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Enriching the life of contemporary Man—as a per- son, amember of society, and above all, a being in Nature—requires a new and broader understanding of design.

Design, in this sense, means that faculty by which men shape matter to a purpose arising from any of an infinite number of human needs and desires. The designed object may be as humble as a paper con- tainer, as complex as a computer, as conspicuous as a factory, as large as a city or a region.

Good design has always had to satisfy two re- quirements. The first is functional: the object should do well that which it is intended to do. The second is esthetic: the object by virtue of its form should possess some quality that is pleasing in itself, apart from the material end which it serves.

Today, there is a third element that has no pre- cedent in history. Design must encompass the whole of human environment. Its ultimate effect on life must be considered in relationship to form, mate- rials, methods of manufacture, and use.

Man necessarily alters his environment whenever he shapes matter to a purpose. The problem now— given quantum leaps in technological efficiency, mass production, and urbanization—is that altera- tions can be of such a scale as to defeat the initial purpose.

Society must become aware of the possibility of designing itself in harmony with Nature. With half the planet’s total population living in cities, and the trend accelerating, we must give as much attention to the synthetic as to the natural environment.

Design is an all-embracing activity. Whether con- structive or destructive, it powerfully touches peo- ple’s lives. Since every component in the man-made environment is the conception and work of some- One, design has become one of the most pervasive

issues of the human race.

concept

Because design is a vital force in the world, it is essential that we understand its effect on human life and spirit. Among museums, the Smithsonian Institution is uniquely qualified for such an immense study. The Smithsonian was founded 125 years ago for ‘‘the increase and diffusion of knowledge among men” It already operates museums in the disciplines that affect design—art, technology, history, and science.

Therefore, as a natural extension of its long at- tempt to interpret Man, his culture, and his environ- ment, the Smithsonian is creating a new institution, a National Museum of Design. As the only museum in the United States devoted exclusively to historical and contemporary design, it will cover all areas of environmental design—the works of Man—that can be expounded within a museum context.

The Museum will have as its purpose an under- standing of Man’s creative instincts and of how and to what ends he expresses them to deal with his environmental needs. In this unique program, the Museum’s resources, including its collections, will be used to emphasize purpose and process, rather than only the object.

The Museum’s primary concern will be the prac- tical, physical, and psychological effect of design on life. Because design is a continuous On-going process, the Museum will have an experimental workshop quality. It will be dynamic, rather than static. People’s activities and needs will constantly

give it new form.

collections

The new Museum is not intended to spring full- fledged upon the world, without antecedents. Rath- er, it will be firmly connected with the past by build- ing upon the collection of the former Cooper Union Museum.

This outstanding collection of decorative arts and design, which was recently saved from dis- persal and entrusted to the Smithsonian Institution, is known and respected by specialists and scholars the world over. It was started in 1897 for students in the Cooper Union School and for independent designers by Peter Cooper’s granddaughters, the Misses Sarah, Eleanor, and Amy Hewitt.

Spanning over 3,000 years, the collection is well suited to interpret cultures of the distant and recent past. It includes more than 100,000 historical and contemporary objects from all parts of the world, expressing Man’s infinite capacity to convert, and sometimes to subvert, his physical environment.

The collection is supported by one of the finest and most complete decorative arts and design libraries in the country and a unique picture archive of more than 600,000 photographs and repro- ductions. The Library will be expanded to include samples of materials (such as woods, marbles, tiles); pattern design; color materials; and sensory and technological data.

The Museum will have no dead storage areas.

Its entire holdings will be available for study at all times with the help of experts. In order to facilitate research, all objects will be cross-indexed by mate- rial, technique, and design motif, as well as by artist, period, and historical relevance. An electronic re- trieval system will make objects visually accessible and will simultaneously provide all catalogue data.

The important design problems today are not only objects, but entire landscapes, cities, systems, and ecological complexes. Because they do not lend themselves to collecting in the traditional sense, the Museum will supplement its display system with new and varied techniques for recording, preserv- ing, and communicating information about design.

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facilities

Because this important new institution must meet the needs of the future as well as those of today, the most imaginative and knowledgeable minds in the fields of design, and of physical and psycholog- ical environment have been asked to participate in the Museums planning.

The Museum will be located in New York City, which is the center of design work and study in America. The site, consisting of the Andrew Carnegie Mansion, an adjoining town house, and gardens, stretches the length of an entire block on Fifth Ave- nue between 9Oth and 91st Streets and is in close proximity to a number of the city’s important mu- seums and schools.

The Mansion, built at the turn of the century, is under consideration as a landmark. A handsome example of simple and sturdy 18th century revival style, it provides ample space for the Museum’s col- lections and programs.

The buildings lend themselves admirably to showing everyday objects in human scale and in interesting relationships of old and new. Certain areas will be restored to their original state and others that have already been changed through years of use will be renovated to the modern re- quirements of the Museum.

The Museum will house permanent study collec- tions and libraries; conservation and photography laboratories;a children’s environment center and a media center; a museum shop and restaurant; studios, workshops and other study facilities. Re- modelling plans include the addition of flexible multi- purpose spaces to accommodate exhibitions, film showings, theatrical and other events.

The Museum hopes to provide acommon meeting ground for both those who make and those who use design. It will present a lively program of activ- ities for people of all ages and design interests—the general public, local community, students, scholars,

and professionals in all areas of design.

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A museum must do much more than simply amass and exhibit extraordinary objects. It must use its resources to enhance Man's understanding of past, present, and future in terms of both society and Nature. It must seek to delight, excite, and involve everyone it can.

Thus, the National Museum of Design, besides fulfilling the traditional roles of a museum, will have the broadest purposes. It will be a museum of life —a place for collected memories, images, and experiences.

Because design can be seen by anyone every- where, the Museum will attempt to identify areas where needs are not being met. It will perpetually raise questions. The answers may be many and op- posite, for truths are relative to the moment and always changing. The Museum will not have an ideology, but will provide a forum where many points of view will be considered.

All who recognize the importance and timeliness of the new Museum are urged to contribute to Its support in any way they can. The needs are small when compared to the objectives and their conse- quences for the present and future welfare of Man.

As a private affiliate of the Smithsonian Institu- tion, the Museum receives no government funds and is responsible for its own support. The Museum begins with several major assets: it has been given anew home, it has a renowned collection, and it has the technical and expert resources of the Smith- sonian Institution at its disposal. But financial sup- port is needed. An estimated five million dollars will make it possible to convert the property to a mod- ern museum facility, relocate the collections, and

develop the services and programs planned.

10

Smithsonian Institution Washington, D.C. 20560

cover:

Detail of a Pottery Tile

Kashan, Persia, 14th Century

Courtesy of the Freer Gallery of Art, Smithsonian Institution

frontispiece: Photomicrograph of Lunar Rock—NASA

page 4 and 5: COOPER-HEWITT COLLECTION

Print, Illustration for PERSPECTIVE

by Jan Vredeman de Vries (1527-ca. 1604) Leyden, Netherlands, 1604

Carved Oak Newel Post

France, 1740-1 750

Desk, Padouk Wood Inlaid with Mother-of-Pearl and Metal

Designed by Carlo Zen

Milan, Italy, about 1905

Glazed Earthenware Bowl Persia, 10th-12th Century

Embroidered Textile, Barge/io Work Italy, 18th Century

page 6 and 7: COOPER-HEWITT COLLECTION

Printed Cotton Velvet Designed by Arthur Wilcock England, about 1890

Child’s Chair of Laminated Walnut Designed by Charles Eames New York, United States, 1948

Wrought Iron Grille for a Window France, about 1650

page 8: COOPER-HEWITT COLLECTION

Isometric Drawing of the Carnegie Mansion Roy Frangiamore (1941- ) New York, United States, July, 1971

page 8 and 9: Aerial view of Manhattan—THOMAS AIRVIEWS

page 11: Memory Core Circuit—IBM

Design and Production: Joseph Bourke Del Valle

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