidas, who has taken up the challenge of redesigning shoes using existing marine plastic waste and, ultimately, shoes that can be recycled and remade without any additional materials. It is credited "Courtesy of adidas AG and Parley for the Oceans."
63. CHNAT_190827_266.JPG: Ultraboost Shoe, 2016-ongoing Designed by adidas x Parley Parley's 3-pronged AIR strategy, Avoid -- Intercept -- Redesign, starts with the premise that plastic is a design failure and must be replaced. AIR is a call to action to deal with the saturation of plastic clogging the oceans. It is at the heart of Parley's collaboration with global sports manufacturer adidas, who has taken up the challenge of redesigning shoes using existing marine plastic waste and, ultimately, shoes that can be recycled and remade without any additional materials.
64. CHNAT_190827_286.JPG: Department of Seaweed: Living Archive, 2018-ongoing Designed by Julia Lohmann Julia Lohmann founded the Department of Seaweed in 2013, which brings together experts in design, science, and craft to experiment with the fabrication processes and material properties of seaweed. For the mask and sculpture, Lohmann stretched seaweed and combined it with rattan and aluminum rings for structural support. The woven textile and knit top by designer Violaine Buet demonstrate knitting and fringe techniques on sugar kelp. The process samples on the table show further experiments with seaweed such as lamination, pleating, gold-plating, laser cutting, dying, or embroidery, as well as combinations of seaweed with mohair, cotton thread or lurex yarn. The Department of Seaweed elevates the humble material to reshape our thinking about its possibilities.
65. CHNAT_190827_300.JPG: Latitude for Uniqueness Series, 2014-ongoing Designed by Kirstie Van Noort Porcelain is a kaolin-based ceramic celebrated for its fragile yet hard surface and iconic, milky color, ideally suited for painted decoration. Embracing the clay that is typically discarded in traditional porcelain-making processes, Kirstie Van Noort's line of porcelain tableware is distinguished by darker hues, challenging the historic emphasis on the material's light color while minimizing waste.
66. CHNAT_190827_302.JPG: Visionary Concept Tire, 2016-2019 Designed by Michelin With a form and internal structure based on coral growth, Michelin's Visionary Concept tire combines nature-inspired design with technological innovation to offer a strong, flexible, airless tire that is 3D printed and made from biologically sourced, biodegradable materials. Michelin uses nature as a model and environmental impact as a leading consideration for mobility solutions.
67. CHNAT_190827_314.JPG: ZoaTM Prototype Biofabricated Wall Panels, 2019 Designed by Modern Meadow Zoa biofabricated materials are inspired by leather and will release the designer from the material constraints of traditional leather. Future Zoa (TM) biofabricated materials will be made at scale by engineering yeast cells to produce collagen protein, the main building block of skin. This prototype suggests new possibilities for the production, performance, and function of material alternatives.
68. CHNAT_190827_318.JPG: Bionic Partition, 2016-ongoing Designed by Airbus Two nature-informed algorithms underlie the design and manufacturing of an essential airplane part: the partition separating the cabin from the galley. One mimics the growth of slime mold, an organism that efficiently connects disparate points; the other replicates the growth properties of mammal bones by removing mass where strength is not needed. The resulting partition is lightweight, strong, and made with very little waste.
69. CHNAT_190827_328.JPG: Ocean Memories, 2017 Designed by Mathieu Lehanneur Embracing the tension between solid and liquid states in nature, Mathieu Lehanneur's Ocean Memories series consists of benches and tables made of sturdy marble or heavy brass with the dynamism of the oceans' surface as its subject. Using CGI software to render lifelike undulations of waves, his pieces are machine-carved and hand-polished, reminiscent of a moment frozen in time.
70. CHNAT_190827_350.JPG: Electric Life, 2018 Designed by Teresa van Dongen This lamp is powered by electrochemically active bacteria that require regular feeding of acetate and water to survive. Inside a microbial fuel cell, bacteria emit electrical currents and exchange electrons with an electrode. The electrode powers 3 light-emitting diodes that produce a sustained, dim glow. The living lamp and its owner have a symbiotic relationship in which the lamp provides illumination, but only if the bacteria are nurtured.
71. CHNAT_190827_352.JPG: Plasticeberg, 2017 Designed by Jorge Gamboa An iceberg glistening in the sun reveals itself to be a discarded plastic bag floating just below the ocean's surface. This metaphorical image has resonated across communities and has been reproduced around the globe. Transcending linguistic boundaries, the graphic draws attention to the harsh reality that millions of tons of plastic pollute our world's water sources every year.
72. CHNAT_190827_358.JPG: Study Santa Cruz River I, 2017 Designed by Alexandra Kehayoglou Focusing on the ways changing land use affects geography, Alexandra Kehayoglou weaves monumental landscapes out of wool. She begins with drone photography, site analysis, and sketching, then utilizes discarded threads from her family's textile factory, which she dyes and weaves upon vertical frames. This carpet depicts Argentina's last free-flowing wild river, where planned hydroelectric dams may change the ecosystem irrevocably.
73. CHNAT_190827_374.JPG: FPT University Ho Chi Minh City, 2016-ongoing model, rendering Rapid urban development in Vietnamese cities has eclipsed urban greenways. Designed to suggest a growing mountain, this university building features staggered floors enclosing a park filled with trees and plants. These green elements extend from the central courtyard to the balconies, terraces, and circulation wells. The trees facilitate shade and cooling, improve air quality, and reduce the need for energy-consuming air conditioning.
74. CHNAT_190827_391.JPG: Nurture Our health is inextricably linked to the health of our planet. Some designers are fostering living organisms to provide us with light and shelter. Others are reframing the discourse around humanity's impact on Earth and challenging us to change our behavior.
75. CHNAT_190827_396.JPG: DIY Bacterial Gene Engineering CRISPR Kit, 2015-ongoing Designed by Josiah Zayner Gene engineering is the modification of an organism's characteristics by manipulating its DNA. The DIY CRISPR Kit enables users to conduct up to 5 gene engineering experiments aimed at modifying Escherichia coli DNA using the CRISPR-Cas9 system, which is briefly explained in the graphic to the left. CRISPR-Cas9 enables scientists to alter the DNA of almost any organism with incredible precision, potentially ending disease and hunger. The kit is intended as an educational tool to improve DNA literacy, expanding the number of people equipped to conduct personalized experiments. While the therapeutic results of CRISPR-Cas9 are promising, the possibilities for unintended consequences are vast.
76. CHNAT_190827_464.JPG: Augment Designers are developing materials, objects, and the built environment to enhance not just human existence but nature itself. Whereas some designers seek out the intelligence of natural materials or develop innovative methods to enhance our bodies, others raise questions and probe technological approaches to nature and life.
77. CHNAT_190827_468.JPG: Bamboo Theater, 2015-ongoing Xu Tiantian's Bamboo Theater is a living structure in a rural Chinese village. The open-air theatre consists entirely of living bamboo stalks bent and woven into a domed shape. The structure is maintained by the villagers, who remove dead bamboo and weave in young shoots as they grow.
78. CHNAT_190827_472.JPG: Remolten N�1: Revolution Series, 2016-2018 For gt2P's Santiago-based studio, Chile's volcanoes provide inspiration. The Remolten series of stools and pots are covered in a glaze made from pulverized volcanic stone that, when kiln-fired and cooled at a range of temperatures, results in various textures and colors. The Less CPP lighting series anchors the delicacy of porcelain with the resilience of dark lava. The materials' close firing temperatures bond them together.
79. CHNAT_190827_478.JPG: Bleached (II), 2018 To create the Bleached stool, Erez Nevi Pana crafts a wooden structure, covers it in loofah, and submerges it in the Dead Sea, which cannot support many life forms due to extreme salinity. Salt from the sea crystallizes and solidifies around the structure. The crystalline totem imbues salt -- once a revered mineral that now amasses in neglected white mountains in the desert -- with ornamental value.
80. CHNAT_190827_487.JPG: Eco-Engineered Hexagonal Seawall Tiles, 2017-ongoing Existing seawall barriers tend to be smooth, flat surfaces that do not foster biodiversity. Reef Design Lab's patterned seawall tiles, made for application onto existing structures, encourage colonization and growth via undulating surface patterns, helping to reestablish species and promote biodiversity. The projection mapping shows species' colonization of the tiles in three phases: early colonizers (such as barnacles and algae), mid-growth colonizers (such as sea stars and sea anemones), and late colonizers (such as oysters and fish).
81. CHNAT_190827_491.JPG: Tissue Engineered Textiles, 2015-ongoing Amy Congdon applies techniques such as embroidery and crochet to the creation of diminutive but precise physical structures that can be used to help grow living cells. These textile scaffolds facilitate tissue regeneration and have applications from fashion to medicine. Congdon is also developing new tools for use in the laboratory, like those on view here. These tools are intended to suggest alternative ways of making and enable the growth of new biological materials.
82. CHNAT_190827_497.JPG: Warka Water Tower, 2013-ongoing Made of bamboo, mesh netting, and rope, the Warka Water Tower collects potable water from dew, fog, and rain. Water accumulates on a hydrophobic mesh textile, is funneled into a holding tank, and is accessed via a tap and hose. A canopy provides shade for community gatherings. The tower is intended for use in remote areas with limited access to potable water.
83. CHNAT_190827_511.JPG: Biocement Masonry, 2017-ongoing Biocement bricks are made by mixing sand with nutrients and microorganisms. The bricks harden in a few days at room temperature, an ecologically sensitive solution to the intensive firing and carbon emissions released in traditional brick production. The biocement bricks are grown in molds in various shapes, textures, and colors, and perform like traditional bricks. bioMASON developed the process based on research into how seashells and coral grow underwater into hard, durable organisms.
84. CHNAT_190827_517.JPG: Fantasma, 2019 Designed by AnotherFarm To create Fantasma, design studio AnotherFarm collaborated with scientists who make transgenic glowing silk, engineered by injecting silkworm eggs with coral DNA to glow red. Japan's Hosoo textile manufactory wove the transgenic silk into a textile, which was used by the designers to create this garment. Put on the glasses to enhance the color of the glowing silk.
85. CHNAT_190827_524.JPG: Aguahoja II, 2017-2019 Designed by Neri Oxman Manufactured by MIT Media Lab Mediated Matter Group The Aguahoja project consists of biocomposite materials derived from shrimp shells and fallen leaves, which are augmented with natural pigments. The materials can be 3D printed and programmed to varied mechanical, optical, and olfactory properties. The structure demonstrates an architectural-scale iteration of the skin-and-shell composite. The artifacts illustrate continued research into the optical and mechanical properties of the biocomposites. The degraded samples illustrate the materials' life cycle, ultimately returning to the ecosystem. Through life and programmed decomposition, shelter-becomes-organism, providing nutrients for "growing" buildings.
86. CHNAT_190827_542.JPG: Personal Food Computer, 2018-ongoing Designed by Open Agriculture Initiative (OpenAg) Personal Food Computers (PFC_EDUs) pair controlled-environment agriculture with open-source data sharing. The growth chambers are inexpensive and easily deployed, ideal for educators and makers. Users control conditions in the chamber, developing and sharing "climate recipes" to optimize growth conditions for a desired phenotype (the unique physical characteristics of growing plants). The PFC_EDUs can then be programmed to run a climate recipe, allowing users around the world to grow plants to their preferences.
87. CHPAIS_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Paisley NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Paisley (16 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
88. CHPAIS_190827_10.JPG: Process Story -- Weaving
89. CHPAIS_190827_23.JPG: Paisley The teardrop-shaped motif popularly known as paisley has persisted, and its design variations over time reflect the diversity of natural forms. Everything from a flowering plant with roots attached to a slender cypress tree with bent tip to an elongated serpentine scroll have been stylized and expressed in paisley's ornamental grammar. It is a design that for centuries has evolved with the fashion and interior styles of cultures around the world, with a complex history revealing a mixture of influences from Persia, India, and Europe. Integrally tied to the shawls handwoven in Kashmir during the 18th and 19th centuries, paisley derives its name from the Scottish town that became famous for producing imitation Kashmir shawls in the 19th century. Often infilled with flowers, more paisleys, and even jewels, the motif is constantly revisited by designers, as we see in this display of over 80 objects from the collection -- many shown for the first time. Designers such as Etro, Zandra Rhodes, and Maharam are drawn to this timeless shape and its inherent vitality. And perhaps the secret to paisley's immortality is the way its traditions have been adapted to combine conformity with the spirit of a wild child.
90. CHPAIS_190827_28.JPG: Shawl (India), 1850–1870 In an attempt to keep up with European demand, Indian weavers looked for faster, more cost-effective ways of producing shawls. Many shawls, like this one, were made in small sections by different weavers, and the pieces sewn together to create the final product.
91. CHPAIS_190827_36.JPG: Process Story -- Printing
92. CHPAIS_190827_39.JPG: Motif Story
93. CHPLAS_190827_01.JPG: The following pictures are from the page 2019_NY_Cooper_NBD_Plastics NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Nature by Design: Plastics (26 photos from 2019)
  Nature by Design: Selections From the permanent collection To accompany the special exhibition Nature -- Cooper Hewitt Design Triennial, Nature by Design presents nine distinct stories drawn from Cooper Hewitt's collection of over 210,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature's rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
94. CHPLAS_190827_04.JPG: Plastics From molded tortoiseshell and vulcanized rubber to bioplastic pellets and semi-synthetic yarn, the beauty of natural plastics and the creativity achieved with these pliable materials are explored in this surprising range of objects from Cooper Hewitts collection. The animal and plant kingdoms were the original sources for materials with a quality known as plasticitythe ability to be bent or molded into virtually any form. Natural thermoplastics like tortoiseshell and horn can be split into thin, translucent sheets that become malleable with heat. Rubber and leather can also be molded with heat, but harden irreversibly to become strong thermoset materials. Semi-synthetics, such as rayon or celluloid, are made from plant materials processed, purified, and reconfigured to change their properties. Enthusiasm for natural plastics led to the overharvesting of raw materials; some animal species became endangered. To keep pace with consumer and industrial demand, scientists developed synthetic substitutes starting in the late 19th century, going on to create a flood of inexpensive petrochemical plastics in the 20th century. Produced and discarded in vast quantities, these petroleum-based plastics now present a global environmental crisis. In light of their harmful impact, we have come full circle. Designers, manufacturers, and consumers today are exploring traditional and non-traditional natural materials, investigating novel approaches to their use and processing, and creating renewable and biodegradable bioplastics as sustainable solutions for everything from packaging to home goods.
95. CHPLAS_190827_14.JPG: Bioplastics
96. CHPLAS_190827_24.JPG: Semi-Synthetics
97. CHPLAS_190827_28.JPG: Leather
98. CHPLAS_190827_31.JPG: Horn
99. CHPLAS_190827_33.JPG: Rubber, Gutta Percha
100. CHPLAS_190827_36.JPG: Birdcage (China), ca. 1901 Tortoiseshell, like horn, is a thermoplastic which can be shaped using heat, moisture, and pressure. Working the material was a laborious, costly process. Objects made from tortoiseshell were considered luxury goods. The simple cylindrical form of this birdcage is embellished with extravagant materials including form-fitting curved tortoiseshell veneer around the base, intricately carved ivory feet, and lavish accessories.
101. CHPLAS_190827_38.JPG: Tortoiseshell
102. CHPLAS_190827_61.JPG: Woven Picture, 1939 This souvenir of the 1939 New York World's Fair was woven on-site in an exhibit demonstrating mechanized weaving with DuPont rayon. It illustrates the DuPont Chemistry Wonder World, a building designed by Walter Dorwin Teague and R.J. Harper, which featured a spectacular 105-foot, test-tube-shaped tower.
103. CHPLAS_190827_67.JPG: Scarf, 1939 A souvenir from the 1939 World's Fair in Flushing, New York, this scarf commemorates the various buildings and monuments at the fairgrounds. The Chemical and Plastics Building, sponsored by DuPont, featured displays of research labs and manufacturing processes. Included were a rayon spinning machine, a machine that added bristles to toothbrushes, and a debut display of DuPont's nylon stockings.
104. CHWYSS_190827_001.JPG: The following pictures are from the page 2019_NY_Cooper_Wyss NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Wyss Institute Selects (41 photos from 2019)
  Collection Selects: Wyss Institute The Wyss Institute for Biologically Inspired Engineering at Harvard University leverages nature's design principles to develop new radical solutions for healthcare, energy, architecture, robotics, and engineering. Guest curated by Wyss founding director Don Ingber, in collaboration with his co-faculty, Joann Aizenberg, Jennifer Lewis, Radhika Nagpal, and Pam Silver, the team selected works from Cooper Hewitt's collection to illustrate the theme of Biofuturism. Biofuturism is a formulation of Futurism, the art movement that spread across Europe and the world in the early twentieth century that celebrated the sensation of energy, speed, and dynamism in modern technology. Its pioneering visionaries believed that their creations would hurtle the world into the future. They practiced across many media: painting, sculpture, theater, film, and architecture as well as graphic, industrial, interior, urban, and textile design. One century later, the Wyss Institute is helping to lead a Biofuturism movement that looks to nature for inspiration. It is led by visionaries who use biological design principles and collaborate across multiple disciplines. In this Selects exhibition, the Wyss Institute team presents objects from Cooper Hewitt's collection, the Smithsonian's Hirshhorn Museum, as well as the Wyss Institute's own projects to explore how Biofuturism--anticipating the future--can use design to engineer a better world.
105. CHWYSS_190827_007.JPG: Model for Spiral Staircase, 19th century
106. CHWYSS_190827_013.JPG: Poster, Movie Treatment for Spiral Jetty, Great Salt Lake, Utah, 1970 Designed by Robert Smithson Robert Smithson, with Walter de Maria and Michael Heizer, pioneered Earthworks, an art movement utilizing earth as sculptural material to re-shape terrain in response to a specific site, knowing that the work would be subjected to nature's processes and cycles. Spiral Jetty (1970) was a spiral ridge protrusion of earth and rocks collected from the site and sculpted in the Great Salt Lake, Utah, USA. Partly submerged, it was Smithson's most celebrated work, and its changing state has been documented through film, photographs, his drawings, as well as this poster.
107. CHWYSS_190827_017.JPG: Digital Print, Save Our Earth
108. CHWYSS_190827_026.JPG: Prosthetic Leg Prototype, 2014 Designed by Scott Summit The underlying geometry of this prosthetic leg was derived from a 3D scan of the user's opposite leg, and thus restores body symmetry and accounts for the user's unique anatomy. Creating this prosthetic requires no medical specialists -- just a tablet-based app and an easy-to-use scanner. Trained specialists are rare in many parts of the world. Because this limb is custom-made for a particular user, the product is a lower theft risk than a standard prosthetic.
109. CHWYSS_190827_031.JPG: Wall Sconce (USA), 1996
110. CHWYSS_190827_035.JPG: Synthetic Biology
111. CHWYSS_190827_038.JPG: Print, Parade Float with the Virgin and Child riding a Dragon, plate 8 from A. Isacchi, "Relatione di Alfonso Isachi intorno l'origine, solennit�, traslatione, et miracoli della Madonna di Reggio [...]," (Account by Alfonso Isachi regarding the Origin, Festivities, Procession, and Miracles of the Madonna of Reggio) On May 12, 1619, citizens of the Italian town of Reggio Emilia transferred the miraculous painting of the Virgin of Reggio to a new shrine, and organized a procession to celebrate. This print, taken from a book describing the event, illustrates a float for the parade in the form of a fantastical, fire-breathing dragon, upon whose neck sits the Virgin and Child.
112. CHWYSS_190827_042.JPG: Platter (France), probably 19th century
113. CHWYSS_190827_046.JPG: Drawing, Design for Unidentified Object in Robot Form Designed by Dan Friedman Likely a design for furniture or sculpture, this drawing reflects Dan Friedman's resistance to the purist, modernist idea that form must follow function. Influenced by his involvement in a European-based philosophical dialogue about furniture since the 1970s, he coined the term "mental furniture" to describe forms in which symbolic meanings beyond the functional are possible. Suggesting both the technological and the human, this design reveals the interplay between pragmatism and fantasy that occupied Friedman throughout his career.
114. CHWYSS_190827_054.JPG: Digital Print, The Bionic Leaf
115. CHWYSS_190827_060.JPG: Shape Memory Scissors, 1997
116. CHWYSS_190827_064.JPG: Brooch, 2015 Designed by Kazumi Nagano
117. CHWYSS_190827_074.JPG: Device, Organ-on-a-Chip, 2009
118. CHWYSS_190827_081.JPG: Digital Print, U.S. Patent for Organ-on-a-Chip
119. CHWYSS_190827_088.JPG: RoboBee (USA), August 2012 Designed by Wyss Institute for Biologically Inspired Engineering The world's first insect-scale flying robot has a wingspan of 3 cm (1 in.) and is the approximate weight of a honeybee, its source of inspiration. Harvard researchers were responding to the alarming collapse of bee colonies worldwide and wanted to replicate their swarming behavior. Other applications include search-and-rescue missions, environmental sensors, and covert surveillance.
120. CHWYSS_190827_092.JPG: Digital Print, Synthetic Crystal Nanoflowers
121. CHWYSS_190827_097.JPG: 86T Rocking Stool, 1954 Manufactured by Knoll Textiles Noguchi uses the structural integrity of steel rods to create a matrix of connections between a flat, round birch seat and a base. The larger seat may appear to create a top-heavy impression, but is in fact in perfect balance with the smaller base, due to the alignment of the rods connecting the two pieces.
122. CHWYSS_190827_099.JPG: Architecture of Life
123. CHWYSS_190827_103.JPG: Book Cover, R. Buckminster Fuller, Makers of Contemporary Architecture Series, 1963 Designed by Elaine Lustig Cohen In this book cover design by Elaine Lustig Cohen, interconnected struts form a geometric abstract design, while cleverly evoking the content of the book. The cover appears to feature a portion of R. Buckminster Fuller's geodesic dome, an architectural structure that relies on the principle of tensegrity. Tensegrity is a term coined by Fuller to suggest the joining of tension and integrity, or elastic cables under tension with compressive rods.
124. CHWYSS_190827_109.JPG: Book Illustration, Buckminster Fuller, Geodesic Dome Construction, figure 1 and 2, 1958
125. CHWYSS_190827_115.JPG: Sculpture, Model for "Greene Guide", 1975
126. CHWYSS_190827_117.JPG: Print, Plate O, F.IIII, Rhombentrikontaeder und Ikosaeder (Rhombic Triacontrahedron and Icosahedron), Perspectiva Corporum Regularium (Perspective of the Regular Bodies) Designed by Wenzel Jamnitzer This print, designed by Wenzel Jamnitzer, court goldsmith to the Habsburg Emperors, belongs to an album featuring geometric figures corresponding to the 5 Platonic solids. Plato connected these geodesic forms with the elements of fire (tetrahedron), earth (cube), air (octahedron), heavenly aether (dodecahedron), water (icosahedron). Here, Jamnitzer presents 2 complex polyhedral variants.
127. CHWYSS_190827_120.JPG: Basket (USA), 1982 John McQueen made this basket for a 1982 exhibition on lace. Employing a simple plaiting technique commonly used in bobbin lace, a majority of the basket shows the whole or torchon ground stitch. The intention was to show how simple techniques of plaiting and interlacing are capable of creating objects that are lightweight yet strong.
128. CHWYSS_190827_128.JPG: Robots (50), Kilobots, 2012
129. CHWYSS_190827_139.JPG: Futurism
130. CHWYSS_190827_141.JPG: Drawing, Design for Undersea Lounge: Scheme 3 Interior Perspective Designed by Russell Heston In the early 20th century, steamships and ocean liners provided tremendous inspiration for designers who looked to the future. This design for an undersea lounge was a collaboration with Russell Heston, whom Donald Deskey hired when he saw his concept for an undersea lounge. Their design features a geodesic dome of steel and double-glazed, tempered, and laminated glass accessed by a pressure chamber at left. Below the seafloor, the dome's foundation houses mechanical and back-of-house facilities. Heston's use of jeweltone pastels heightens the shimmering allure of the subaquatic environment, while his skill as a technical draftsman impresses upon the viewer the plausibility of such a space.
131. CHWYSS_190827_148.JPG: Vegetal Chair, 2009 Designed by Ronan Bouroullec
132. CHWYSS_190827_151.JPG: Flex-Foot Cheetah� Xtend Running Blade, Designed before 2000, manufactured 2013 Designed by Van Phillips Manufactured by �ssur
133. CHWYSS_190827_157.JPG: Biofuturism
134. CHWYSS_190827_161.JPG: Model, Vascular Tree, 2018-
135. CHWYSS_190827_165.JPG: Armchair (Austria), ca. 1860
136. CHWYSS_190827_179.JPG: Print, Fuochi D'Artificio (particolare) (Fireworks, Detail), Progetti scenici per "sintesi futuriste" 1915/1925 (Set Designs for Futurist Syntheses 1915/1925) Designed by Giacomo Balla Giacomo Balla, a leading figure in the Futurist movement, which rejected the past in favor of the dynamic technological developments of the future, created this set and lighting design for Fuochi d'Artificio (Fireworks). Featuring music by Igor Stravinsky, the short performance was first produced in Rome in 1917 and included no actors or dancers -- only dynamic, colorful sets and lighting. Included in a portfolio of Balla's set designs, this composition incorporates geometric shapes in vivid colors that would have been lit internally and externally, responding to Stravinsky's musical score.
137. CHWYSS_190827_183.JPG: Book Illustration, Les mots en libert� futuristes (Futurist words in freedom), Mon ami, ma petite (My friend, my little), 1919
138. CHWYSS_190827_190.JPG: Print, Design for the Ten-Deck House Designed by R. Buckminster Fuller Fuller's Ten-Deck House, composed of ten geometrically shaped floors, was designed to be mass-produced for single-family housing but was never realized. His lightweight aluminum structure was intended to be airlifted by zeppelin and lowered into a crater. Fuller produced low-cost multiples of his drawing using a mimeograph and hand-coloring the prints.
139. CHACC_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Access NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Access+Ability (11 photos from 2017)
  Suit Prototype, Superflex Aura Power, 2016 Designed by Superflex engineered fabric, motors, batteries, control boards Lent by fuseproject The Aura Power Suit is an undergarment designed to assist people with mobility. Anatomically configured to align with the muscular composition of each wearer, the hexagonal pods form a wearable network of smart technology that adds strength to muscles and joints. The final design will integrate all the electric piece that is comfortable, stylish, easy to clean and put on, and high-performing.
140. CHACC_171222_04.JPG: Voting Booth, Los Angeles County Voting Booth Redesign, 2015–present This is a Voting booth. It was collaborator: Digital Foundry. This object is not part of the Cooper Hewitt's permanent collection. It was able to spend time at the museum on loan from IDEO as part of Access+Ability. It is dated 2015–present. Its medium is plastic, metal, electronic tablet, fabric, paper. Designed for Los Angeles County as a modular system that can adapt over time, this voting booth exemplifies inclusive design, ensuring every citizen access to an intuitive and accessible voting experience. It addresses all voters, including those unfamiliar with technology and who speak languages other than English, voters with vision and hearing loss, in wheelchairs, and with learning disabilities. It is credited "Lent by IDEO."
141. CHACC_171222_11.JPG: SoundShirt, 2015–16 This is a SoundShirt. It was designed by Ryan Genz. It is dated 2015–16. Its medium is stretch microfiber fabric with laser-cut decoration and embedded with 16 mico-actuators. SoundShirt translates the experience of listening to music for the deaf and hard of hearing into a physical and sensory experience that is felt on the skin. By embedding 16 sensors corresponding to each part of the orchestra -- violin, cello, drums, etc. -- into the fabric of a specially designed shirt, music is felt as an immersive experience of tactile sensations. SoundShirt is available at the Junge Symphoniker Hamburg, Germany. It is credited "Lent by CuteCircuit."
142. CHACC_171222_15.JPG: Cane, SmartCane (Folded) This is a Cane. It was designed by IIT Delhi, Phoenix Medical Systems and Saksham Trust. Its medium is plastic. SmartCane was designed to address the needs of people in the developing world with vision loss. A significant feature is that it can detect obstructions between a person's knee and chest up to three meters away. Sensors emit and receive ultrasonic waves that trigger haptic vibrations when a physical hazard is detected, using various patterns to differentiate obstacles and distances. This object was donated by IIT Delhi.
143. CHACC_171222_21.JPG: Accessible Icon, 2009–11 This is a Accessible icon. It was made for (as the client) Accessible Icon Project. It is dated 2009–11. The International Symbol of Access logo, first designed in 1969 by Susanne Koefoed, featured a person sitting upright in a wheelchair. This recent iteration that depicts a person in forward motion, propelling through space, offers a more accurate representation of people in wheelchairs as dynamic rather than static bodies. The new logo is open source and available in a multitude of sizes and formats. It is credited "Public domain."
144. CHACC_171222_24.JPG: Access+Ability We are experiencing a surge of design with and by people who span a wide range of physical, cognitive, and sensory abilities. Fueled by advances in research and technology, the proliferation of functional, life-enhancing products is creating unprecedented access in homes, schools, workplaces, and in the world at large. The significant improvements have been motivated by several factors: the Americans with Disabilities Act of 1990 -- amended in 2008 -- prohibiting discrimination against people with disabilities, increased advocacy demanding greater accessibility and inclusivity, a worldwide aging population, and unprecedented communication possibilities due to digital technologies. Designers have responded to these technical and social changes with multidisciplinary creative approaches that are both user-centered and inclusive. When the design process encompasses individuals with diverse abilities and background, the shortcomings of existing products and environments often become the catalyst for design breakthroughs. The objects and experiences featured in this exhibition were selected based on input from users first and foremost, as well as designers, caregivers, activists, researchers, occupational therapists, neuroscientists, and others whose knowledge is inspiring opportunities for design to flourish. Most of the works are in production, but some are prototypes that point to future directions in this rapidly advancing realm of design. Many of the best solutions have and will continue to come from the ingenuity of people who develop, adapt, and customize designs to fit their specific challenges, needs, and aesthetics.
145. CHACC_171222_26.JPG: Racing Wheelchair, 2016 This is a Racing wheelchair. It was designed by Designworks Los Angeles Studio and manufactured by Designworks, a BMW Company. This object is not part of the Cooper Hewitt's permanent collection. It was able to spend time at the museum on loan from Designworks, a BMW Company as part of Access+Ability. It is dated 2016. Its medium is carbon fiber, aluminum, titanium, 3d-printed parts. Collaborating with Paralympic athletes, BMW Designworks improved aerodynamics and ergonomics in their racing wheelchairs. Everything from the cockpit to the steering arm was customized using 3D scans and body measurements. BMW Designworks created this racer that can reach more than 20 miles per hour. Tatyana McFadden and Chelsea McClammer won gold, silver and bronze medals, respectively, in the 2016 Summer Paralympics using this design. It is credited "Lent by Designworks."
146. CHACC_171222_33.JPG: Foldable Wheelchair Wheel, Morph Wheel, 2007 Manufactured by Maddak Inc. glass-reinforced nylon, aluminum Lent by Duncan Fitzsimons Portability is a key factor to being mobile and moving about as unencumbered as possible. Among the challenges of storing and transporting wheelchairs is wheel size. These folding wheels, originally developed for the high-end bicycle industry, are a game-changer for wheelchair users, collapsing to nearly half the space, thus enabling the wheels and wheelchair to fit into smaller storage compartments.
147. CHDIG_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Digital NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Joris Laarman Lab: Design in the Digital Age (29 photos from 2017)
  Joris Laarman Lab: Design in the Digital Age Founded in 2004 by Dutch designer Joris Laarman and filmmaker Anita Star, Joris Laarman Lab is known for its pioneering work that fuses digital technologies with design, science, and craftsmanship. The Amsterdam-based Lab consists of designers, engineers, programmers, and makers. Among its astonishing array of work are furniture forms created with software that mimics bone growth, robotically assembled tables made from voxels (3D pixels), and a 3D-printable chair available for free download. The team's inventive furniture and cutting-edge experiments are as innovative as the manufacturing processes used to create them. Recent major projects include the development of MX3D printing, a first-of-its kind digital fabrication process in which a robot prints metal structures in mid-air. The revolutionary process enables aesthetic freedom -- structures are self-supporting, pulled and twisted into undulating shapes that would otherwise never be possible. The MX3D Bridge, a fully functional footbridge, will be 3D-printed using the technology and installed over a canal in Amsterdam in 2018. Joris Laarman Lab's imaginative approach focuses on research and experimentation, testing new technologies and production methods that point to a future where from and fabrication surpass the limitations of industrial production. At the same time, Laarman and his team often reference historical periods in their body of work, such as the Baroque (which began in the 1600s) and Art Nouveau (popular between 1890–1910). Their use of curvilinear, attenuated forms signify not just an interest in ornament but also a connection to the past. The Lab's work straddles tradition and innovation, high technology and craftsmanship, and aesthetics and function, concerns that remain at the forefront of design today.
148. CHDIG_171222_03.JPG: Table, Bridge Designed by Joris Laarman Lab aluminum, wolfraam carbide Courtesy of Joris Laarman Lab table organic form 3D printing aluminum Dutch furniture design bone
149. CHDIG_171222_26.JPG: Makerchairs Among the promises of digital fabrication is returning production methods to users, which is increasingly possible as 3D printers shrink in size and price point. This democratization of production is at the heart of maker culture, a digital DIY movement often typified by an amateur zeal that is upended in the Makerchair series. The series consists of 12 chairs, each an investigation into material, pattern variability, and digital fabrication methods. Each Makerchair is digitally fabricated and assembled from small parts like a 3D puzzle. True to the maker spirit of the series' namesake, Joris Laarman Lab adapted the Makerchair design and made it available for free download at bitsandparts.org.
150. CHDIG_171222_32.JPG: Bookshelf, Branch Mini, 2010 Designed by Joris Laarman Lab bronze Courtesy of Joris Laarman Lab
151. CHDIG_171222_44.JPG: Digital Matter Nintendo meets Rococo . . . . In 2011, the High Museum of Art in Atlanta commissioned Joris Laarman Lab to develop an installation about the future of design. Inspired by research into programmable materials, Laarman and his team proposed a series of tables made of voxels, small cubes that represent volumetric pixels. The voxels can be assembled and reassembled by a robot arm following a digital blueprint. The series explores three-dimensional resolution using Nintendo's Super Mario, a video game character, as a pixel-based analogy. As the voxel size used in each table decreases from 10 millimeters to 3 millimeters, the resolution of each Rococo-inspired table increases.
152. CHDIG_171222_60.JPG: MX3D MX3D is a revolutionary digital fabrication process. Developed by Joris Laarman Lab, MX3D uses industrial robots and an advanced welding machine to print metal structures in mid-air. It originated from the Lab's desire to 3D print large-scale functional objects -- until MX3D the size of 3D-printed parts had been limited to the size of the printer. This new technology advances the technical and aesthetic possibilities of digital fabrication. Parametric modeling software generates self-supporting, attenuated forms. The Dragon Bench is the first series created using the MX3D metal printer. In 2018, the MX3D Bridge -- the world's first fully functional footbridge 3D-printed in stainless steel -- will be installed over a canal in Amsterdam.
153. CHILON_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Ilonka NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Ilonka Karasz (2 photos from 2017)
  Ilonka Karasz Ilonka Karasz (American, b. Hungary, 1896–1981) is an important yet overlooked figure in 20th-century design. During her long and prolific career, she worked in a wide variety of media, producing designs for wallcoverings, textiles, carpets, lighting, ceramics, metalwork, toys, and furniture. She is perhaps most well known for her popular cover illustrations for the New Yorker magazine. Through her ambitious creative output, Karasz helped popularize a modern aesthetic in the United States. In addition to highlighting the depth and breadth of Karasz's creativity, this exhibition presents the museum's recent acquisition of exquisite Karasz drawings and related wallpapers from the 1940s. A native of Hungary, Karasz studied at the Royal School of Arts and Crafts in Budapest before arriving in New York in 1913 and immersing herself in the city's avant-garde artistic community. Her prize-winning textile designs for the "Designed in America" campaign, sponsored by Women's Wear Daily, propelled her career forward in the early 1920s. Turning to industrial design, Karasz created furnishings and metalwork for the high-profile exhibitions of American Designers' Gallery in 1928 and 1929. She collaborated with notable designers such as Donald Deskey (American, 1894–1989), who frequently employed her textiles in his designs for interiors. From the 1940s–1960s, her wallpaper designs for the firm Katzenbach and Warren brought her national exposure, as she produced contemporary designs that deliberately called attention to the two-dimensional aspects of wallcoverings and referenced Asian art and Islamic architecture. Her scenic papers and graphic murals were printed using novel techniques that preserved the expressivity of her drawings. Into the early 1970s, she continued illustrating covers for books and magazines, many of which portrayed city scenes and life around her home in suburban Brewster, New York.
154. CHILON_171222_04.JPG: Print, Cover of The New Yorker, The New York World's Fair, September 2, 1939, 1939 Ilonka Karasz designed 186 covers for the New Yorker, many of which are distinguished by elevated, angled views of New York street scenes. This playful illustration depicts the Avenue of Patriots at the 1939 New York World's Fair and highlights the fair's special transportation system and bustling crowds. Karasz's designs for the magazine showed New York subjects in a modern European style, creating a visual art that was distinctly American.
155. CHJAP_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Japonism NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Passion for the exotic: Japonism (11 photos from 2017)
  A Very Large Nazuna Vase, 2016 by Hitomi Hosono Hitomi Hosono cites nature as her primary point of inspiration and meticulously studies botanical forms to create pots that are covered in leaves, buds, and flower sprigs. Stylistically, this piece represents the rebirth of the ancient technique of sprig-making also used by Wedgwood, while also looking to the future of English and Japanese ceramics. This cross-cultural dialogue relates to themes in the current exhibition Passion for the Exotic: Japonism, on view in the Teak Room nearby.
156. CHJAP_171222_30.JPG: Passion for the Exotic: Japonism Starting in the 16th century, trade with Asia exposed Europeans to new objects, techniques, and artistic expressions. Most of the early trading took place with China and South Asia as Japan was a closed society, limiting exposure to Japanese design. This remained the case until 1854 when American Commodore Matthew C. Perry led a fleet into Japanese ports, demanding an end to Japan's self-imposed isolation and securing a treaty that opened the country to the West. The exports that subsequently arrived and were exhibited in the West caused American and European designers to engage in an inspired dialogue with Japanese aesthetics. The first of a number of international expositions that showcased Asian art and design was the 1862 International Exhibition in London, followed by the Exposition Universelle in Paris in 1867 and the Centennial International Exhibition in Philadelphia in 1876. Asian metalwork, ivories, lacquerwork, woodblock prints, and textiles provided inspiration with their wealth of distinctive decorative elements, many drawn from nature, including chrysanthemums, bamboo, fans, cranes, and more. As part of a broader interest in "exotic" cultures during the late 19th century, the inspiration of newly available Japanese design sources was soon joined by those of India to help create a European and American Aesthetic Movement. Western designers exhibited an awareness of Eastern art and design through form, pattern, technique, and their choice of materials. The sophisticated New York furniture firm Herter Brothers produced pieces indebted to the rectilinearity of Asian furniture with inlay in motifs such as sunflowers, celebrated in Asian art. Rookwood Pottery in Cincinnati, Ohio hired Japanese artists who decorated vase forms with asymmetrical floral arrangements. The British designers Christopher Dresser and Walter Crane travelled to Japan and experienced native arts and crafts firsthand. Lockwood de Forest, the designer of this 1902 room, had a decorating business, best known for its love of Indian design, but which also incorporated Japanese ceramics and objects even before de Forest visited Japan in 1913.
157. CHJEWI_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Jewelry NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection (7 photos from 2017)
158. CHJEWI_171222_09.JPG: Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection Spanning the worlds of design, craft, and art, the contemporary jewelry in this gift from the Susan Grant Lewin collection captures the diversity and achievements of over 100 jewelers from eighteen countries. For nearly four decades, Lewin has passionately supported this evolving field, cultivating personal relationships with established and emerging jewelers from across the globe. The earliest works in the exhibition are by mid-20th-century American and European pioneers who pushed the boundaries of form and material and set the stage for future developments. These groundbreaking works are followed by highly innovative abstract compositions based on simple geometric shapes or mathematical engineering principles and others more organic in nature. A selection of painterly two-dimensional pieces serve as small canvases for the body. A major section presents content-driven jewelry that draw on themes of memory and metaphor, popular culture, the human body, and nature. Highly conceptual works comment on humankind's desires and foibles that have long motivated our passion for jewelry. The value of each piece lies in the unique idea of the jeweler as expressed through a mastery of materials, whether commonplace or costly, and innovative techniques that range from traditional metalsmithing to assemblage to computer-aided design. The inventive new forms prompt us to question jewelry's history and social function, conventional standards of beauty, and relationship of scale to the human body. Extravagant metals and gemstones frequently take on a subordinate role in the designs -- thus subverting the traditional notion of preciousness in jewelry.
159. CHMOD_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Models NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: Models & Prototypes Gallery (7 photos from 2017)
160. CHMOD_171222_05.JPG: Curved Staircase Model In The French Style, ca. 1850
161. CHMOD_171222_06.JPG: Staircase Model (France), late 18th century This fine triple-height staircase model is similar to one designed by Robert Adam for 20 Portman Place in London. The model's sustaining pillars ensure stability in place of the walls used in Adam's staircase. The pillars are joined in a manner characteristic of a builder rather than a compagnonnage-trained cabinetmaker.
162. CHMOD_171222_09.JPG: Compagnonnage Examples
163. CHMOD_171222_10.JPG: Staircase Model (France), early 19th century This double revolution staircase is unmistakably a masterwork, confirmed by details such as the carefully turned, ebony balusters and the sophisticated veneering used to create an inlaid "carpet." A hint of revolutionary politics is introduced through a juxtaposition of S�vres biscuit porcelain busts of the French philosophers Voltaire (left) and Jean-Jacques Rousseau (right).
164. CHMOD_171222_16.JPG: Models & Prototypes Models & Prototypes is a gallery devoted to exhibiting three-dimensional representations of ideas that demonstrate the design process; test concepts and resolve problems; enhance presentations; and display complex technical skills. The models displayed in this presentation represent a range of styles and techniques most are staircases from the compagnonnage (group of companions) movement in France dating from the Middle Ages, while others are architectural models of buildings. Compagnonnage, a merit-based alternative to restrictive apprenticeships in traditional European guilds, featured a combination of formal study along with the opportunity to teach craft and design skills. Stages of exams in design and execution included modelmaking for carpentry, joinery, cabinetry, and metalwork. Apprentices (compagnons) honed skills in masters' workshops by day, with evening courses in the art of geometrical design drawing. A compagnon made an acceptance model after basic training. Acceptance led to the "tour de France;' during which the compagnon traveled to different masters in various cities, over several years, to learn essential disciplines. After a successful tour, the compagnon produced a reception piece to demonstrate competence. He became a completed companion when he produced a masterwork, which required a very high level of design, craftsmanship, and technical virtuosity in a harmonious whole. This magnificent collection, given to Cooper Hewitt in 2007 by Eugene V. and Clare E. Thaw, contains examples of each stage, with masterworks in both staircase and architectural design.
165. CHMOD_171222_18.JPG: Staircase Model (France), mid–late 19th century This double-revolution staircase model is similar to one described as being "in Renaissance style for a store," in plate 17 of a folio by E. Delbrel, published in Paris in the 1880s. The upper level is self-supporting and the railings' balusters are turned.
166. CHVICE_171222_01.JPG: The following pictures are from the page 2017_NY_Cooper_Vice NY -- NYC -- Cooper-Hewitt National Design Museum -- Exhibit: The Virtue in Vice (19 photos from 2017)
167. CHVICE_171222_04.JPG: Cancan Dancer Matchsafe, late 19th century This is a matchsafe. It is dated late 19th century and we acquired it in 1978. Its medium is cast silver, enamel. It is a part of the Product Design and Decorative Arts department. This object was donated by Carol B. Brener and Stephen W. Brener and catalogued by Emily Miller. It is credited "Gift of Stephen W. Brener and Carol B. Brener." Compliments of National India Rubber Company Matchsafe, ca. 1905 This is a matchsafe. It was manufactured by Whitehead & Hoag Company. It is dated ca. 1905 and we acquired it in 1978. Its medium is metal, celluloid. It is a part of the Product Design and Decorative Arts department. This object was donated by Stephen W. Brener and Carol B. Brener. It is credited "Gift of Stephen W. Brener and Carol B. Brener." Matchsafe, late 19th century This is a matchsafe. It is dated late 19th century and we acquired it in 1978. Its medium is cast metal and painted celluloid. It is a part of the Product Design and Decorative Arts department. This object was donated by Stephen W. Brener and Carol B. Brener. It is credited "Gift of Stephen W. Brener and Carol B. Brener."
168. CHVICE_171222_06.JPG: Lust Suggestive and flirtatious objects designed to titillate are representative of Lust. Available in many shapes and sizes, objects range from provocative wallpapers and furnishings to more discreet matchsafes and drawings. Textiles can further enhance the seductive d�cor of interiors.
169. CHVICE_171222_10.JPG: Cruet Set With Condiment Jars (England), ca. 1870 This is a Cruet Set with Condiment Jars. It is dated ca. 1870 and we acquired it in 1993. Its medium is silverplate, molded and stained glass. It is a part of the Product Design and Decorative Arts department. This object was fund: Decorative Arts Association Acquisition Fund. It is credited "Museum purchase from Decorative Arts Association Acquisition Fund."
170. CHVICE_171222_23.JPG: Ronald Searle Drawing, Kangarouge: Produce of Australia (Jumping for Joy Downunder), 1980
171. CHVICE_171222_27.JPG: Ronald Searle Drawing, Holland: Historical But Somewhat Yucky Ceremony of Pulling Out the Finger, 1983
172. CHVICE_171222_43.JPG: Cocktail Shaker With Lid (USA), 1936 This is a Cocktail shaker with lid. It was designed by Emil Arthur Schuelke and manufactured by Napier. It is dated 1936 and we acquired it in 1971. Its medium is cast silver-plated metal. It is a part of the Product Design and Decorative Arts department.
173. CHVICE_171222_49.JPG: Poster, F-cking A, 2003 This is a Poster. It was designed by Paula Scher. It is dated 2003 and we acquired it in 2013. Its medium is screenprint on paper. It is a part of the Drawings, Prints, and Graphic Design department. Paula Scher's work for The Public Theater began in 1994 when she was retained by the The Public's producer, George C. Wolfe, to design the organization's graphic identity. In seeking to provide a visual identity that responded to the theater's mission as an accessible community theater, Scher drew inspiration from the streets of New York City to create a series of graphics that responded to both the grid-structure of the streets and the urban language of graffiti. The posters that Scher designed for The Public Theater have become iconic emblems -- not only of the plays that they advertised, but of the cultural moments in which they were produced. Scher's designs reference the pervasive social, economic and political issues of the time. The museum is perpetually interested in adding the work of National Design Award winners to the permanent collection.
174. CHVICE_171222_55.JPG: Cat and kitten Figure, late 19th–early 20th century
175. CHVICE_171222_67.JPG: The Reds versus the Whites Chess Set This is a Chess set. We acquired it in 1995. Its medium is glazed and molded porcelain. It is a part of the Product Design and Decorative Arts department. This complete chess set, known as The Reds and the Whites (or The Communists and the Capitalists), is one of the early examples of propaganda porcelain produced by the State Porcelain Factory in the years immediately following the 1917 Russian Revolution. The set was designed by one of the greatest modelers at the factory, Natalia Danko, and was introduced soon after the establishment of communism in Russia. Chess sets like this one were displayed in factory store windows in Moscow and exhibited by the new society regime at international expositions. Among the chessmen making up the Reds are the strapping blacksmith king, the beautiful farm maiden queen, and the harvester pawns. The Whites are shown as a king with frightening death mask, a dissolute queen whose cornucopia overflow with gold coins, and pawns as miserable workers bound in chains.
176. CHVICE_171222_71.JPG: The Virtue in Vice Master craftsmanship, luxurious materials, and sensuous forms are highlighted in an exhibition of objects designed to amplify the pleasure of their use. Design disguises what we wish to remain private, tempts us with luxuries large and small, feeds sensuous appetites, and -- should we envy someone else's possessions -- eases our discontent with clever imitations. Pride, greed, lust, envy, gluttony, wrath, and sloth -- the seven deadly sins -- find irresistible outlet in these objects chosen from Cooper Hewitt's collection.
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