Here is an excerpt from Andrea’s description of the project.

Here at the IMA we are preparing for a new design center. One of the recently acquired pieces is a side board by architect and designer Eliel Saarinen. Saarinen was a Finnish architect who is better noted for his art nouveau buildings in the early years of the 20th century, and national romantic style than for his furniture.  Our side board was created in 1929, shortly after Saarinen immigrated to the United States. … The side board is a 49 5/16 x 77 9/16 x 20 13/16 in. rectangular chest on four legs, with four doors on the front of the piece, covering three compartments (two sides and one larger, central)and its surface is decorated with a diamond pattern of walnut and burl wood veneers. The diamond appliqué follows an alternating pattern of light and dark burled wood over most of the planar surfaces of the piece.  The piece when acquired has diverse cosmetic and structural issues to its surface. For this specialized treatment the IMA�??s conservation lab invited conservator and wood specialist Mark Minor to work on the piece.  In addition to the stabilization and preservation of the cabinet, the goal of the treatment was to bring the artist/designer�??s intent back to view�??to reduce the muddiness of the varnish and clarify the grain/figure of the veneers.

Sounds cool, right?  Did you know that we also have another IMA conservation project on Flickr?  Don’t miss the treatment of a Thornton Dial work.

According to a recent BBC News article citing a study by Heriot Watt University, music can enhance wine taste. On the same principle, can music enhance art taste? Does the taste of a one type of wine or the shade of a certain color wall effect your like or dislike for a work of art?

From my perspective, it must. A recent example of my user-experience comes from this year’s Indiana State Fair. Being a veteran 4-H’er, I’m always impressed at the increasing talent I see in the photography exhibit, including a creative/experimental category for those who like to play in the digital world. The photography exhibits are displayed in the same buildings, and bunched together on the same white walls, shrink wrapped in plastic just as they always have been. The smell of swine mixed with cotten candy wafts through the exhibit. It’s all part of the signature fair experience. I can only imagine what those photographs must look like framed on the wall of a home or art gallery with proper lighting and plenty of breathing room.

In a museum, exhibition design is usually a department unto itself. Wall colors, lighting and graphic design elements are selected with the goal of creating a canvas that best compliments an exhibition or individual work of art. The Smithsonian’s National Portrait Gallery does an exceptional job of making portraits pop, which got the attention of The Washington Post. Viewer experience is key. One sign of flattery is when visitors ask the museum staff for the specific paint number of a gallery so they can use it in their own homes. Sometimes, installation art and site-specific art does the work of the exhibit design team by taking into account the environment in which the work of art lives and the viewers’ total experience. In this way, the artist has more absolute control.

Should artists recommend the ideal environment in which to view their work, what song to listen to while looking at it, or what bottle to pop before feasting? Or should the viewer create their own unique experience or simply rely on the curator or museum to provide that for them?

Below are some works of art from the IMA. Share your music or wine recommendations for these or other favorite works:

• “Two Figures” 1968 sculpture by Barbara Hepworth
• “Phenomena Danger - Pass Left” by Paul Jenkins
• “Electric Chair” by Andy Warhol

Photo Credit: Hugh Talman, Smithsonian Institution
John Updike by Alex Katz; David Hockney Self-Portrait; Phil III by Chuck Close; and Self-Portrait with Liz by Red Grooms, as installed in “Americans Now,” National Portrait Gallery, Smithsonian Institution.

For me though, the new year and ensuing opportunity for a fresh start occurs about this time every year. I always look forward to the end of August, because that is when the onslaught begins.

That is when super size fashion magazines featuring the latest trends for fall begin to flood my mailbox. I remain giddy for about a week, knowing that at least one brand new, beefy, fall fashion issue will be waiting for me when I get home.

I truly look forward to studying each page (even the ads) for inspiration on ways to update my wardrobe. As I open every cover, I begin to formulate a plan for ways to revamp my current clothing and identify key pieces to purchase- - all in an effort to start fresh.
Yes, these pages will undoubtedly feature the same basic pieces (shirts, sweaters, slacks, skirts, and shoes) that were featured last year, and the year before, and the year before, etc. But every year, they are presented in a different way. The current fall fashion issues look different than their predecessors because the designers behind every highlighted outfit saw things in a different light. They let their creativity and self-expression guide their designs. Design is often the result of seeing things in a different way- an end product of self expression and creativity.

Evidence of such self expression will abound at the IMA Design Center, opening October 11th.

For example, Alessandro Mendini certainly saw the corkscrew in a different light when he designed the now iconic �??Anna G�?? version in 1993. Who knew a corkscrew could look so feminine? Similarly, there was certainly nothing new about a baroque style armchair in the early 2000s. That is until 2002 when Philippe Starck envisioned a version made entirely of polycarbonate. Voila- the Louis Ghost chair.

Finally, in what is perhaps my favorite example- Fiskars. You know, they make the orange handle scissors that we have all seen a million times. What you may not know however, is that Fiskars is actually a town in Finland. A beautiful town that is primarily inhabited by tremendously talented artists and craftsman. One such craftsman is Olavi Linden. Olavi began his career making violins, carving each one by hand. One day however, he too must have seen the value of crafting something in a new way. He had a vision of how hand tools could be designed and manufactured in a way that would make each one easier to use, and more aesthetically pleasing than the others in existence at the time. The results have been pretty amazing.

Now, I know absolutely nothing about gardening, but I do know that the aluminum PowerGear Bypass Pruner (designed by Mr. Linden) is just about the coolest looking tool of any kind that I have ever seen. This too, will be available at the Design Center.

People continue to ask me if the Design Center will sell art. Art in the traditional sense, i.e. paintings? No.
But art- - yes. Because design is art. And these objects of design are pieces of art that you can take home –pieces that are not only aesthetically pleasing, but also functional. In other words, each object is a piece of art that you can use.

In speaking about this very topic, Max Anderson (The Melvin and Bren Simon Director & CEO) said �??Why separate examples of creativity based on whether they have a gold frame around them?�?? in a recent issue Indianapolis Monthly.

I couldn�??t agree more.

Maybe because my great grandmother was French, maybe because I studied French for seven years, or maybe because of my admiration for French women�??s uncanny ability to make any outfit look stylish simply by adding a scarf. Whatever the reason- I�??ve been fascinated by all things French for as long as I can remember.

Therefore, it should come as no surprise that one of my favorite designers is Philippe Starck, a Frenchman. To me, he is the master of style, and for certain, the king of cool.

His product designs exude imagination and originality, and his interior designs ooze style & sex appeal.

Speaking of his ingeniously creative interiors, I always feel a bit like Alice in Wonderland each time I stay at the Hudson in New York City- a hotel designed by Starck and Ian Schrager. Instead of falling down a rabbit hole however, upon arrival, I ascend an escalator bordered by illuminated, chartreuse walls. I know that when I reach the top, I will be in a different world- a world much hipper, sexier, and much more stylish than the one I just left.

You see, The Hudson, is not just a hotel- it�??s a mecca of style, where ultra hipsters from around the world seem to flock. Case in point- during recent visits I had the pleasure of meeting an impeccably tailored reporter from Paris, a curly-top, blue-eyed, �??street preppy�?? vacationer from Germany, and a casually stylish, devilishly handsome, Sting look- alike, grad student from Rotterdam.

Starck and Schrager have left no stone unturned - their attention to detail is impeccable. From the white, lightweight, semi opaque drape that serves as a portal to every room, to the stark (no pun intended) white bathrooms, beds with headboards capable of being backlit via an elegant, tassel pull cord, and dimly lit lobby where (once your eyes adjust) you discover ultra vogue chairs of varying style and material, tucked away in every corner- each one cooler than the last. Every inch of this lodging masterpiece contains an unexpected and completely pleasing style treasure. Simply put, this design collaboration has yielded a space with off the chart cool.

I was fortunate enough to attend a lecture here a month or so ago by GQ columnist, Scott Schuman, a.k.a. �??The Sartorialist.�?? In speaking about the photos he takes (and posts on his blog), he stated �??I shoot what inspires me and helps me dream.�?? He went on to explain that there is an element in every photo that represents how he wants his life to be.

That is exactly how I feel when I stay at the Hudson. Its uber-stylish décor, equally stylish guests, and blatantly cool, sexy vibe inspire me.

I�??m not saying that I feel compelled to paint some of my walls chartreuse, cover others with ivy, or infuse every room in my house with polycarbonate and brushed aluminum furniture. And I certainly don�??t have the financial means to feature an Eames �??La Chaise�?? in my front room. I am saying however, that I want to dwell in a world marked by creativity, imagination, and personal style– with many unexpected, pleasurable visual encounters thrown in for good measure.

Ok, now for the shameless plug- - many Philippe Starck products can be purchased right here at the IMA. Their home will eventually be in the Design Center, which opens in October, but for now, you can find such items as: the Mademoiselle chair (including a stunning version upholstered in leopard print fabric designed by Dolce & Gabbana), the Ghost chair (both Louis and Victoria), the Hudson counter stool, the Juicy Salif lemon juicer, and more at the IMA store.

A few other Starck / Schrager temples of style are on my radar. If all goes well, upcoming travels include stays at The Delano in Miami, The Clift in San Francisco, and the Sanderson in London. I will keep you posted.

I couldn�??t be happier to be part of the team working on the Design Center, because I have been obsessed with style, fashion, and design for as long as I can remember.

I think it must have started in second grade when I got my white bean bag chair. Some of my friends and family members had them too- - but nobody had one in white. I remember feeling so lucky to have one in what was surely the coolest color for this staple of 70�??s interior.

Despite the fact that my bean bag chair was riddled with pen and marker spots within the first week of landing in my room, I loved looking at it, I loved sitting in it- - in short, it made me happy.

Fast forward a couple of years to fourth grade. I had hoped for months that I would be in Mrs. Fortner�??s class. Her room looked absolutely amazing- I was mesmerized by its unique appearance. In an effort to foster creative thinking through unique environments, her husband had built 3-dimensional, wooden, octagonal cubes for every student to use as auxiliary workspaces. They were all equipped with carpet (each one had a different color), a pull-down work surface, and a back cushion. I was thrilled beyond belief to see my name on her posted class list the first day of school.

We got to pick our cubes about a week or so later. They were arranged in clusters, and built two high. I quickly chose a �??downstairs�?? cube with textured, light blue carpet. �??Cube time�?? was my favorite part of the day. Even more interesting than its look, was the �??feel�?? of my cube. I loved sitting in it, reading a book in it, even taking a quiz in it. And just like my bean bag chair- - it made me happy.

The excitement I felt upon learning that I would be in such a uniquely-designed, cool room was equaled only once that year, when I was one of the first kids in my school to own a cropped, sporty, satin jacket �?? the kind made popular by Shaun Cassidy and Cheryl Ladd (a.k.a. Chris Monroe on Charlie�??s Angels).

Fast forward once again to today. My age now starts with a 4 instead of a 1, it�??s not a bean bag chair that makes me happy when I come home- it�??s my Eames Lounge & Ottoman, and my excitement about fashion now stems mainly from shoe and handbag purchases rather than satin jackets. But that�??s just it- - although my taste and fashion preferences have evolved over the years, my fascination with design and style has remained steadfast- and I think that is fantastic. I hope I always look forward to the arrival of the Fall Fashion issue of Vogue, where I spend hours looking through its pages for style inspiration and formulating ideas for my own wardrobe. I hope I always get excited about wearing a new pair of beautiful black pumps, and I hope I continue to be awestruck by the sheer beauty and �??cool factor�?? of well-designed furniture and interiors.

Beginning with McCain, he expresses his strong military background and personal heritage through his logo and with merchandise including a nautical lapel pin and Irish buttons. McCain also appeals to coalitions and branches of the armed forces through a variety of apparel. Perhaps the most noticeable difference from the other candidates is that McCain chooses to employ few images of himself. Clinton and Obama both have artists�?? renderings of themselves for posters. McCain only uses unaltered photographs of himself on merchandise.

Next up is Clinton with her surprising portrait with �??rising sun�?? found in the accessories section of her official campaign Web site�??s online store. According to the site, this original Hillary Clinton print, designed by Hollywood screenwriter Tony Puryear (�??Eraser�??), is an exclusive to Hillarystore.com. The posters (there are two versions) are �??Union printed in USA using 100% wind power and vegetable-based inks.�??

“Senator Clinton is a beautiful, strong and inspiring woman, and I wanted to make a poster that reflected that. Rather than putting a slogan on the poster, I chose to put her name, because she is surely the only leader at this level with whom we are all on a first-name basis, and to me, that reflects her personal warmth and connection with ordinary Americans.” - Tony Puryear

One can�??t help but reference the resemblance to Mao Zedong, Chairman of the Communist party in China, and his popular depiction in front of a �??rising sun.”

Clinton assumes first name recognition with most of her campaign design and merchandise, including her logo of �??Hillary for President,�?? noting her cause, above a strip of the American flag. Her merchandise varies from simple yard signs to the more peculiar �??Hillary Cares�?? piggy banks and goldtone glitter pins.

Finally, Obama, noted in the press for consistent campaign design and use of Gotham typeface, doesn�??t shy away from the man in the mirror. His logo features an “O” (Did somebody say “O”prah?) or circle, a horizon, flag and his name and the year 2008. Obama is the only candidate to include the year ‘08 in his logo. Perhaps the others are planning to run again.

Obama also features an �??Artists for Obama�?? gallery where art and merchandise donated to the campaign by artists are for sale. Most striking is the limited edition Obama �??CHANGE�?? portrait created by contemporary artist Shepard Fairey. Obama�??s Web site says to stay tuned for additional prints in the days ahead.

Again, one can�??t help but recognize some strange similarity to the popular depiction of communist revolutionary Ernesto �??Che�?? Guevara. I�??m not saying Clinton or Obama should be compared to the likes of Mao or Che in character or governing style, but perhaps there�??s a connection in the artistic depiction of power and authority that strikes the same chord.

After the election is over, the president is selected, and the years pass, it will be interesting to see what visual portrait of the 44th U.S. president history paints. For a look back on past presidents, the National Portrait Gallery in Washington, D.C., holds the record in its permanent exhibition America�??s Presidents. You may even find Hillary�??s portrait around the corner.

Starck is a superstar designer, if you will. A design celebrity. Kind of like a Britney Spears of the design world. Just with a beard and a little less crazy. He’s designed countless products and interiors…everything from toothbrushes to hotels and restaurants around the world. In the 1990�??s he began championing product longevity as part of his design process. He�??s said that a designer�??s role is to create more happiness with less. A nice thought.

In this interview Starck said that in two years he’s retiring from design. He’s reached a point in his life where he looks back to the objects he has produced over the past 20 years and has come to the conclusion that he has done nothing but contribute to materialism. “Everything I have created is absolutely unnecessary”

He went on to say that “design is really a terrible way to express oneself.”

The design community took a collective gasp and everyone started lining up to take sides, preparing for the battle of words that would soon commence on every design blog out there. I imagine it was like that scene in Braveheart where Mel Gibson gives the speech to his soldiers, preparing them for battle. Except this time everyone kept their kilts on.

Of course, it didn�??t help that many of the English language blogs were reacting to a poorly translated version of the interview, taking many of his thoughts out of context. So, with that said, I don’t really want to get into the “what�??s his problem?” or “how dare he say that!” discussion. What mainly interested me was this idea of quitting design.

My first reaction: Is this even possible? Can someone who has spent his entire career, living and breathing design, just pick a date to stop? I don’t flip a design switch on from 9-5 and shut if off again when I go home. I think most designers are the same. It�??s 24 hours. My wife can tell you: its not easy being married to a designer. We’re damn opinionated on just about everything. She�??ll tell you of the arguments we�??ve had at Target over why we have to spend $5 more for one can opener over another. Because one is not well designed, of course. Or maybe about the times we�??ve bought the expensive dish detergent just because I liked the shape of the bottle. Not to mention the beautiful typography on it.

I guess at this point I�??d like to know what you think. If you’re a designer, could you just stop designing? Do you think that in 20 years you will look back on what you have created and wish you would have done something different with your life? Maybe contributed to society in a different way?

If you’re not a designer, what does design mean to you? How important is it?
Does design factor in to your decisions to buy something or are there more important things? What about exhibitions or programs here at the IMA? Would you still come see an exhibition even if you weren�??t too impressed with the design you�??ve seen for it? How does design influence you as a non-designer?

Okay, well maybe not. Perhaps I’ll just follow Richard’s lead and start off with what I do.

I’m the Senior Graphic Designer here at the IMA. So what does that mean exactly? Any graphic designer will tell you that we get this a lot. Not a big deal. Don�??t be afraid to ask if you ever find yourself in this situation. My own family still has trouble figuring out exactly what I spend my day doing. When I was growing up I loved to draw things. I was a drawin�?? fool. Mainly Spider-Man and the Teenage Mutant Ninja Turtles. This, of course, implied to every adult that knew me that one day I might just become a successful artist. Watch this kid; he�??s going places!

When I grew up I did go to art school but I didn’t major in the illustration of mutant turtles that have mad ninja skills. Those classes were always full or at least had a really long waiting list. Instead, I got a degree in Visual Communication, or Graphic Design. Generally after I tell someone that I’m a graphic designer, I get one of three reactions. One: they know exactly what it is I’m talking about because they have a cousin who does the same thing. Two: I get a “that sounds fun” response that I think mainly pertains to the fact that I work in an art museum and not to my exact job here. Three: I get asked to explain what that means. When I do explain, I will usually get hit up for a logo because their uncle’s ex-wife’s second cousin who was lost at sea for four years recently decided to open up a business that specializes in mold abatement for residential architecture. (Not making that one up. Well, not the mold abatement company part anyway.)

Every day you encounter work by a graphic designer, whether you think about it or not. Magazines, billboards, book jackets, the graphics on your Starbucks coffee cup…all graphic design. Design is not only an end product, but also a process that usually begins with research and brainstorming. A graphic designer takes an idea or concept and makes it visual through the combination of photography, typography, color, the right type of paper,etc. When successful, everything comes together to produce a feeling and visual style that best communicates to the audience.

Good design makes things easier. It makes people happy. Anyone who has ever had trouble reading a magazine because of bad layout, had trouble navigating a website or gotten lost in an airport due to bad signage design knows how important well-executed design is to daily life.

I work in collaboration with nearly every department in the museum to design anything from a brochure for Summer Nights (to the graphic identity of an exhibition and the printed pieces that market the show. Anytime you get a printed piece like Art For You in the mail, see a banner on the outside of the building or even just pick up a brochure while you�??re here, I might have worked on it.

Some of you out there have my work in your recycling bin right now. If it�??s in your trash, get it out of there. If you�??re going to throw my stuff away at least recycle it. With any luck, you got something that I did tacked up in your office. Or better yet…your fridge! Score!

So, that�??s basically what I do.

Up next, Philippe Starck and why design is useless.

This phenomenal example of entrepreneurship and arts marketing was brought to my attention this weekend by my should’ve-been-a-geneticist mother. It’s every marketer’s dream — the big idea — and together Web consultant Adrian Salamunovic and biotech imaging specialist Nazim Ahmed found it in a string of DNA. They started a company called DNA 11 that catapulted them into the media spotlight with personalized portraits of people’s DNA images. Clients first choose a color scheme, size and frame option. Several weeks after submitting their DNA sample, they receive an original, one-of-a-kind work of art.

Co-founders Salamunovic and Ahmed started their business in a small apartment with $2,000 and netted a $1 million the first year. They’ve received international press coverage and were featured on CSI:NY. They also sell their service in The Museum of Modern Art stores, in both New York and Tokyo. They’ve branched out into FingerPrint Portraits and KISS Portraits. I’m intrigued by the innovative idea, the comprehensive Web site (with blog) and DNA 11’s goodwill efforts which have accompanied its success.

Clearly, the popularity of DNA 11 comes from a new idea and the ability to execute it with state-of-the-art technology, but will a DNA Portrait from DNA 11 ever hang in the MoMa? Or is this just a novelty, a contemporary decorator’s dream? What if it were a DNA Portrait of the Dalai Lama or the Pope? Or another twist — how about a FingerPrint Portrait of O.J. Simpson? Would that elevate the status of this art to museum worthy or just increase the demand for reproductions of an even more novel product?

Note: The title of this post is a branding slogan by DNA 11.

A company called BetterWall allows you to buy those exhibition banners from around the world to become timeless works of art for your home or business. Started by a husband-wife team of environmental consultant and art historian, BetterWall works with museums through its “Recycle and Reuse Program” to help museums remain green by taking tons of vinyl banners off their hands and selling them, giving a portion of the profits back to the museums. I have a National Portrait Gallery, George Washington “Lansdowne” sign that used to be displayed on the Mall in Washington, D.C. framed in my living room, but this article by a Washington Post reporter was the first time I had heard of a company who made authentic museum advertising available to the public.

As unique objects produced in limited editions, the banners embody great art, great museums, and contemporary advertising trends. — BetterWall

Since you won’t find IMA signage on BetterWall, what happens to it all? To start out, indoor “case signs” that advertise upcoming and current exhibitions and programs are typically requested by IMA staff who would like them as souvenirs from the show. The exhibition’s curator always gets first dibs. Next, are the large, outdoor “facade banners” that hang over the front of building. (Roman Art from the Louvre was up last fall, and Breaking the Mode is currently up.) Because they are so massive, they are usually recycled in various ways by the IMA grounds crew for things such as tarps. The facade banners that do not advertise specific exhibitions are evergreen and are stored when not in use. The “perimeter banners,” made of the same mesh material as the facade banners, currently feature “It’s My Art.” When they are switched out in the near future, IMA staff will work with buildings management or the sign company who creates them to recycle them. And finally, the “trilon signs” at the corner of Michigan and 38th streets, are made of a durable material so they can look good regardless of the elements. Staff are looking into the possibility of an option for routinely recycling these as well.

So there you have it. It doesn’t look like authentic IMA signage is currently available for your decorating desires, but you never know what the future may hold. IMA members, check out your summer issue of Previews magazine at the end of April for a poster to put up in the office.