If the Cooper Hewitt, Smithsonian Design Museum, have been a board sport, it might be Clue — not for murder-mystery escapades however for the opulent maze of rooms in its expansive flooring plan. Constructed on the flip of the twentieth century as a house for one of many wealthiest People of all time, metal magnate and philanthropist Andrew Carnegie, the 64-room mansion sprawls over six flooring with areas that embody, as in Clue, a library, research, and conservatory. It’s on this grand home setting that the museum’s seventh design triennial, Making Residence, takes up residence.
Making Residence marks the primary time Cooper Hewitt has teamed as much as current the triennial with the Nationwide Museum of African American Historical past and Tradition, a fellow Smithsonian establishment and one which Trump particularly focused in his govt order in March. Artists and designers render numerous sides of this version’s “home” theme — together with migration and transience, local weather change and ancestral Indigenous data, ageing and assisted residing, healthcare and genetics, reminiscence and mourning — by way of works (all 2024) in quite a lot of mediums and supplies.
Nevertheless, a few of at present’s most urgent subjects entangled with the which means of residence within the US that may additionally spring to thoughts — rocketing housing prices, housing shortages, homelessness — are both obliquely referenced or disregarded of the exhibition totally, although some do get a bit extra consideration within the on-line exhibition and companion publication.
The idea of house is however a wealthy and expansive topic, as this survey makes clear, and design is an equally versatile lens for exploration. That includes a wide-ranging medley of 25 newly commissioned installations with pliable interpretations of each residence and design, Making Residence takes guests on a meander by way of the minds of artists and designers from the US, US territories, and Tribal Nations.
Set up view of Liam Lee and Tommy Mishima, “Game Room” (2024) (picture Julie Schneider/Hyperallergic)
Lavender signage displayed on picket plinths, designed by Workplace Ben Ganz, serves as a gentle visible presence by way of the eclectic conceptual terrain and corresponds to a legend on the present’s map. In case you begin on the primary flooring and comply with the map chronologically, treasure-hunt fashion, you’ll see the exhibition unfold in a free arc of concepts. Installations grounded in home residing areas result in investigations into the meanings, feelings, and realities of residence and, lastly, to solution-oriented choices.
Within the first part of the present, dubbed “Going Home,” site-specific installations riff on the structure and authentic functions of the Carnegie Mansion’s rooms. In Carnegie’s residence workplace, Liam Lee and Tommy Mishima’s “Game Room” maps how the robber baron’s philanthropy continues to affect spheres of training, science, and international relations by way of tidy flowcharts and a Monopoly-style board sport titled “Philanthropy.” With squares named for universities and environmental teams neighboring establishments behind darkish chapters of US historical past, like Chilly Spring Harbor Laboratory’s Eugenics Information Workplace, for one, the sport underscores the difficult outcomes and shadows of the ultra-wealthy’s philanthropic initiatives. Impressed by the Underground Railroad’s clandestine community of pathways to freedom, the Black Artists and Designers Guild (BADG) remodeled Carnegie’s private library into an interactive house dedicated to Black tradition in “The Underground Library: An Archive of Our Truth.” Artworks by Black artists, equivalent to Lana Abraham-Murawski’s aptly titled oil portray “Meeting of the Minds” (2021), line the partitions, and you may pull books by Black authors from the cabinets to learn on undulating black sofas that sit atop a galactic carpet.
“Welcome to Territory” (2024) by Lenape Heart with Joe Baker (© Smithsonian Establishment; picture by Ann Sunwoo)
Additional into the maze, a eating room vignette by Nicole Crowder and Hadiya Williams, titled “The Offering,” meditates on the seek for residence and belonging by way of the objects Black People carried with them through the Nice Migration. And “Welcome to Territory” by the Lenape Heart’s co-founder Joe Baker (Delaware Tribe of Indians) acknowledges the Lenape homeland, situated the place the mansion now stands, with a trio of turkey-feather capes suspended from the ceiling. They slowly rotate like spirit presences, surrounded by shimmering, painterly wallpaper printed with blossoming tulip timber, which have been as soon as plentiful on this space.
On the second flooring, “Seeking Home” gathers installations loosely cohered round utopian visions of residence, in addition to establishments and techniques like reproductive healthcare networks in Alabama and biobanks that home and protect the blood samples and genetic materials of tens of millions of People. Mona Chalabi, a Pulitzer Prize-winning information journalist identified for her hand-drawn information visualizations, partnered with SITU Analysis to current a stark take a look at domicide, the widespread or systematic destruction of houses, usually throughout army battle. On the partitions of “Patterns of Life,” Chalabi’s distinctive cursive tells us that 40% of houses in Manbij, Syria; 65% of houses in Mosul, Iraq; and 70% of houses in Gaza have been broken or destroyed as of March 2024. Within the middle of the room, a trio of ghostly white architectural fashions recreates house buildings that have been destroyed in every location. You’ll be able to peer into the home windows to see layered illustrations of the lives as soon as spent in these houses. This room feels deafening in its silence.
Set up view of “Patterns of Life” (2024) by Mona Chalabi and SITU Analysis (© Smithsonian Establishment; picture by Elliot Goldstein)
Close by, a candy scent emanates from Curry J. Hackett’s “So That You All Won’t Forget: Speculations on a Black Home in Rural Virginia,” a chapel-like house coated with bundles of dried tobacco leaves and objects, actual and imagined, from Southern Black tradition, previous and future. In one other room, you’ll be able to settle in to look at “Dream Homes,” PIN-UP’s documentary about three queer communal-living collectives.
The present fittingly concludes with “Building Home” on the highest flooring, filled with future-looking installations that embody Indigenous residence design practices and prototypes for transitional housing for previously incarcerated individuals, in addition to renderings and fashions for assisted-living house designs for ageing populations. By showcasing environmentally minded and community-driven tasks, the present ends on a hopeful notice with an implicit reminder that optimistic change begins at residence.
Every of the survey’s installations is a world unto itself, working with its personal inner logic and artistic imaginative and prescient. However one constant thread, as seemingly mundane as it’s, struck me as refreshing and oddly revelatory: There are many locations to take a seat and take all of it in. At common intervals all through the exhibition, chairs, sofas, settees, benches, and even a mattress await the visiting public — a part of the exhibition design by structure agency Johnston Marklee. Although seating advantages everybody needing a spot to pause, it usually seems like a uncommon commodity in museums, the place accessibility stays an ignored situation. Making Residence’s plentiful seating provides a sensible respite, whereas concurrently furthering its theme and creating locations to bodily collect, sit, replicate, think about. In spite of everything, as a wool tapestry by Andy Medina within the second-floor screening room proclaims, “Home is where you’re allowed to dream.”
BADG, “The Underground Library” (2024) (© Smithsonian Establishment; picture by Ann Sunwoo)
“The House That Freedoms Built” (2024) by La Vaughn Belle exterior the Cooper Hewitt, Smithsonian Design Museum in Manhattan (© Smithsonian Establishment; picture by Ann Sunwoo)
Making Residence—Smithsonian Design Triennial continues on the Cooper Hewitt, Smithsonian Design Museum (2 East 91st Avenue, Higher East Facet, Manhattan) by way of August 10. The exhibition was curated by Alexandra Cunningham Cameron, Christina L. De León, and Michelle Joan Wilkinson.
