 Good evening, everyone. Hello. I'm Paul Hozan. I'm Chairman of the Board of Trustees for Cooper Hewitt National Design Museum. And I'm delighted to welcome you to the fourth lecture in our Morse Historic Design Lecture Series. I'd especially love to thank Denny and Lester Morse for initiating and making this possible, which is enabling the museum to share this collection and scholarship through a series of presentations like the ones we're about to enjoy tonight. As many extra efforts to be here, even though it's illegal. Don't anybody quote me on that. I'm now delighted to introduce Caroline Payson, who is our director of education and amazing director of education at Cooper Hewitt. Caroline. I'd also like to welcome you and welcome those who are watching us online. And perhaps reiterate that nobody is here illegally. Thanks, Paul. As you just heard from Paul, we're reopening in about a year from now in the fall of 2014. But that doesn't mean, although, as you heard from Paul, too, that we're shut down because we're the government, we're not actually closed. Because we've been closed, we have sites around the city like this one, where we are able to run programs, particularly our education program in Harlem, which is going on despite the government shutdown, as well as our design in the classroom program. And these are some of the ways this lecture series is some of the ways we've been out there in this time while we've been dark. I would love to just tell you about a couple of programs coming up in the next month or so. The first is National Design Week, which is October 12th through the 20th. It's a special week, so there are eight days. And that involves a range of activities for all of our audiences. There in our Harlem space will be free programs for children and families. There'll be a teen design fair for high school students in New York City, where they'll get the opportunity to meet all sorts of famous designers and ask them anything they want. That evening, on October 15th, will be a panel of some of the winners of the National Design Awards. And on October 17th is our annual National Design Award gala. We also have, and you might have noticed when you came in, a wonderful new program starting in November in partnership with Van Cleef and Arpel's called Design by Hand. And that program is taking the idea of the handmade object, whether it's jewelry or fabric. And in some cases, later on, a Pixar film, something that starts with handmade, and we'll talk about with those designers from those companies, once reduction, I want to express my appreciation to the Cooper Uitt Museum for inviting me to lecture and to thank Sarah Freeman, the museum's public education manager for her gracious assistance. I especially wish to recognize Mr. and Mrs. Lester S. Morse, Jr., for generously supporting the Design Revolution's lecture series. It is an honor to be a participant. In addition, I welcome to the lecture two members of the Chicago Art Deco Society, President Joe Lowndie and Kathleen Murphy Skolnick, editor of the CADS Magazine. American decorative arts underwent profound and swift stylistic changes during the 1920s and 1930s, the decades between the two world wars. Arts and crafts ideals and historical revivals, especially the colonial style, prevailed until the mid-1920s when French art modern, later labeled art deco, was introduced in daily eagle, heralded the importance of the exposition in a series of four articles. Art modern was a decorative style, an amalgam of diverse elements. It did not have theoretical underpinnings, often cited as sources of this design revolution that reacted against and supplanted art nouveau. With the art movements of Cubism and Futurism, progressive Austrian design, American Indian and Mayan cultures, ancient Egypt, machine imagery, the skyscraper, even the ballet ruse. Neoclassicism, exoticism and stylization were characteristics of the style art nouveau. Most Americans at the fair would have been astonished by the architecture of pavilion such as the Bonemarché department store and the startling form and crystal handles of the Puy-For-Cas service that rested on silver plinths. Shortly after the Paris Exposition closed in 1925, the Gore Manufacturing Company hired Eric Magnussen and accomplished Danish silversmith to design hand wrought silver in competition with George Jensen and with an eye to developing a contemporary machine, progressive Austrian and German architects and designers had occurred. Together with a handful of native professionals who had studied on the continent, they formed the nucleus of New York's avant-garde design community. Among them were Alonca Caraz and Vinho Rives. The dire post-World War I economy in Europe propelled, department stores played a pivotal role in exposing the public to art modern. In New York, Lord and Taylor presented French furniture and accessories in a lavish setting designed by architect Ilaja Khan. After his return from the Paris Exposition, Adam Gimbal, the youthful president of Saks Fifth Avenue, introduced modernist decor in window displays and store interiors by vanguard designers Frederick Keasler and Donald Desky. And Puy-For-Cas silver was represented in New York exclusively at Saks. R.H. Macy's established its leadership by organizing the most important department store exhibition of the period, the 1928 International Exposition of Art and Industry. The stunning installation and innovative modernist works attracted the attendance of thousands. I highly recommend Marilyn Friedman's book, Selling Good Design Proofers, finds fitting expression in the flashing movement and life of this interpretation. Produced with or without handles, the swirling decoration of the die-stamped rim of this shallow building in the Cooper-Ewitt Collection vividly expresses movement in silver. Semi-precious stones appeared frequently in O'Darene Silverware at the Paris Exposition, Marie Park, a professor of architecture at Yale University and author of new backgrounds for a new age, commented on the ubiquity of skyscraper imagery in 1928, quote. The skyscraper, with its angular setbacks, has today influenced the decoration of every object from bookcases to handkerchiefs. In 1928, Reed and Barton introduced sterling silver candlesticks and compotes described in Harper's Bazaar as a quote radically modern design deriving its inspiration from the structural steel of the skyscraper. The critic was referring to the unique openwork foot of each object, suggested to him the steel skeleton of the modern skyscraper. Only a handful of craftspeople produce significant architectural metalwork during this period. In this demanding field, almost all were born and trained in Europe. The technical versuosity of Oscar Bach, a German emigrate, has been compared to that of Edgar Brant, the French master of art modern metal. Late in 537th Avenue building number, fabricated by Walter von Nessen, exhibits step-back layering and abstract classical swags and fluting. In contrast to its quiet containment and symmetry, the Channing building grill bursts with coiled energy and electrifying speed, while the Rolls-Royce building elevator expresses the steady uniformity and movement of machine production. Walter von Nessen, a former student of Runeau Powell in Berlin, established objects primarily for interiors. Lighting solutions were of von Nessen's specialty. The standing floor lamp in the Cooper-Ewitt Collection disperses and funnels illumination upwards by means of three staggered and outward-flearing cones. The stacked and louvered disc flowering at the end of the 1920s. A chance encounter brought the Hungarian metalsmith Paul Faier, an apprentice under Paul Kish in Paris, to Cleveland in the fall of 1929 as designer for rose. The mixing of materials and finishes to achieve, introduce the Dorian pattern early in the night. General Motors commissioned industrial designer Norman Belgettys, a pioneer in streamlining, to design a metal commemorating the company's 25th anniversary in 1933. Belgettys utilized his innovative teardrop-shaped automotive design, five, that suggests lively movement differently than streamlining, and may have had precedence in a scene from the Hollywood film Gold Diggers of 1933. And the widely published official logo of the Century of Progress Exposition in Chicago. A native of Russia, Ohtar settled in Santa Cruz, California, where he established a metal shop in the 1920s. Ohtar is an obscure figure, except for smaller boxes similar to this one. The Cooper-Uet is the repository. The form is extraordinary, like a hand grenade with handles springing out at right angles. However, a spherical tea service designed by Puifuqa may have been the true source. The three Puifuqa vessels shown here are part of a four-piece service in the Cooper-Uet collection. Lobel may have adapted its perpendicular handles and anchored his pieces in a tray instead of on plinths like those that support the pouring vessels in the Puifuqa service. The meteoric success of silversmith Peter Mueller-Munk, who immigrated from Germany in 1926, reflected three flagship fleet at the time when a full-course meal with table service was included in the fare. And dinner aloft was an advertised inducement. The handles of the signature flagship flatware replicated in relief and abstraction of the DC-3 profile. The quality of architectural are typical. The success of his spun aluminum was due in part to the new informality in home entertaining. Wright capitalized on this trend with a variety of smart practical designs such as these, that were within the economic reach of the middle class during the Depression. Aluminum, a versatile chemical material that is light, strong, and rust-proof, can be stretched and rolled into almost any shape by hand and is also well-suited for hand-forged and hammered aluminum accessories. Arthur R. Williams collected as a graceful, wide-flearing bowl supported by a rod encased in a glass sphere and was one of many designs released in 1934, the first year of production. Marketed as an affordable alternative to traditional silver, advertisements both did that quote, no blower of tarnish will ever mar the stately beauty of Kensington, the lustrous new metal with the soft rich glow of old silver. The Bauhaus innovations in tubular steel construction for furniture in the mid-1920s by Marcel Breuer and Mies van der Rohe had affinity with the design and attest to the Bauhaus influence on deski but also to his transformation of hard edge angles into fluid streamlined curves without sacrificing the geometric effect. The capacity of tubular steel construction to express lightness rarely been exceeded. As to Weber though, the streamlining conceptualized by Bach for the end table halts dramatically at the cantilevered upper shelf. Each designer employed the streamlining metaphor for movement, flowing parallel speed lines. Bach's Puppe-Ewitt collection may have been inspired by the bisected nose of the 20th century limited train designed by Henry Dreyfus and introduced them. The cues at the 1939 New York World's Fair waiting to experience Norman Belgedy's future drama in the General Motors building form human streamlines. The components of the iconic theme center It doesn't seem that anyone has a question but I'd like to thank Jule for that wonderful talk and thank you all for coming.