sign Museum and the PaineWebber Arc Gallery, will be 

 shown at the PaineWebber Art Gallery from January 25 to 

 April 19, 1996. The Museum is consulting with the Central 

 Park Conservancy on Help Design Frederick Doug/ass Circle, an 

 exhibition of the different designs submitted for improve- 

 ment of the Frederick Douglass Circle area. It will be on dis- 

 play from March 28 to June 2, 1996 in Central Park. 



Avant-garde Letterhead, an exhibition of lecterheads de- 

 signed between 1909 and 1950, will open at the American In- 

 stitute of Graphic Artists' gallery in March or April 1996. The 

 exhibition is curated by Ellen Lupton, the Museum's Curator 

 of Contemporary Design. In addition, the Museum is plan- 

 ning an exhibition on swings to be displayed in the Arthur 

 Ross Terrace and Garden in the summer of 1996. 



Before the gallery doors closed, the National Design Mu- 

 seum presented a full roster of the innovative and creative ex- 

 hibitions that have become the Museum's trademark. 

 Exhibitions on the evolution of the workplace, Dutch Modern- 

 ism and the applied arts from 1880 to 1930, the work of 

 graphic designer Elaine Lustig Cohen, jewelry and accessories 

 from the Museum's collection, a review of 1950s wallpaper 

 and analysis of an 18th-century bedcover were all on view at 

 the National Design Museum during 1995. 



The Museum created a Marketing Committee to help main- 

 tain the Museum's momentum and public profile during the 

 renovation project and to plan activities to celebrate the 

 Museum's Centennial in 1997. The Committee consists of out- 

 side professionals and several members of the Board of Trust- 

 ees. The Committee is also involved in the creation of a 

 National Design Awards program. These awards will give the 

 Museum the opportunity to highlight the best work of the de- 

 sign world and reward designers and companies for their cre- 

 ativity and problem solving. 



The National Design Museum's work was honored this 

 past year with seven Federal Design Achievement Awards for 

 the exhibitions The Cooper-Hewitt Collections: A Design Resource; 

 Mechanical Brides: Women and Machines from Home to Office; 

 Packaging the New: Design and the American Consumer 1925-1975; 

 The Power of Maps; Revolution, Life and Labor: Soviet Porcelain 

 (1918-198$); and A Royal Gift: The 1826 Porcelain Jewel Cabinet 

 and The Edge of the Millennium, a collection of essays by design- 

 ers and scholars. In a competition involving more than 400 

 entries from 75 government agencies and departments, 77 fed- 

 eral projects were chosen to receive Federal Design Achieve- 

 ment Awards for superiority in design. The ceremony for the 

 Northeast recipients of Federal Design Achievement Awards 

 was held at the National Design Museum on July 14, 1995 and 

 was hosted by National Endowment for the Arts' Chairperson 

 Jane Alexander. A small number of winning projects were 

 then chosen to receive Presidential Design Awards. In recogni- 

 tion of the high caliber of the National Design Museum's 

 seven winning projects, the Museum will receive one Presi- 

 dential Design award for all seven projects. 



The Museum's new graphic identity program, created by 

 Drenttel Doyle Partners, continues to be honored by the 



graphic design field. In 1995, the Museum received a 1995 Dis- 

 tinctive Merit Award for Environmental Graphics and a 1995 

 Merit Award for the Identity Program from the Art Director's 

 Club and a Citation for Typographic Excellence from the Type 

 Director's Club. 



The National Design Museum received a $98,000 grant 

 from the Smithsonian Institution to support the Institution's 

 efforts to increase its Latino audience and expand its coverage 

 of Latino contributions to history, art, and science. The Na- 

 tional Design Museum is using this grant to support educa- 

 tional programs, exhibition development and the 

 establishment of a Latino archive. 



The historical importance of the National Design 

 Museum's collections was demonstrated when the Museum 

 was asked to work with the restoration committee on the re- 

 furbishing of the Blue Room at the White House. Assistant 

 Curator for Wallcoverings, Joanne Warner, worked with a 

 committee of historians, curators, and designers to select the 

 wallcoverings for the room. The Blue Room wallcoverings are 

 now complemented by borders adapted from two early 

 nineteenth-century French papers found in Cooper-Hewitt, 

 National Design Museum's collection. 



During 1995 the Education Department of the National 

 Design Museum continued to offer exciting and imaginative 

 educational programs. The National Design Museum and The 

 Board of Education of the City of New York, Division of 

 School Facilities co-sponsored the second annual Summer De- 

 sign Institute in July. This year's program, attended by over 

 one hundred public school teachers, focused on technology 

 and education. The Summer Design Institute was one of 

 many innovative workshops for educators and school pro- 

 grams presented by the National Design Museum including 

 "A City of Neighborhoods," "Studio After School," "Design 

 Career Days," and "Les Journees des Artisans." 



In addition to achieving many noteworthy goals in 1995, 

 the Museum continued work on several important long-term 

 projects including major exhibitions on the North American 

 city, universal design, and sports. The Museum is also devel- 

 oping an exhibition, a triennial, that focuses on the best of the 

 design world. 



Design and its impact on individuals, societies and the 

 planet are critical issues for the present and the future. Cooper- 

 Hewitt, National Design Museum is in an unique position to 

 help the public gain a better understanding of design and 

 learn to use design to create a better world. 



Hirsbbom Museum and Sculpture Garden 



The Hirshhorn Museum and Sculpture Garden reached its 

 20th anniversary as the Smithsonian Institution's showcase for 

 modern and contemporary art in October 1994. Today, as in 

 1974, the Museum remains committed to increasing the 



6l 



