Design for a Living World at the Cooper-Hewitt

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Ten designers including Ted Muehling (above), Yves Béhar (below), Stephen Burks and Maya Lin have created objects for Design for a Living World, an exhibition of products using sustainable materials from around the world that opened at the Cooper-Hewitt National Design Museum in New York this week.

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The designers were commissioned by The Nature Conservancy to "tell a unique story about the life-cycle of materials and the power of conservation and design". Top image: Dutch jewellery designer Ted Muehling used palm nuts from the Micronesian island of Pohnpei to create a "lei" by stringing flowers made from vegetable ivory on a black silk cord.

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Second image, above and below: Yves Béhar worked with a  a women’s organic chocolate cooperative in Costa Rica to design a grating tool and packaging for raw cocoa.

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Below: American designer Stephen Burks worked with the Noogar people of Australia to create a tool carved from native raspberry jamwood that allows for collection and processing of plant-based materials for use in skincare products.

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Below: Burks' tool, called Totem, is designed to help the Noongar to proces herb- and sandalwood-based products into natural cosmetics for export.

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Below: American artist and architect Maya Lin used FSC-certified wood from a Nature Conservancy forest in Maine to produce a bench.

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Below: Dutch designer Christien Meindertsma created a knitted rug using wool sourced from a sustainable sheep ranch in Idaho, USA.

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Below: each hexagonal component of Meindertsma's rug equates to the yield of a single sheep.

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Below: American fashion designer Isaac Mizrahi designed a dress using Alaskan salmon skin.

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Below: a waste product of the salmon industry, salmon skin is increasingly being used in fashion as a alternative, sustainable material.

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Below: Dutch jewellery designer Ted Muehling created a series of bracelets, necklaces and other items from Micronesian vegetable ivory and pearls.

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Below: Paulina Reyes designed a series of cotton handbags for accessory brand Kate Spade New York with FSC-certified morado (Bolivian rosewood) handles. Some of the bags feature hand-carved wooden tiles from Bolivia.

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Below: Reyes' bags are made of sustainable wood, cotton and jipijapa (a fiber made of palm leaves) sourced from Bolivian forests.

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Below: Israeli industrial designer Ezri Tarazi designed a chaise longue using bamboo from China.designs-for-a-living-world-tarazi2.jpg

Below: Tarazi also proposed a series of components that allow domestic objects to be displayed on bamboo stalks.

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Below: Dutch designer Hella Jongerius created a series of vases and bowls using chicle latex from Mexico.

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See our earlier story for more details of Jongerius' project.

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Above and below: Abbott Miller has designed a chair using FSC-certified plywood from Bolivia, whose components can be shipped flat and dry-assembled with a rubber mallet.

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Design for a Living World is at the Cooper-Hewitt, New York until 4th January 2010.

Here's further details from the Cooper-Hewitt:

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The Nature Conservancy and the Smithsonian’s Cooper-Hewitt, National Design Museum Present “Design for a Living World”

This spring, The Nature Conservancy and the Smithsonian’s Cooper-Hewitt, National Design Museum will present “Design for a Living World,” a traveling exhibition featuring objects created by leading designers and made from sustainable, natural materials. The exhibition will premiere at Cooper-Hewitt, National Design Museum on May 14 and continue through Jan. 4, 2010.

The Nature Conservancy collaborated with prominent designers from the worlds of fashion, industrial and furniture design, and each designer focused on a natural material from a specific place where the Conservancy works. The locations ranged from iconic American landscapes, such as the sweeping grasslands of Idaho, to such exotic places as the southwest coast of Australia and the forests of China’s Yunnan Province. The designs explore the transformation of organic items—wood, plants, wool—into beautiful and useful objects. By choosing sustainable materials that support, rather than deplete, endangered places, designers can help reshape our materials economy and advance a global conservation ethic. Through this process, the exhibition reveals fascinating stories about regeneration, natural places and the human connection to the Earth’s lands and waters.

The exhibition features designs by Yves Béhar, Stephen Burks, Hella Jongerius, Maya Lin, Christien Meindertsma, Isaac Mizrahi, Ted Muehling, Paulina Reyes and Ezri Tarazi.

Béhar worked with a women’s chocolate cooperative in Costa Rica to develop packaging for the raw cocoa they use to make a traditional hot drink and a grating tool that evokes the sensual nature of chocolate, delivering an intense experience through taste, form and narrative.

Burks traveled to Australia’s Gondwana Link to design the “Totem”—a tool made from reclaimed native jamwood that the local Noongar people can use to make and package a line of organic herb- and sandalwood-based cosmetics that they are developing for export.

Dutch designer Jongerius traveled to the Yucatan Peninsula to observe traditional chicle latex harvesting and explore the possibilities of chicle beyond its use in chewing gum production, resulting in more than 20 embellished vessels and plates.

Using wood harvested from a Forest Stewardship Council-certified Nature Conservancy property in Maine, Lin crafted a striking piece of furniture that highlights the beauty of an individual tree.

Meindertsma used wool sourced from a sustainable sheep ranch in Idaho to create a large-scale knit rug—a “flock” of smaller components, each one made from 3.5 pounds of wool, the yield of a single sheep.

Famed fashion designer Mizrahi turned Alaskan salmon skin—typically a waste product of the salmon industry—into a dress that references the scales of the fish from which it was made.

Acclaimed jewelry designer Muehling transformed Micronesian vegetable ivory and ocean-harvested black and keishi pearls into a series of bracelets, necklaces and other items, spotlighting the beauty of these natural materials.

Reyes, for Kate Spade new york, traveled to Bolivia’s forests to work with local craftspeople to design a series of handbags made of sustainable wood, cotton and jipijapa, a fiber made of palm leaves.

Industrial designer Tarazi designed a series of adjustable components that connect to mature bamboo stalks from China’s Yunnan Province, creating a domestic forest that supports a range of living arrangements.

“Our goal with the exhibition is to connect audiences to the natural world by exploring the story of place through innovative design,” said Mark Tercek, president and chief executive of The Nature Conservancy. “‘Design for a Living World’ challenges us to think about the products we use—where they come from, how they are made and what the impacts are on our planet and on local communities.”

“‘Design for a Living World’ offers a captivating look into the life cycle of materials and the power of conservation and design,” said Paul Warwick Thompson, director of Cooper-Hewitt. “Cooper-Hewitt is delighted to partner with The Nature Conservancy in raising awareness about material conservation and sustainable design solutions.”

“This exhibition opens an important conversation between conservationists and designers about the potential and legacy of natural materials,” said Abbott Miller, co-curator of the exhibition. “By choosing sustainable materials, designers contribute to the advancement of a global conservation ethic that can foster consumer awareness.”

“Design for a Living World” is co-curated by Miller and Ellen Lupton. Miller, a partner in the New York office of Pentagram, is recognized for his innovative installations for the National Building Museum, the Rock and Roll Hall of Fame, the Freud Museum in Vienna, Austria and the permanent exhibitions at the Harley-Davidson Museum. Lupton is curator of contemporary design at Cooper-Hewitt and is the author of many books on design.

The exhibition and book will also feature specially commissioned photographs from award-winning photojournalist Ami Vitale, whose work has appeared in The New York Times, Newsweek and National Geographic. The structures used to display the exhibition will include Forest Stewardship Council-certified plywood from community forests in Bolivia.

“Design for a Living World” will remain on view at Cooper-Hewitt through Jan. 4, 2010, and then will begin a three-year tour to venues across the United States. The catalog, published by Cooper-Hewitt, will be released in conjunction with the exhibition.

About The Nature Conservancy

The Nature Conservancy is a leading conservation organization working around the world to protect ecologically important lands and waters for nature and people. To date, the Conservancy and its more than 1 million members have been responsible for the protection of more than 18 million acres in the United States and have helped preserve more than 117 million acres in Latin America, the Caribbean, Asia and the Pacific.

About Cooper-Hewitt, National Design Museum, Smithsonian Institution

Cooper-Hewitt, National Design Museum is the only museum in the nation devoted exclusively to historic and contemporary design. Founded in 1897 by Amy, Eleanor, and Sarah Hewitt—granddaughters of industrialist Peter Cooper—as part of the Cooper Union for the Advancement of Science and Art, the museum has been a branch of the Smithsonian since 1967. The museum presents compelling perspectives on the impact of design on daily life through active educational programs, exhibitions and publications.

| 9 comments

Posted on Sunday, May 17th, 2009 at 12:07 am by Brad Turner. See our copyright policy. Before commenting, please read our comments policy.

  • mann

    That bamboo chair will split. And bamboo splinters are painful in the extreme..Ouch

  • bob bobson

    I really don’t see the point in this. This is FASHION or PSEUDO Design with a message, a concious or whatsoever. These are objects and images made to entertain people like us designers. Do they actually contribute to a better world? I don’t think so. They just communicate the idea we could do better and have good ideas. Their are actually people working to make things truly better, and their focus is not on trend, image or pseudo culture. It would have so much more credibility for a Museum to focus on them.

  • Paul Pincus

    this exhibit is a must see for the ted muehling alone! the cooper-hewitt is on roll right now (fashioning felt is stellar!).

  • http://www.gravis-design.com Joddie

    Nice modern design.. thanks for inspired me..

  • http://x zozo

    totally agree to bob.. design for designers.. not for a living world

  • http://www.winifredwikeling.com/blog royal creme

    I find the totem to be an exception though. Surely there is value in helping people become more efficient in how they earn a living. And though we may not need it, I am in awe of turning salmon skin into couture…

  • fan

    for the record, ted’s an american designer, not dutch.
    love the issey miyake ensemble.

  • http://www.rosewoodranchreviews.com/ Rosewood Ranch

    I find the totem to be an exception though. Surely there is value in helping people become more efficient in how they earn a living.

  • maria torres

    The eyeglasses for the children of Mexico are pretty special.