 No longer did machine-made products solely constitute second-rate reproductions of handmade goods, but instead the machine-made symbolized progress and a forward-thinking attitude. This design philosophy is embodied in this phonograph. Vassos's choice of aluminum is again both practical in terms of its lightweight quality and artistic in how it related to the period's automotive styling. Technologies and appliances in the home were apt for a machine-like look. While this is likely John Vassos's most well-known object, like many other industrial designers, Vassos made an impact across disciplines. His proficiency as a fine artist, seen in his book illustrations and wall murals, provided a skill set useful for the design of everything, from harmonicas and restaurants to paring knives and bicycles. But Vassos's particular development of what has recently been identified as media modern, or a new aesthetic sensibility for electronic media, and his relationship with RCA, then the nation's largest media company, were primarily what distinguished his career. This object is particularly striking when looked at in comparison with what came before it, and what it broke away from. In the field of home electronics, we can identify clear breaks in styling between old and new. Designers then faced the same questions that we still do today. Should electronics stand out, is technical objects emerge with their surroundings? In 1930s America, designers conceived of a new look for technologies in the home. Previously, radios and phonographs, as seen here, had been conceived of as pieces of furniture, available in a wide range of historical styles to fit with interior decoration. In addition to this phonograph, Vassos designed many radios for RCA, and immediately rejected what was called the cathedral shape, a tall domed vertical structure. Vassos begrudgingly called this the tombstone, emphasizing its death in the design realm, and aimed to immediately eliminate it. Instead, he and a number of other industrial designers, including Raymond Lowey, the designer of this model, moved the styling of appliances in new directions. The radio was one of the first electrical appliances to embrace more futuristic and playful design. The number of radios in American homes in the early 1930s reached unprecedented new levels. The radio was not only a form of entertainment, but also a broadcaster of news and information. The number of American homes with a radio increased by 4.5 million over a three-year period in the early 1930s. 13.5 million more homes had radios than had telephones, according to statistics presented at the time by the National Association of Broadcasters. And as radios took on new, more portable forms and were no longer fixed in position as a piece of furniture, families began to own more than one for more than one room of the home. As a young child in Paris, Lowey observed how technological developments such as the automobile, the airplane, the phonograph, and the telephone transformed everyday life. These transformations had a profound effect. Later, when Raymond witnessed the birth of the radio, he would combine both his personal experience and views of the modern world into his designs, a scene here in this new world radio produced for the Colonial Radio Company. In 1933, Fortune magazine described the radio as the latest radio success that aligned with the current fad for globes in gift shops and drug stores, yet sells in the high price range. The radio made use of the new material called Catalan, a very hard, heat-resistant, phenolic plastic that could be dyed different colors, filed, ground, cut, and polished. The globe-shaped radio depicts seven continents, and it was available in three different color combinations. The radio speaker was located in its base, the metal ring played a dual role, one as the decorative indication of the Earth's equator, and the other as the functional connector of two metal knobs that controlled the power, volume, and station tuning. Advertisement steamed the radio the ultimate in design. The new world radio was a commercial success despite its high price point of $60 during the Depression. By using a globe's shape and decoration, Loewe linked listening to the radio with a modern notion of connecting to the world. The use of plastics for radios provided new playful ways to introduce color into the electronics market. How to color plastics was also a challenge for manufacturers. Early phenolic resins were limited to darker colors, but with the introduction of urea resins as used in this radio, a wider range of colors became possible. These bright notes of color were attractive to consumers who desired to invest in products that offered an optimistic outlook. As a visionary futurist, Norman Balguettis was the ideal designer to offer such products to the American public. While oftentimes his designs and concepts for cities and spaces were inconceivable, here his creativity met a practical end in radio design. This patriot radio made its debut in 1940. Its patriotic appearance with its red, white, and blue palette, and a rectangular grill reminiscent of the stripes of the American flag signaled an expression in American faith and technology, and faith and technology, industry, and culture at a time when the country was making efforts to recover from the Great Depression, while also coping with anxiety about the intensifying war in Europe. Emerson commissioned Balguettis to make this radio for their 25th anniversary. The design was an immediate success with consumers. Retailers reported unprecedented sales, and one store sold more than 700 models in a single day. While many in the audience may be familiar with the plywood furniture of Ray and Charles Eames, they might not so readily recognize the objects designed by the Eames' on the screen here. The first of the Eames' plywood works to be mass produced was their leg splint made by the Navy. Cindy will speak more to this object later, but I have it here as the progenitor to the husband and wife's teams more playful experiments in Bendingwood. With this leg splint, the Eames' refined how to mold the material into a desired shape and produce the resultant object at a great scale. This experience with large-scale manufacturing set them up well for ventures with other plywood products, such as radio casings, that would be mass manufactured in the post-war period. The Eames' entered into contracts with some of the leading radio manufacturers, including Emerson, as seen here. About 200,000 radio cases were sold between 1946 and 1952. However, they received very little coverage in the press, which devoted much more attention to their plywood furniture for adults. A good friend of the Eames', Aero Sarnin, designed furniture appropriate for the casual, comfortable nature of the mid-century living room, where radio listening would have taken place. This womb chair also speaks to the increasing introduction of bright color into interior decoration. Aero Sarnin explained, I designed the womb chair because there seemed to be a need for a really large and comfortable chair to take the place of the old overstuffed armchair. Today, more than ever before, we need to relax. He elaborated that his womb chair attempts to achieve a psychological comfort by providing a great big cup-like shell into which you can curl up your legs. This design invited contemporary consumers to slouch, rest, and otherwise recover from the anxieties of World War II. While a very playful form, the manufacturing story behind this chair connects well to notions of work and industrial production. Sarnin applied for a patent on this shell-like body as complicated construction method in 1948, the year that no associates introduced the model. The malleable properties of newly developed materials allowed Sarnin to sculpt this suitable seating form for modern living. The womb chair is the product of what the designer called the technological transfer, by which he borrowed materials and methods from other industries. Sarnin adapted mechanical and material advancements gained during World War II to enhance his designs. For this chair and its related model, Sarnin partnered with the winner manufacturing company of Trenton, New Jersey, which had developed reinforced polyester resin to manufacture holes for navy boats during the war. Winner transferred this skill to produce a resin-bonded plastic for the womb chair that was lightweight, relatively affordable, strong, and yet flexible for comfort. Herbert Matter's advertisement for a few chair designs by Sarnin brings out their colorful and comfortable qualities. The view of the womb chair from above emphasizes the depths of its seat that encourages the user to sit back and sink into it. While Sarnin's womb chair encourages its user to lounge, this stool by Osama Noguchi for Knoll can set the user in motion. It is both functional in that it holds the body and fun in that it can rock around in a circle, as this publicity photo shows. It reminds me of the Heatherwick spun chairs outside in the hallway here and in the garden. Here we can see how Noguchi's practice of sculpture influenced his conception of furniture in his understanding of line and shape and the visual power of the spaces left in between. These stools were inexpensive to produce. The basic form of the stool with its rod and discs recalls atomic structure, a motif very much on the minds of mid-century designers. Here Noguchi has tempered this more serious symbolism with the playful possibility of the user activating the design with their movement. This concludes my contribution on design at play, and now Cindy will... I'm going to continue now talking a little bit more about industry itself and how really design has celebrated industrial technologies and forms and materials, and then also a little bit more about the nature of work itself in the 20th century and how that's changed. Talking about the workplace itself and how the office became a much more prevalent environment. Thank you. Particularly in the growing urban landscape of modern America. I'm going to start with this poster. This is a depiction of the post office underground mail train in London from about 1935. But first about technology in general. Technological and mechanical achievements inspired modern designers, artists, and architects. They were particularly fascinated with new ideas relating to materials, machines, movement, and speed. People, goods, and ideas were crossing the globe at unprecedented rates. Rolling by rail, zooming in automobiles, cruising in steamships, and soaring on airplanes. These conveyances influenced early industrial designers who embraced their speed, energy, and efficiency. The obsession with machines, movement, and manifested itself in objects and works that did not try to disguise their machine aesthetic but instead embraced it. Featuring dynamic streamlining and structures or exposed gadgetry that evoked the optimism of technology, industry, and mass production, which were celebrated as symbols of national strength and progress. Here in this poster, which was done by Austrian illustrator Lily Rethy after she fled Vienna due to anti-Semitism in the 1930s. Her illustration here conveys both strength and scale of modern industry, but it also shows an essential human element in the highly mechanized activities. Mail workers here are shown actively moving containers into their driverless mail train that is momentarily parked on a London underground station. The scene depicts a specific yet ubiquitous moment in an industrial process. It also suggests movement, speed, and might. Historically, the London mail train silently and worked silently on unnoticed underground between Paddington and Whitechapel stations. This line with its own exclusive tunnel was used to transport mail from mail-run stations to a series of eight sorting facilities along a roughly six-mile track throughout the city. The system operated from 1927 to 2003 and in this heyday moved tons of mail annually. Rethy's lithograph celebrates this industrial feat. The driverless trains are front and center. They're surrounded by robust struts and supports that make up the seemingly endless structure of the tunnel while workers in the lower right are caught in mid-action, heaving heavy bins and bags of mail. In the US, the spirit and tone was really moving toward wartime in the 1940s and here we have a poster called America's Answer Production from 1942 by Jean Carleau. It was commissioned by the United States Government's Division of Information Office for Emergency Management in 1942. The America's Answer Production poster was designed as a striking propaganda poster and was intended to inspire and invigorate the American population in the midst of World War II. For his design, Carleau employed many of the tools of composition that had been inherited through his modernist training in Europe and collaboration with fellow graphic artist, A. M. Cassandra. The use of isolated objects, bold typography, and vertical layout helped to reduce strong and aggressive images. In this poster, the symbol of a worker's gloved hand gripping a wrench and turning a bolt communicated the value of factory work in supporting the American war effort. Here, Carleau symbolically equates tools and productions with weapons and military service doing our bit. Next to it is a poster called Keep Him Rolling from the previous year by Leo Leone. Illustrator and artist Leone spent his early career in Italy before the rise of fascism forced him to return to the United States. In the months before the attack on Pearl Harbor, he produced a series of propaganda posters supporting production. Keep Him Rolling and Keep Him Coming were among the phrases used as American military sponsored propaganda slogans during the war. Leone's series of posters was commissioned also by the Division of Information, Office of Emergency Management, ahead of America's official involvement in World War II after the attack on Pearl Harbor. In each of the four posters Leone did for this series, boats, tanks, and other armaments move across the stripes of the American flag. The design just opposes a group of welders sent into the flag's blue star field along the boats that they produced, speeding across the stripes. In each of the four posters in the series, the armaments move across the American flag. This design just opposes the welders sent into the flag's blue star field along the boats they produced. The poster exemplifies Leone's ability combining photographic images with modernist asymmetrical layouts, combining patriotic symbols of an exhaustible production and military strength. His posters appeal to the war effort both at home and abroad. The intention was to show that both the worker and the frontline sailor or soldier played their part in defeating the enemy. Stylistically, the poster follows in the early 20th century tradition of avant-garde European graphic design, the use of typography, geometric layout, primary colors, photo montage, and fractured space drawn from cubism, constructivism, Bauhaus modernism, and Italian futurism. Now we're back to the Eames's leg splint. In 1942, the husband and wife designers, Charles and Ray Eames, who had just moved to California, applied their experiments in molding plywood chairs to the war effort. They developed the molded plywood splints to substitute for the existing metal splints the Navy was using, taking advantage of the military's technology and the Evans products company's expertise, the mass producer and distributor of the splints. The Eames's perfected their molded plywood techniques. 150,000 splints were produced for the Navy, which praised them as life-saving, lightweight, and inexpensive. The splint's biomorphic sculptural form and functional design led to the Eames's influential molded plywood chairs. On the left, we see an image of the splint in use, which is not often seen. In contrast to the image taken by the museum, which highlights the very sculptural biomorphic qualities of the molded wood form, and in this view, you're actually seeing it from the underside. You see an image of the splint in use on a ship. The Eames is designed in effective form that cradles and protects the injured leg, which can be secured with bandages that could be threaded as needed in many openings to further immobilize and stabilize the injured limb. On the right is an image of the splint in production. What's interesting here is that the Eames has realized that they were working with a flat material plywood. Thinking that they had to turn into a three-dimensional form, they thought about this and hired a seamstress, someone who had knowledge of taking a flat material, in this case fabric, and turning it into a three-dimensional form. They actually, through the acquaintance of someone they made while Eames was working in the carpentry shop and as a designer in motion pictures, they collaborated with the seamstress to create a form that could be molded through pressure, heat, and moisture to become this three-dimensional wooden form. This also helped them develop their technologies for furniture they would later develop as well. On to the office, which was again seeing great changes in the 20th century as we saw developments in the function design and atmosphere of the office, particularly after the war, change. The implementation of the GI bill, which among other things included low-cost mortgages for new homes, and funding for higher education for veterans laid the groundwork for an ambitious and well-educated white collar workforce. Additionally, an unprecedented number of women were embarking on administrative careers as well. The post-war influx of office workers necessitated innovations in office layout, furniture, and tools, particularly items like the typewriter, all of which embraced emerging technologies in the clean functional forms of modernism. Advances in electronics and digital technology over the last decade have freed us from the desk and now make it possible for us to carry multiple work tools in the form of apps on a single personal portable smart device. In the slide you see here, this is the Model 4658 desk from 1946 designed by George Nelson. Alongside that is an image from the Herman Miller catalog of about 1950 showing the desk in action with some of its sections folded out in use, here holding a very mechanical type or pre-electric. But few designers contributed as many objects and ideas relating to the modern office as George Nelson. His designs for office furniture resonate as deeply today as they did in the mid-20th century. His modular interchangeable desk and storage solutions forever changed the conventional workstations and his action office system of the 1960s designed in collaboration with Herman Miller colleague Robert Probst was a genesis for the office cubicle. Although created for the home office rather than the corporate setting the Model 4658 desk really elucidates many of the principles that guided Nelson's later essays in office design. Assuming the dark bulkiness of traditional executive desks, the Model 4658 is a light and utilitarian take on the home desk. Supported by tubular steel legs that allow air to circulate and easy access for cleaning, the desks components include a perforated aluminum file drawer in the lower right and integrated leather blotter and storage nooks concealed behind sliding wood panels and updated take on the pigeonhole storage cubbies of earlier roll-top desks. The Model 4658 desk introduces the concepts in office furniture design that Nelson would continue to define and refine throughout his career. It asserts the functionalism that came to dictate 20th century office design while maintaining a sleek and smart modern aesthetic and silhouette that would find further expression in Nelson's L-shaped desk the corporate descendant of the Model 4658. In terms of mechanized office tools we have the typewriter probably a very fine example of evolution in work tools here for writing. I'm starting with a Remington noiseless portable typewriter of about 1930. This is a mechanical typewriter and in this view you can clearly see the type bars for the letters that run across the interior. You can see the rolling platen and this changed greatly with the introduction of the one typewriter of 1961 designed by Elliott Noyes for IBM. IBM's electric typewriter represents an evolution in typing technology improving the speed and flexibility of business and personal writing after its introduction in 1961. This electric went on to dominate the typewriter market nearly without peer for 25 years until it was eclipsed by the advent of the more compact and functional word processor or computer. The particularly revolutionary aspect of this electric typewriter is its golf ball shaped metal typing element. You can see that in the advertisement to the right of the typewriter is a shaped object just on the right. It eliminated the need for individual type bars which could very easily jam and cause frustration. Instead the circular device covered with typographical characters pivots in place making the correct character impression on the paper while the carriage remains stationary. The typing element is also interchangeable allowing for an unprecedented selection of fonts and sizes. The removal of the traditional shifting paper carriage from electric models presented noise with the opportunity to completely alter the appearance of the typewriter with an entirely new silhouette. The original electric first in a series of three models had over 2,800 parts and was designed to be compact and comfortable while retaining the sculptural contour that noise drew from Italian typewriters by the Olivetti typewriter company. The design and manufacturing processes took seven years to complete while this electric is known for being a 20th century office fixture its legacy goes far beyond the confines of typing alone. In 1964 IBM introduced the magnetic tape typewriter which included a device for storing characters word processing device a precursor and influence on future computer based models. A modified version of this electric was also one of the first computer terminals serving as the keyboard for the IBM system 360 computer in the 1960s. Taking the typewriter technology further into the mid-80s here is the ET personal 55 portable typewriter designed by Mario Bellini here a personal machine for either working at home or writing for pleasure. By the 1980s the drive to miniaturize electronics had advanced so far that industrial designers were no longer obligated to create forms that had to accommodate large internal mechanisms and parts. Mario Bellini and his contemporaries could use their creativity and skills to appeal to consumers on practical, visual and experiential levels. His ET personal 55 for Olivetti was the company's lightweight entry and competitive market for personal word processors and computers. The ET personal 55 presented a bold new look for the firm's products. Bellini took the wedge shape which he had used for a Japanese manufactured tape deck a decade earlier also in the Cooper-Ewitt collection and used it as the basis for the typewriter's light structure. He reduced the machine to its essentials reflected in its rectilinear form and low step profile accentuated by thin linear indentations in the plastic body that also helped reduce its weight. Bellini used color to differentiate and highlight the fundamental parts. Gray base and keys as opposed to a blue top, yellow knobs to roll the platen and to highlight the idea that this state-of-the-art high-tech product was also a user friendly personal tool for writing. And lastly we have the iPad 2 Tablet Computer from 2011 by Jonathan Ive and the Apple industrial design team. The now ubiquitous tablet form was a revolution both in work and play a small light portable device it has become an essential tool for many jobs. The iPad introduced in 2010 is a slate like form with a screen made of a resilient fingerprint and scratch resistant glass that falls between a laptop and a smartphone. It's a mobile form that can act as a platform for a variety of apps media, web content and games. Its portability is enhanced by rechargeable battery. And the iPad 2 made further advancements when a camera was an added feature became an added feature. Previous tablet computers commercially available since the 1990s required a pressure sensitive stylus. Apple's sleek all-in-one unit does not require an external keyboard, stylus or mouse. It is controlled by a multi-touch display requiring only the swipe of a bare finger. Its motion sensors and built-in apps support screen rotation for orientations including upside down. Screen images automatically switch between portrait and landscape made to accommodate the user's posture or preference. And due to the intuitive multi-touch display the iPad has only four physical switches a volume up, volume down, sleep wake for saving energy and a home button in the form of a small dimple on one side of the screen which can return the user to the main menu. Apple was also conscious of environmental concern. The iPad is made of recyclable material such as arsenic free glass and a mercury free backlit display. And it was really very nice that we could include it here with the Kravis exhibition displaying just an on-screen keyboard. So we've gone from this heavy typewriter unit to a flat, portable almost pad-like object. We move on to lighting from here, another essential element of the office. Particularly since electric lighting was a relatively new development in the 20th century, task lighting among others became a really ripe area for innovation and experimentation. Here we have the model 114 desk lamp from 1939 designed by Walter Dorwin T. again. The executive desk lamp model 114, sometimes called the Polaroid is a fine example of his work and his explorations of geometry. It's a result of his first assignment from the Polaroid Corporation for which he later went on to design cameras. The streamlined lamp was a redesign of an earlier corporate lamp. Working alongside Teague designer Frank Deguidici who is an associate from Teague Associates, his firm. With help from Teague's son Walter Dorwin Teague Jr., Teague developed the molded Bakelite plastic hood to widen the area of illumination. Supported by a slanted cone-like aluminum shaft fixed to a round Bakelite base, the lamp also features a light diffuser fabricated from polarized cellulose film, a Polaroid product. Furthermore, cooling vents were built into the base and the hood of the base and the hood. The lamp was manufactured by Polaroid Corporation in Bakelite or Walnut until 1941 when the design was licensed to the Mitchell Manufacturing Company. Contrasting with that is a lamp from 12 years later. And you can see the changes in form and appearance as lighting continued to evolve. The Anywhere Table lamp from 1951 was designed by Greta von Nessen with its smoothly curled silhouette and minimal use of color. The Anywhere lamp is a landmark example of modernism applied to lighting design. It also is a product of Greta von Nessen's resilience as a designer and businesswoman. After the death of her husband, designer Walter von Nessen, Greta reopened their design firm Nessen Studios. While she resumed the most successful modern lighting designs, she began selling some of her own lighting innovations as well. Walter von Nessen's most iconic contribution to design is a series of angular swing arm lamps that allow the user to swivel the light source from one side of the lamp to the other. While Greta's Anywhere lamp is similarly functional, but it can also be placed on a table, mounted on a wall or suspended from a ceiling using its bent tubular metal base. And the semicircular dome that you see here was movable. So the shade could be moved on its curved tubular framework to swing into any position needed. With the Anywhere lamp, Greta expanded upon her husband's design fundamentals, elevating lighting to a new level of streamlined form and utility. The brightly colored, strikingly modern form preserves the legacy of an exceptionally strong mid-20th century designer. We move on to whole environments now. Looking at Frank Lloyd Wright's Price Tower done in 1956. It was Wright's only realized skyscraper and was commissioned in Bartlesville, Oklahoma by Harold C. Price of the H.C. Price Company, an oil pipeline and chemical firm. The building was its corporate headquarters and opened to the public in early 1956. It was a mixed-use building housing both the Price Company offices and apartments. Wright designed all the elements of the building, the structure, the finishes and furnishings as a total work of art. Here we have three pieces of furniture in the exhibition upstairs, two of which are on view right now. We have the stool from 1956 and the triangular table. And here you see we could say start with Wright's quote that the skyscraper now belongs in small communities rather than in huge cities, he said in 1956 on the occasion of the building of the Price Tower. At 19 stories, it is the tallest building in Bartlesville or was the tallest building in Bartlesville. The building is a cantilevered steel building lodged in concrete. Its overall design is based on a diamond parallelogram modular of four 30-degree and 60-degree triangles and the play of angular shapes is used throughout the tower. A geometric design of stamped copper plates and tinted glass surrounds the building exterior. At Harold Price's request, Wright designed all of the furniture and textiles for the tower which had both built-in furniture and freestanding pieces. For most of the tower's furniture, for both its offices and apartments, Wright incorporated copper and aluminum. The use of copper on the tower's interior and on its furnishings signify Wright's idea of continuity between a building's interior and exterior. Copper is used in all three of these pieces. The legs of the coffee table base and of the stool base as well and throughout for the small triangular table. Both tables and the stool have sharp angles and the smaller table's trapezoidal shape reflects the sectioning use in the building's floor plan. Wright's varied and repeated use of angular shapes in his career after the 1930s is well documented and the wide proportions and parallel placement of shelves on the coffee table recall the projecting eaves of Wright's prairie school houses. Here you can see on the lower right there's an interior shop from the Price Tower and you can see the coffee table in the lower left of that interior. This is one of the residential apartments in the building. Last there is, next there is also a new environment for work and a new part of work air travel. Here we see with the advent of jet travel in the late 1950s business travel increased in the 1960s or air business travel increased in the 1960s and here we have the Braniff Airways model 66310 armchair designed in 1968 by Alexander Haydn Gerard. Gerard believed that modernism did not need to be dull or drab. He's known for his use of bright colors and bulgeometric patterns at a time when solids and grays were the predominant modernist choices. He called his approach aesthetic functionalism. For Gerard, the way design made people feel was mattered just as much as the utilitarian value. Apart from his work for firms like Herman Miller and the John Deere Company, one of Gerard's biggest clients in the mid 1960s was Braniff International Airways. Tasked with creating an eye-catching visual identity for the airline, he made over 17,500 design changes ranging from Braniff's logo to its ground equipment. With his flair for color and pattern, Gerard worked on everything from branded playing cards and the plane fleet itself to airport terminal interiors. He had a rectilinear armchair with rounded corners and a low profile to accommodate the low ceiling spaces in Braniff's airport lounges. He also felt that the resulting reduction in visual scale would create a feeling of repose. Gerard intended his Braniff furniture to exemplify comfort, luxury and elegance. He combined old and new materials and techniques which are evident in the chair's clarity of structure. Its components are clearly articulated through color, line, and pattern. The upholstery also by Gerard and foam-covered molded plywood seat and back each have a strip of welting. The separate foam seat cushion is covered in a contrasting fabric and the legs and back posts are in cast aluminum. Originally from a Braniff interior Cooper Hughes chair still retains its metal Braniff property tag on the underside of the seat. In 1967, Herman Miller introduced a line of furnishings they called the Gerard Group which consisted of 25 pieces based on Gerard's Braniff designs. Gerard wrote in the product brochure, the outer shell may be upholstered or painted and the welt selected in one of three coordinating colors. The inner shell and cushion may be upholstered in a variety of fabrics. The permutations are infinite. The mix and match possibilities may have been too overwhelming for customers at the time however because the line was produced for only about a year. The home, or work in the home, has also been a place of change. The kitchen is arguably the domestic setting most radically altered. Here we have kitchen tools designed by Henry Dreyfuss and here to the left we were very lucky that we had a drawing for these tools and the gift of George Kravis included the actual tools themselves. He is widely recognized as one of the most prominent early industrial designers and the Washburn company hired him to update his line of kitchen tools. Here you see he has used much simpler more ergonometrically useful forms to make these teardrop shaped handles for the kitchen tools. He's redone the entire group here and also returned to bright colors. Here we have handles in the drawing of yellow, orange and black and this bright green used here for the tools that we now actually have. Irons, again, the laundry room was a place of great change and here we have in comparison to a 1912 iron made by the wage triple heat iron group we have the silver streak iron of 1946 which is actually made of glass. You could look at the domestic iron as representative of industrial design but only do irons through their function and product design with worlds of household work and overlap with the worlds of household work and textiles. The advancement of this design relates to the technological possibilities of Pyrex glass. The metal shortages of World War II led to the experiments with other materials including Pyrex. Known to resist high heat since 1915, Pyrex was an excellent material for handles to stay comfortable to the touch and be comfortable when used. It could conform to the grip of a handle and early example of ergonomics. The use of bright color probably related to fun bright red as well as this blue creates a distinctive look that turns out to be vulnerable to changes in taste so the iron had a short life production. The streamlined and ergonomic model shows the post-war era concentration on enhancing design for domestic life. We have here a casserole from 1960's by Finnish designer Timo Sarpaneva. Sarpaneva grew up in Helsinki and a family of blacksmiths and textile artists. He was a member of the generation of designers who shaped post-war modernism in Scandinavia and he worked across media in ceramics, metals, textiles, wood and glass, which was his favorite. This piece of cookware is an experiment in design with more industrial edge than was typical of the romantic glassware which he was well known. It's a formal form of the cast-iron vessel in the 1950's he introduced color to the glass at Itila Glass Works a creative impulse that we can also see in this pot. It not only offered a cheerful note to the kitchen but also offered a number of practical advantages. The form could transfer easily from the oven to the table or to storage in the hands from heat the heat of the metal when they were lifting the lid off the pot as you can see that here in the image on the right. And lastly, we have children at work as well. Here we have the one laptop per child XO computer of 2007. It's representative while network systems are rapidly becoming the dominant form of experiencing education and culture in the 21st century. The one laptop per child a low-cost computer designed specifically for the developing world was created to address the problem of limited access to new digital technologies. The laptop is designed to be easy to use and functional despite the frequent absence of schools, desks, or books in the developing countries. Its small size and lightweight effectively make it a movable classroom. The laptop can be held flat angled or like a book which allows the flexibility to work individually or in groups. The screen pivots and the keyboard is rubberized to prevent water and dust from getting in with smaller keys specifically designed for children. The compact colorful form is designed to appeal to children and incorporates a carry handle for ease of transport. The XO's battery provides up to 22 hours of power and its durable infrastructure functions outdoors at extreme heat and humidity. As education employs new digital tools, this design was created to ensure that disadvantaged children could also benefit from new technologies. And so that's our quick tour of work and play through objects in the Kravis exhibition. We haven't seen energizing the everyday yet. We hope that this is picture curiosity and you'll go visit the exhibition. And if you have seen it, we hope you'll visit again. Especially in November when we'll be rotating in a few new objects not yet on view. Thank you.