A bit late

folkmoma:

Rory Stott ‏@StottR

My unconventional proposal for #FolkMoMA @FolkMoMA pic.twitter.com/5JrjADwCZO

I like this one because it seems both powerful and possible (if you ignore the bad press).

metamuseum:

Greg Lynn
American, born 1964
Tableware, 2007 Sterling silver
Celia and David Hilliard Fund; restricted gift of the Architecture & Design Society, 2007.646.1-5

Architect and designer Greg Lynnʼs flatware for Alessi is a brilliant reinterpretation of the figurative tradition in tableware design. With its sinuous lines, the flatware formally reflects Lynnʼs ongoing interest in Art Nouveau and the late-19th-century designs of architect and designer Victor Horta. Beginning with the premise that all flatware is designed from the spoon, Lynn conceived of the cutlery as a kind of genetic system made up of stem, leaf, and flower, and capable of endless variations. Lynn produced the flatware using a three-dimensional digital-printing method and layers of liquid metal. The result is that each piece is figuratively articulated and differentiated from the others with subtle mutations, as the basin and tines of the fork blend in surprising combinations. 

Karen Kice
Neville Bryan Assistant Curator

Zoë Ryan
John H. Bryan Chair and Curator of Architecture and Design

Art Institute of Chicago
http://www.artic.edu/

I’d be afraid to eat off that fork.

metamuseum:

Margarete Schütte-Lihotsky, Austrian, 1897-2000, Frankfurt Kitchen, 1926-1930, Kitchen cabinetry and stove, Gift of funds from Regis Foundation, 2004.195

The Frankfurt Kitchen, part of an ambitious citywide project to create affordable housing after WWII, was extremely influential throughout Europe into the 1930s and still stands as the epitome of “scientific” organization for the domestic workspace.

City Architect Ernst May hired Schütte-Lihotzky, one of the first female architects in Austria, to design a rationally planned kitchen for 10,000 integrated housing units over a four-year period. She analyzed key principles for household design and labor, and positioned each kitchen element carefully, minimizing unnecessary steps as well as providing labor-saving devices and increasing physical comfort.

The kitchen’s many innovative features included integrated units, continuous work surfaces, a worktable for preparing food under a large window adjacent to the sink (both set at a convenient height for use while seated), as well as storage bins with handles and spouts, an adjustable ceiling light, a movable stool, a concealed pass-through, drop-down ironing board, and cabinetry painted blue, supposedly to repel flies.

 

Jennifer Komar Olivarez

Associate Curator, Decorative Arts, Textiles, and Sculpture
Minneapolis Institute of Arts
http://artsmia.org/

As thoughtful and stylish as the day it was installed.

metamuseum:

Stephen Frykholm
American, born 1942
Herman Miller Summer Picnic August 21, 1970
1970
Screen print
39 ½ in. x 25 in.
Collection Denver Art Museum
Gift of Dr. Robert Blaich, 2012.5.1

This screen-printed poster is part of a series of twenty that Stephen Frykholm designed between 1970 and 1989 for Herman Miller’s annual summer picnic. Somewhat ironically, the first poster was a small, offhand assignment Frykholm received from an executive in his first weeks at Herman Miller. His lighthearted design, featuring a corncob held by a set of teeth, ended up such a success that the company paid to produce enough copies (500 in all) to qualify it for an AIGA competition—which it won.


Darrin Alfred

Associate Curator of Architecture, Design and Graphics
Denver Art Museum
http://www.denverartmuseum.org/

 

Sweet Cooper Black.