Color plays a powerful role in Eatwell Assistive Tableware (2015). Designer She Yao’s grandmother lived with Alzheimer’s disease. Her cognitive and sensory impairments caused her to eat less that she should. The Eatwell bowl uses the color blue, which does not appear in food, helping people with Alzheimer’s to distinguish food from the dish.
On the exteriors of the bowls, the colors red and yellow stimulate appetite. All pieces stand out from the table setting to enhance cognition.
Photographed in the Cooper Hewitt Design Museum in Manhattan.
For patients suffering from dementia, the benefits of listening to music are significant, both for quality of life and for improving cognizance and lucidity. The design of this Simple Music Player (2014) — a pre-loaded MP3 player — is radically simplified for ease of operation, and it appears non-threatening and recognizably familiar.
Once pre-loaded with the individual’s favorite music or an audio book, the user can activate — or stop — play by simply lifting the lid.
Designed by Lyndon Owen, Maurice Thompson and Bruce Barnet. Photographed in the Cooper Hewitt Design Museum in Manhattan as Part of the Exhibit, Access and Ability.
In Verner Panton’sNotes on Color, the Danish designer stated:
“In Kindergarten, one learns to love and use colors. Later on, at school and in life, one learns something called taste. For most people, this means limiting their use of colors.”
The design career of Verner Panton (1926 – 1998) reached its first peak toward the end of the 1950s. With a furniture series based on simple geometric shapes, Panton anticipated elements of Pop Art, while also emulating the elegance of Scandinavian Modernism in the execution of the bases.
The most famous designs from this series are the Cone Chair and the Heart Cone Chair (1959). The Heart Cone Chair takes its name from its heart-shaped silhouette. The extended wings of the backrest are reminiscent of Mickey Mouse ears, but can also be interpreted as a contemporary development of the classic wingback chair.
Photographed at the Cooper Hewitt Design Museum in NYC.
Gaetano Pesce’s playful Nobody’s Perfect chair (2001) embodies diversity within standardization. Following simple guidelines, the maker pours pigmented resin into a mold to achieve a random quantity and mix of colors. The back of this chair presents an excellent example of the phenomena of Pareidolia, which encouragee you to see an image resembling a face.
The liquid resin is hardened into the furniture’s components, which are later assembled with pegs.
The ‘face’ that the back of this chair resembles is quite fun!
Photographed in the Cooper Hewitt Design Museum in Manhattan.
Photographed By Gail in the Cooper Hewitt Design Museum
In the mid-to-late 20th century, an atmosphere of innovation and a desire to question the tenets of modernism led some designers to explore a variety of ways in which to shape space. American Architect and Designer Alexander Hayden Girard utilized color and pattern in textiles, particularly in this colorful abstract, or folk art-inspired work for Herman Miller.
Photographed at Albertz Benda Gallery with Robot Cabinet By Ettore Sottsass
By 1970, Japanese Architect and Interior Designer Shiro Kuramata (1934 – 1991) was introducing alternative materials such as acrylic and industrial plate glass into his furniture. Utilizing a newly developed adhesive, Kuramata achieved material and visual minimalism with this Glass Armchair (1976). Flat planes of glass are bonded together along their edges, without mounts or screws, to create a functional chair that seems simultaneously visible and invisible. The transparent form invites users to question notions of materiality, utility and comfort.
The undulating form of Mathias Bengtsson’s plywood Slice Armchair is inspired by cutting-edge technology and organic forms found in nature. Bengtsson initiated the design in 1999 and originally executed it in clay. He then used a computer to analyze the shape and precision-cut hundreds of plywood slices, each a unique shape and just a few millimeters thick, which he stacked and laminated to form the sculptural chair. The result is a contemporary take on furniture made from traditional material, combing high-tech manufacturing methods and handcrafting.
We will meet your specific needs as we design, install and monitor your residential alarm system using the latest technology, including wireless alarm equipment and interactive mobile access.
Photographed in the Cooper Hewitt Design Museum in NYC.
In the 1960s, youth culture asserted itself, changing society’s rhythms of mass production and consumption, and generating a sense of upheaval and freedom. The Pop Art movement emerged, taking inspiration from mass media and the everyday. Bold colors, new material and radical forms characterized the work of artists and designers whose appropriation of the ordinary made brash or ironic statements.
Italy’s anti-design movement of the mid-1960s and 1970s is fully expressed in the tongue-in-cheek spirit of the Pillola Lamps (1968, designed by C. Emanuele Ponzio, b, 1923). Challenging notices of “good design,” the anti-design movement took its visual cues from pop art’s use of bold colors and banal subject matter. Conceived as a group, the lamps look like oversized pills poured from a giant medicine bottle.
Illuminated Pillola Lamps Photographed at MOMA. Non-Illuminated Lamps Photographed at the Cooper Hewitt Design Museum in Manhattan.
Tongue Chair on Display at the Cooper Hewitt Design Museum (All Photos By Gail)
With its curvilinear form, the Tongue Chair (1967), designed by Pierre Paulin (1927 – 2009) demonstrates the innovative construction methods and synthetics that allowed Paulin to make highly sculptural upholstered furniture in the 1960s. His forms foretell those of plastic furniture in the latter half of the decade.
Tongue Chair Photographed as Part of a Modern Design Display at the Museum of Modern Art
Giambattista Valli (Italian, b. 1966) embodies contemporary couture. His collections blend fantasy with simple, clean lines in garments that are inherently wearable and intensely romantic. Each piece is meticulously crafted, with decadent fabrics and impeccable tailoring. Voluminous, indulgent and chromatically rich, his gowns, such as the feathery tulle ball-gown skirt with piped pajama top (2014) are both extravagant and modern.
Couture Skirt Fabric Detail
Photographed as part of the Beauty: Cooper Hewitt Design Triennial Exhibit at the Cooper Hewitt Museum in Upper Manhattan